MISTER BOLIN'S LATE NIGHT REVIVAL - What If... (2010)
Mr. Bolin’s Lake Night Revival' is a long overdue tribute to the late Tommy Bolin, solo artist and guitarist for 70’s bands such as Zephyr, The James Gang, Moxy and Deep Purple. Sadly, the world was only blessed with Bolin’s brilliance for a short time. Consumed by drug abuse, Bolin died of an overdose in 1976. He was just 25 years old. Fittingly, a portion of the proceeds from this project will benefit the Jackson Recovery Center, a drug and alcohol recovery facility in Bolin’s hometown of Sioux City, Iowa. The release celebrates the musical compositions of Tommy’s rare and unreleased material and features an assortment of contributing artists such as Tesla drummer, Troy Lucketta, Dokken’s Jeff Pilson, Mr. Big’s Eric Martin, and Mr. Derek St. Holmes, among many others, including Bolin’s brother Johnnie. The lengthy 17-song CD includes a mix of blues numbers, light jazz, straight forward rocks tracks and poignant ballads, reflecting Bolin’s diverse songwriting talents. It’s reported that the raw material for the record originated from a reel of acoustic demos that was stashed in the back of an old amplifier, which whether true or not, does make for an intriguing story. Bolin’s far-reaching influence is demonstrated by the sheer number of musicians who participated in this endearing project. It serves as a reminder that music has the ability to transcend time when the person(s) creating it truly understand the gift they were given and were passionate enough to share it with the world.
DUST - Hard Attack (1972) + Dust (1971) 
Dust was an American hard rock band active in the early 1970s. Dust was formed in 1969 by Richie Wise and two teenagers, Kenny Aaronson and Marc Bell. The trio's producer and manager, Kenny Kerner, also wrote the group's lyrics. Their eponymous debut album was released on Kama Sutra Records in 1971, followed by a sophomore release, Hard Attack, issued on the same label the following year. Although Wise began writing material for a third album, the band dissolved due to lack of promotion and Wise's interest in producing. Wise and Kerner went into production with Kiss, among others, producing that band's first two albums.
EDGAR WINTER - Entrance (1970) & Jasmine Nightdreams (1975)
Although he's often skirted the edges of blues music, at heart, saxophonist, keyboardist and composer Edgar Winter is a blues musician. Raised in Beaumont, TX, the younger brother of ukulele player and guitarist Johnny Winter, Edgar Winter has always pushed himself in new directions, synthesizing the rock, blues and jazz melodies he hears in his head. As a consequence, his fan base may not be what it could have been, had he made a conscious effort like his brother Johnny to stay in a blues-rock mold over the years. He's one musician who's never been afraid to venture into multiple musical arenas, often times, within the space of one album, as in his debut, Entrance (1970).
Edgar Winter came out of the chute kicking with this remarkable record filled with jazz, blues, and a little old-fashioned rock & roll. The record follows an established theme throughout its first side, stringing the songs together without breaks, highlighted by dreamy keyboard and sax work, plus Winter's smooth vocalizations. But jazz isn't the only thing Winter brings to the party. His first recorded version of the old J.D. Loudermilk tune "Tobacco Road" throws a few nice punches (although the live version with White Trash a few years later would prove the definitive one). "Jimmy's Gospel" plays on his early church influences, while "Jump Right Out" is the predecessor of half-a-dozen "jump up and dance" numbers Winter would pepper his records with in the years to come.
Not since his debut, Entrance, had Edgar Winter appeared in a solo capacity. This time out, he reverts to his heavy jazz and gospel influences to produce an album that merits much more attention than what it ultimately received. Winter is decidedly laid-back on tracks such as "Hello Mellow Feelin'" and "Tell Me in a Whisper," which serve as the finest of the nine tracks here. Winter puts on his party hat once again with the rocking "Out of Control," the final track on a pretty nice little rock & roll document.
THE MOODY BLUES - Timeless Flight (2013) [11 CD Box Set]
Career spanning 17 disc (11 CD + six DVD) box set from the British Rock icons. Timeless Flight is a definitive career-spanning Moody Blues box set. The Moody Blues have released 24 albums in a career spanning nearly five decades. They have sold over 50 million albums, earning them eighteen platinum discs and all manner of awards. This set contains 11 remastered CDs featuring key album tracks, previously unreleased mixes, out-takes and complete live concerts, three DVDs of rare television performances from around the world, promotional videos and the previously unreleased live concert from Olympia, Paris in 1970, three DVD audio discs containing the long-deleted 5:1 surround sound mixes, a 120-page hard-back book including a new essay by Moody Blues researcher Mark Powell plus rare and previously unseen photos on heavy weight paper, replica full color tour poster and discography, replica Threshold press pack containing photos and memorabilia and an exclusive Timeless Flight fabric patch.
Housed in a heavy-duty LP-sized hard-back slipcase, this lavish box set contains 17 discs including:
* 11 remastered CDs featuring key album tracks, previously unreleased mixes, out-takes and complete live concerts
* Three DVDs of rare television performances from around the world, promotional videos and the previously unreleased live concert from Olympia, Paris in 1970
* Three DVD audio discs containing the long-deleted 5:1 surround sound mixes of Days Of Future Passed, On The Threshold Of A Dream, To Our Children’s Children’s Children, A Question Of Balance, Every Good Boy Deserves Favour and Seventh Sojourn
* 120-page hard-back book including a new essay by Moody Blues researcher Mark Powell plus rare and previously unseen photos on heavy weight paper
* Replica full color tour poster and discography
* Replica “Threshold” press pack containing photos and memorabilia
* Exclusive “Timeless Flight” fabric patch
KEN HENSLEY - The Bronze Years 1973-1981 (2019)
Having originally formed The Gods in mid-1960s London with future Stones and Mayall guitarist Mick Taylor, The Gods recorded two LPs for Columbia. Ken Hensley made brief appearances with Toe Fat and Head Machine in 1969 before joining London’s Spice in time for the band’s first album, “Very ‘Eavy… Very ‘Umble”, and a swift name change to Uriah Heep. Although no Hensley originals appeared on Heep’s debut, all 6 tracks on their second album “Salisbury” were written or co-written by Ken. In fact, even after five albums with Uriah Heep, where Ken was becoming the principal songwriter, he still had enough material to write and record his first solo album in 1973. Released by Bronze Records, “Proud Words On A Dusty Shelf” featured Heep’s Gary Thain on bass and drummer Lee Kerslake. The resulting album was equal to anything recorded by Uriah Heep at their peak, and features wonderful material such as ‘Cold Autumn Sunday’, ‘Black Hearted Lady’ and ‘Go Down’, along with an alternative version of ‘Rain’ (also recorded by Uriah Heep). Bonus tracks are ‘From Time To Time (Edited Single)’, ‘From Time To Time (Mono)’ and ‘When Evening Comes (Edited Single)’. Continuing to write and record with Uriah Heep, Ken Hensley’s second solo album, “Eager to Please”, was also released by Bronze Records, and saw Ken joined by Mark Clarke on bass, Bugs Pemberton on drums and B.J. Cole on pedal steel guitar. The cover features a portrait by Alfred Heyworth, one of his final works of art. “Eager To Please” features the ‘Who Will Sing For You’ single as a bonus track. Dissatisfied with the direction Uriah Heep were taking Ken went solo in 1980 to record the self-explanatory ‘Free Spirit”, his third and final solo album for Bronze. Featuring classic tracks like ‘Inside The Mystery’, ‘Brown Eyed Boy’ and many more, this version also features the non-album B-Side ‘Inspiration’. Guest musicians include Deep Purple’s Ian Paice, Heep and Bowie bassist Trevor Bolder and The Who and Faces’ Kenny Jones. As a further bonus, shortly after inking a new deal in 2019 with Cherry Red Records to reissue his back catalogue, Ken spent some time on camera to discuss all three of his solo albums recorded for Bronze with renown rock journalist, Malcolm Dome. These three, insightful, revealing and often humourous interviews are a treat for Uriah Heep and Ken Hensley fans, presenting a unique and candid experience on DVD, filmed exclusively for this collection.
PINK FLOYD - The Later Years 1987-2019 (2019)
The Later Years 1987-2019 is an explicit sequel to The Early Years 1965-1972, the 2016 box set that rounded up nearly all the loose ends and detours from the first era of Pink Floyd, the fearless period when they were figuring out what the band could do. The Later Years covers a different time, when their most pressing challenge was demonstrating that they could thrive artistically and commercially without the presence of Roger Waters, the bassist/songwriter who charted Floyd's direction between 1973's Dark Side of the Moon and 1983's The Final Cut. In the parlance of these deluxe box sets, that decade amounts to "The Middle Years," a period far more prolific than 1987-2019, when the group released just two studio albums along with two live albums and a posthumous project that didn't arrive until 2014, by which time the group had largely been inactive for 20 years.
This is a roundabout way of explaining that the source material for The Later Years isn't as rich as it was for The Early Years, a problem that has been addressed by emphasizing the luxurious aspects of this decidedly lavish box sets. As a package, The Later Years eclipses The Early Years, containing replicas of tour programs, laminates and posters, a hardcover book of photos, and a folio of lyrics, all housed in a heavy 12x12 box. The video material is similarly thorough, containing all the promotional clips from A Momentary Lapse of Reason, The Division Bell, and Endless River, along with assorted documentary and behind the scenes footage, films projects at concerts, and, best of all, footage from the 2007 tribute to the departed Syd Barrett which featured the last live performance of David Gilmour, Nick Mason, and Rick Wright together. This version is also presented as one of the two 7" singles included in the set, but unheard aural rarities aren't necessarily the point of the set. To be sure, there are some, including a clutch of seven largely instrumental outtakes from the Division Bell sessions in 1994, but much of The Later Years consists of tweaks to the existing catalog. Most dramatically, A Momentary Lapse of Reason is revised so it's stripped of shiny '80s accouterments and sounds more like The Division Bell. Some of these alterations are subtle, some are startling, and the overall effect is striking: Momentary is now softer and streamlined, sounding more like a Floyd album than a Gilmour solo effort. The rest of the box is devoted to live material, available on CDs and Blu-Rays and DVDs that mirror each other. Delicate Sound of Thunder is remixed and its film is restored, P*U*L*S*E isn't here as an album but the film has been re-edited, Live at Knebworth 1990 – a concert previously excerpted on a various-artists compilation – is here in full, along with live B-sides released between 1987 and 1994, and a 1989 concert in Venice that is an exclusive on the Blu-Ray/DVD portion. Another Blu-Ray/DVD exclusive is a 5.1 mix of The Division Bell, whose absence feels even stronger when the rest of the box has so much live material that generally follows the same set lists and arrangements. The repetition is noticeable but ultimately minor for the box's target audience of dedicated Floyd fans, who will surely appreciate the care given to both the remastering and the packaging. On that level alone, The Later Years is something of a wonder, which means it's certainly worthwhile for those who have the interest and the cash to partake.
BAND OF JOY - Band Of Joy (1978) & 24k (1983)
Band of Joy was the name of Robert Plant’s Black Country psychedelic folk group of the late ‘60s and his revival of its name and spirit in 2010 is of no small significance. Certainly, it’s an explicit sestion that Plant is getting back to his roots, which is true to an extent: the original Band of Joy was unrecorded outside of a handful of demos, so there is no indication of whether this 2010 incarnation sounds anything at all like the ‘60s band but the communal vibe that pulsates throughout this album hearkens back to the age of hippies as much as it is an outgrowth of Raising Sand, Plant’s striking duet album with Alison Krauss. Such blurred borders are commonplace on Band of Joy, where American and English folk meld, where the secular and sacred walk hand in hand, where the past is not past and the present is not rootless. Assisted by co-producer Buddy Miller and a band of roots iconoclasts highlighted by harmonist Patty Griffin, Plant finds fiercely original music within other people’s songs, nabbing two songs from slow-core stalwarts Low, cherry-picking relative obscurities from Richard & Linda Thompson and Los Lobos, digging back to find forgotten songs from the heyday of honky tonk and traditional folk tunes not often sung. Some of these songs feel like they’ve been around forever and some feel fresh, but not in conventional ways: Low’s “Silver Rider” and “Monkey” feel like ancient, unearthed backwoods laments and the riotous “You Can’t Buy My Love” feels as if it was written yesterday. Much of the wonder of Band of Joy lies in these inventive interpretations but the magic lies in the performances themselves. Never as austere as the clean, tasteful impressionism of Raising Sand, Band of Joy is bold and messy, teeming with life to its very core. It’s as a joyous a record as you’ll ever hear, a testament that the power of music lies not in its writing but in its performance.
Formed in 1966 by Robert Plant, Band of Joy went through a number of lineup changes but broke up in 1968 when the band failed to obtain a recording contract. The group reformed under Kevyn Gammond and Phil Lockey in 1977 with an otherwise completely new lineup. This edition for the band released two albums before breaking up for good in 1983. Plant later reclaimed the name from 2010 to 2011 and used it to bill his backing band for his Band of Joy album and tour.
CHRIS REA - One Fine Day (2019)
Chris Rea first emerged in 1978 thanks mostly to the US hit single Fool If You Think It’s Over from his debut album. Eventually he would go on to hit the big time in the mid-late 80s with a string of big selling albums and a sequence of memorable hit singles (Road To Hell Part 2 and On The Beach foremost). But, back in 1980 Rea was strling after the albums Deltics and Tennis had failed to make a commercial impact. It was at this time that he went into the studio and recorded and self-produced this set of songs that have only emerged now on this limited edition CD+Vinyl package. As such, One Fine Day provides an intriguing snapshot of an artist at a pivotal moment in his career.
Of the nine songs, three have never been released before, three subsequently appeared as B sides of singles in quite different versions, and three are songs that would be re-recorded a year later for his eponymous album (rather oddly, since it wasn’t his debut album!). Chris Rea fans will immediately be drawn to the three new songs: If I Ever Break Free, an upbeat song with gospel touches in the chorus; Members Only, a fairly straight forward 12-bar blues tune; and One Night With You which sounds rather like Leonard Cohen being accompanied by an Oompah band! They are three pleasant songs but it’s certainly not a scandal that they haven’t been released before.
THE BAND - Live at the Academy of Music 1971 (2013)
The Band's historic performances at New York City's Academy of Music on Dec. 28-31, 1971 have been collected before, on one of the '70s' best live albums, 'Rock of Ages.' But the five-disc 'Live at the Academy of Music 1971' (which includes a DVD) paints a more complete picture of the shows. The set gathers songs from their four-concert, three-night stand, just as 1971 turned into 1972. The first two CDs compile highlights from the shows, including 29 songs from 'Up on Cripple Creek' and 'I Shall Be Released' to 'The Night They Drove Old Dixie Down' and 'The Weight' as well as four from the New Year's Eve concert where Bob Dylan joined them onstage. The third and fourth discs collect the complete New Year's Eve concert 27 songs, including the same four with Dylan. Eleven songs in all are repeated from the first two CDs here, which can be both jarring and repetitive as you listen to the exact same performances within different contexts.
It might all be too much for casual fans, even if 19 of the tracks are previously unreleased. The thrill of Garth Hudson's massive organ moving from 'The Genetic Method' into 'Auld Lang Syne' loses some of its power on the New Year's Eve set when you know it's coming. Same goes for Dylan's surprise appearance. Still, the concert-closing version of 'Like a Rolling Stone' is almost as ferocious as the one Dylan and the Band played during their 1966 tour of the U.K. The DVD simply adds a visual element to some of the cuts from the album. But the Band find the various shadings in the songs without them. Listen to the way they swing through "Get Up Jake' and pile their instrumental prowess onto the monumental 'Chest Fever.' Or even the way they spin the urbane Motown track 'Loving You Is Sweeter Than Ever' toward their dusty-road Americana, all spiked by horn arrangements from New Orleans legend Allen Toussaint. That's the sound of a band at the top of its game.
JAN AKKERMAN - Close Beauty (2019)
It's been eight years since Jan Akkerman's last solo release, and if he wanted to confirm the idea that absence makes the heart grow fonder, he's certainly gone the right way about it. Most of his solo outings have followed the jazz fusion route, this album is no exception, although the classical/flamenco feel of Spiritual Privacy heralds a welcome return that proves he has lost none of his spark. Tommy's Anniversary plays with late night jazz feel, but is given the seductive Akkerman touch that's filled with the sort of technical wizardry we've come to expect. Alternating between acoustic and electric guitar, the album fluctuates between different styles depending on which he picks up. Don Giovanni moves away from the ultimately laid back feel of the album and shows Akkermans shredding skills as the album begins to warm up. Fromage jumps in with a Larry Carlton style jazz funk jam that has the crystal clean precision that only the best axemen can channel. The album's title was inspired by the notion that when you are too close to an object you fail to see its real value. Who knows if this was an intentional in joke after a hiatus. Either way, Close Beauty is a reminder of why Akkerman is a guitarist to be revered and respected, no matter how long he stays away.
PINK FLOYD - The Later Years 1987-2019 [Highlights] (2019)
A companion compilation to the sprawling 2019 box set The Later Years 1987-2019, this 80-minute collection distills that luxury item into something handy and affordable. In the winnowing process, it's revealed that the box indeed consists primarily of live material: all but five of the 12 tracks are live recordings, most taken from either the remixed version of the 1988 live double-LP Delicate Sound of Thunder or the full-length Live at Knebworth, which was recorded in 1990. Two cuts from the rejiggered A Momentary Lapse of Reason – which was revised to sound more like a classic Floyd album, à la The Division Bell – are here, along with an early rendition of "High Hopes" and the unheard instrumental "Marooned Jam," which also dates from 1994. None of this newer material is earthshaking, but it fits well next to the live versions of classic Floyd songs and, in turn, helps make a case for the merits of the Waters-less Floyd, even if it doesn't necessarily act as an enticing endorsement for the lavish accompanying box.
LEONARD COHEN - Thanks For The Dance (2019)
‘Thanks for the Dance’ is not a commemorative collection of B sides and outtakes, but an unexpected harvest of new songs, exciting and vital, a continuation of the master’s final work. Seven months after his father passed, Adam Cohen retreated to a converted garage in his backyard down the street from Leonard’s house, to work with his father again, to stay in the company of his voice. From their previous collaboration on ‘You Want It Darker’ there remained bare musical sketches, at times little more than vocals. Leonard had asked his son to bring these works to completion. This remarkable new album was made in many places. Javier Mas, the great Spanish laud player who accompanied Leonard on stage for the last eight years of touring, flew from Barcelona to Los Angeles to capture the artist’s spirit on Leonard’s own guitar. In Berlin, at a musical event called People Festival, Adam invited friends and comrades to lend their ears and talents. Damien Rice and Leslie Feist sang. Richard Reed Parry of Arcade Fire played bass. The composer Dustin O’Halloran played piano. The Berlinbased choir Cantus Domus sang, and the stargaze orchestra played. In Montreal the famed producer Daniel Lanois dropped in, beautifully enriching sparse arrangements. The Shaar Hashomayim choir, who played such important part of the sound of the last album, contributed to a song, and Patrick Watson brought his inimitable talent as coproducer to a song. Back in Los Angeles Jennifer Warnes, one of the keepers of Leonard’s flame, sang background vocals, and Beck contributed on guitar and Jew’s harp. Michael Chaves, who elegantly recorded and mixed ‘You Want It Darker’, did the engineering and mixing.
And so was born ‘Thanks For The Dance’, a brand new Leonard Cohen album that uncannily recalls the essence of his sound. ‘Thanks for the Dance’ is an unexpected blessing, a gift of beauty and strength. Leonard Cohen’s voice has not been stilled. The dance goes on.
V.A. - The Jimi Hendrix Tribute Concert: Live At Rockpalast 1991 (2019)
It was the idea of Peter Bursch, the guitar teacher of the nation and bandleader of the Krautrock legend Bröselmaschine, 20 years after the death of Jimi Hendrix, to assemble an illustrious crowd of hip musicians and organize a Rockpalast Tribute concert in 1991. Rockpalast mastermind Peter Rüchel and director Christian Wagner were quick to get enthusiastic about this idea. Through his personal contacts Peter was able to find some really competent musicians who were willing to deal with this idea. So an All Star Band was formed from very different exceptional musicians like Uli Jon Roth (Scorpions), who also took over the musical direction of this project, Jack Bruce (Cream, West, Bruce and Laing), John Wetton (King Crimson, Roxy Music, Uriah Heep, UK, Asia etc.), Simon Phillips (The Who, Toto, Asia etc.) and many others.
The idea to present the Hendrix songs with very different singers was especially appealing. Unfortunately Peter Rüchel's favourite candidate Gianna Nannini had to cancel at short notice. Nevertheless, with Jule Neigel, Michael Flexig, Jack Bruce, John Wetton, as well as the background singers Nadja Ollig and Jane Palmer, a number of extraordinary singers were available. Finally Peter Rüchel was able to convince the hottest Jimi Hendix cover band around Randy Hansen to participate. This concert is the Rockpalast recording that has been most repeated on German television in recent years.
MOODY MARSDEN - Real Faith (1994) & Ozone Friendly (2001)
Michael Moody is an English guitarist, and a former member of the rock bands Juicy Lucy and Whitesnake. He was also a founder-member of Snafu. Together with his former Whitesnake colleague Bernie Marsden he founded the Moody Marsden Band, and later, The Snakes, having previously collaborated with unofficial 5th Status Quo member Bob Young in Young & Moody. Along with Marsden and ex-Whitesnake bassist, Neil Murray, he formed The Company of Snakes and M3 Classic Whitesnake with which they mainly performed early Whitesnake songs. More recently, he has toured and recorded with Snakecharmer. Bernard John "Bernie" Marsden is an English rock and blues guitarist. He is primarily known for his work with Whitesnake, having written or co-written with David Coverdale many of the group's hit songs, such as "Fool for Your Loving", "Walking in the Shadow of the Blues", 'She's A Woman' "Lovehunter", "Trouble" "Child of Babylon' 'Rough and Ready' and the multi-million selling chart-topper "Here I Go Again."
This set (Real Faith) from ex-Whitesnake guitarists Micky Moody and Bernie Marsden was recorded for the German label On Air Records in 1994. Despite the Whitesnake connection, the music here lacks the libidinous swagger of Coverdale’s group. Tracks like Six Down And One To Go and Fooling With My Heart sest the smooth, soulful blues of Robert Cray, while the horns and harmonised backing vocals on Real Faith show a gospel influence. Moody can’t match the power of his old boss’s voice, but that would be easily forgiven if the lyrics were stronger, instead of a collection of overfamiliar clichés. Ozone Friendly is the worst offender – it’s hard to believe ‘You’re the Apple of my personal computer’ even sounded good in 1994.
First full release (Ozone Friendly) for live album recorded in 1994. Featuring Micky Moody & Bernie Marsden, the two original guitarists from Whitesnake. 13 tracks including, 'Awakening', 'Can't Ever Happen To You' & 'Ozone Friendly'.
EAGLES - Learn To Be Still (1994)
The Eagles are an American rock band formed in Los Angeles in 1971. The founding members were Glenn Frey (guitars, vocals), Don Henley (drums, vocals), Bernie Leadon (guitars, vocals) and Randy Meisner (bass guitar, vocals). With five number-one singles, six number-one albums, six Grammy Awards, and five American Music Awards, the Eagles were one of the most successful musical acts of the 1970s. Their albums Their Greatest Hits (1971–1975) and Hotel California rank first and third, respectively, among the best-selling albums in the United States, with 38 million and 26 million album units in sales. The Eagles are one of the world's best-selling bands, having sold more than 200 million records, including 100 million albums sold in U.S alone. They were ranked number 75 on Rolling Stone's 2004 list of the 100 Greatest Artists of All Time. Learn to be Still is a song written by Don Henley and Stan Lynch and recorded by the Eagles. The song is one of four studio tracks on the live album Hell Freezes Over, which was the first album to be released after the band had reunited following a fourteen-year-long break up. "Learn to Be Still" was played live during their Hell Freezes Over tour in 1994 and came out as a single in 1995. It peaked at No. 61 on the Billboard Hot 100 Airplay chart in the same year.
Recorded live in the USA, Summer 1994. Limited Edition Picture CD.
COUNTRY JOE & THE FISH
Electric Music for the Mind and Body (1967) & I-Feel-Like-I'm Fixin'-To-Die Rag (1967)
Country Joe and the Fish was an American psychedelic rock band formed in Berkeley, California, in 1965. The band was among the influential groups in the San Francisco music scene during the mid- to late 1960s. Much of the band's music was written by founding members Country Joe McDonald and Barry "The Fish" Melton, with lyrics pointedly addressing issues of importance to the counterculture, such as anti-war protests, free love, and recreational drug use. Through a combination of psychedelia and electronic music, the band's sound was marked by innovative guitar melodies and distorted organ-driven instrumentals which were significant to the development of acid rock. The band self-produced two EPs that drew attention on the underground circuit before signing to Vanguard Records in 1966. Their debut album, Electric Music for the Mind and Body, followed in 1967. It contained their only nationally charting single, "Not So Sweet Martha Lorraine", and their most experimental arrangements. Their second album, I-Feel-Like-I'm-Fixin'-to-Die, was released in late 1967; its title track, with its dark humor and satire, became their signature tune and is among the era's most recognizable protest songs. Further success followed, including McDonald's appearance at Woodstock, but the group's lineup underwent changes until its disbandment in 1970. Members of the band continue in the music industry as solo recording artists and sporadically reconvene.
"Electric Music for the Mind and Body" is Country Joe and the Fish's debut album. Released in May 1967 on the Vanguard label, it was one of the first psychedelic albums to come out of San Francisco. Tracks from the LP, especially "Section 43", "Grace", and "Not So Sweet Martha Lorraine" were played on progressive FM rock stations like KSAN and KMPX in San Francisco, often back-to-back. A version of the song "Love" was performed at the 1969 Woodstock Festival. "Grace" is a tribute to Jefferson Airplane's lead singer, Grace Slick.
"I-Feel-Like-I'm Fixin'-To-Die Rag" is the second studio album by the influential San Francisco psychedelic rock band, Country Joe and the Fish, released in 1967. Recordings took place in Vanguard studios in 71 West 23rd Street, New York City. The title track remains one of the most popular Vietnam protest songs from the 1960s and originally appeared on a 1965 7" EP titled Rag Baby: Songs of Opposition. On the album, "I-Feel-Like-I'm-Fixin'-to-Die Rag" appears following "The Fish Cheer", which at concerts became a Country Joe standard. At Woodstock, Joe had the crowd yell F-U-C-K instead of F-I-S-H. Another musical highlight is the track "Janis" written for McDonald's then-girlfriend Janis Joplin. It is the second song written for a female musician for their albums, the other being "Grace". Two singles were released in the wake of the album. These include "Janis"/"Janis (instrumental)" and "Who Am I"/"Thursday". The second album was released just seven months after the debut and is another prime example of the band's psychedelic experimentation. It again features organ-heavy psychedelia and Eastern melodic lines and more acoustic guitar than their debut production.
THE WHO - WHO (2019)
The Who are back with their first new album in thirteen years entitled WHO due for release on November, 2019. The eleven-track album was mostly recorded in London and Los Angeles during Spring and Summer 2019 and was co-produced by Pete Townshend & Dave Sardy with vocal production by Dave Eringa. Singer Roger Daltrey and guitarist and songwriter Pete Townshend are joined on the album by long-time Who drummer Zak Starkey, bassist Pino Palladino along with contributions from Simon Townshend, Benmont Tench, Carla Azar, Joey Waronker and Gordon Giltrap. The album cover has been created by famed pop artist, Sir Peter Blake who first met the band in 1964 at a taping of the legendary TV show Ready Steady Go. Sir Peter designed and contributed a painting to the sleeve of The Who’s album Face Dances in 1981. The songs on WHO cover a myriad of subjects including the Grenfell Tower fire, musical theft, spirituality, reincarnation, the power of memory and ‘an old rock star that has lost his marbles’. Singer Roger Daltrey rates it amongst their strongest “I think we’ve made our best album since Quadrophenia in 1973, Pete hasn’t lost it, he’s still a fabulous songwriter, and he’s still got that cutting edge”. Pete Townshend "This album is almost all new songs written last year, with just two exceptions. There is no theme, no concept, no story, just a set of songs that I (and my brother Simon) wrote to give Roger Daltrey some inspiration, challenges and scope for his newly revived singing voice. Roger and I are both old men now, by any measure, so I’ve tried to stay away from romance, but also from nostalgia if I can. I didn’t want to make anyone feel uncomfortable. Memories are OK, and some of the songs refer to the explosive state of things today. I made new home studio demos of all these songs in the summer of 2018 using a wide collection of instruments old and new.”
FLEETWOOD MAC & PETER GREEN - Fleetwood Mac & Peter Green (2008)
Peter Green is regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. Born Peter Greenbaum but calling himself Peter Green by age 15, he grew up in London's working-class East End. Green's early musical influences were Hank Marvin of the Shadows, Muddy Waters, B.B. King, Freddie King, and traditional Jewish music. He originally played bass before being invited in 1966 by keyboardist Peter Bardens to play lead in the Peter B's, whose drummer was a lanky chap named Mick Fleetwood. The 19-year-old Green was with Bardens just three months before joining John Mayall's Bluesbreakers, whose rapidly shifting personnel included bassist John McVie and drummer Aynsley Dunbar. A keen fan of Clapton, Green badgered Mayall to give him a chance when the Bluesbreakers guitarist split for an indefinite vacation in Greece. Green sounded great and, as Mayall recalls, was not amused when Clapton returned after a handful of gigs, and Green was out. When Clapton left the band for good six months later to form Cream, Mayall cajoled Green back. Fans were openly hostile because Green was not God, although they appreciated Clapton's replacement in time. Producer Mike Vernon was aghast when the Bluesbreakers showed up without Clapton to record the album A Hard Road in late 1966, but was won over by Green's playing. On many tracks you'd be hard-pressed to tell it wasn't Clapton playing. With an eerie Green instrumental called "The Supernatural," he demonstrated the beginning of his trademark fluid, haunting style so reminiscent of B.B. King. When Green left Mayall in 1967, he took McVie and Fleetwood to found Peter Green's Fleetwood Mac. Jeremy Spencer and Danny Kirwan shortly afterward gave Fleetwood Mac an unusual three-guitar front line. Green was at his peak for the albums Mr. Wonderful, English Rose, Then Play On, and a live Boston Tea Party recording. His instrumental "Albatross" was the band's first British number one single and "Black Magic Woman" was later a huge hit for Carlos Santana. But Green had been experimenting with acid and his behavior became increasingly irrational, especially after he disappeared for three days of rampant drug use in Munich. He became very religious, appearing on-stage wearing crucifixes and flowing robes. His bandmates resisted Green's sestion to donate most of their money to charity, and he left in mid-1970 after writing a harrowing biographical tune called "The Green Manalishi." After a bitter, rambling solo album called The End of the Game, Green saddened fans when he hung up his guitar, except for helping the Mac complete a tour when Spencer suddenly joined the Children of God in Los Angeles and quit the band. Green's chaotic odyssey of almost a decade included rumors that he was a gravedigger, a bartender in Cornwall, a hospital orderly, and a member of an Israeli commune. When an accountant sent him an unwanted royalty check, Green confronted his tormentor with a gun, although it was unloaded. Green went to jail briefly before being transferred to an asylum.
Disc 1 performed by Peter Green and Disc 2 performed by Fleetwood Mac (tracks 2-2 to 2-11 are live recordings).
JANIS JOPLIN - The Classic LP Collection (2012) [vinylrip]
Janis Joplin's Classic LP Collection features exact reproductions sourced from the original masters of all four of her celebrated studio albums on 180g audiophile vinyl including Big Brother & the Holding Co. (1967), Cheap Thrills (1968), I Got Dem Ol' Kozmic Blues Again Mama! (1969) and the posthumously released Pearl (1971). The album jackets have been meticulously recreated from the original art. Big Brother & the Holding Company is the debut album from Big Brother and the Holding Company and the studio debut of Janis Joplin. The album was originally released in the summer of 1967, following the band's major success at the Monterey Pop Festival. The album was a minor success, peaking at #60 and almost producing a top forty hit with the Joplin song "Down on Me".
Cheap Thrills was a great success, hitting number one on the charts for 8 nonconsecutive weeks in 1968. The album features three cover songs ("Summertime", "Piece of My Heart" and "Ball and Chain"). The album also features Bill Graham, who introduces the band at the beginning of "Combination of the Two". "Combination of the Two", "I Need a Man to Love" and "Ball and Chain" are the only live recordings. The album's overall raw sound effectively captures the band's energetic and lively concerts. I Got Dem Ol' Kozmic Blues Again Mama! is the first solo studio album Joplin recorded after leaving Big Brother and the Holding Company. The LP was released on September 11, 1969 and reached gold record status within two months of its release. It was issued by Columbia under #KCS 9913. The first pressing was titled only on the spine and disc labels. Later, The title of the album was added as a sticker on cellophane tape designed by R. Crumb and stuck to the cellophane sealed wrapping. Pearl is the fourth album by Janis Joplin, released posthumously on Columbia Records in January 1971. It was the final album with her direct participation, and the only Joplin album recorded with the Full Tilt Boogie Band, her final touring unit. It peaked at #1 on the Billboard 200, holding that spot for nine weeks. It has been certified quadruple platinum by the RIAA.
THE DOORS - The Soft Parade (1969) [3CD Box Set, 2019]
Rhino is continuing its ongoing series celebrating the music of The Doors with a new 50th anniversary edition of the band’s fourth studio album, The Soft Parade. Originally released 50 years ago on July 18, 1969, The Soft Parade introduced the hit “Touch Me” and became Morrison, Manzarek, Krieger, and Densmore’s fourth consecutive Top Ten album. The Soft Parade was further distinguished by the presence of orchestral arrangements for the first time on a Doors record. The Soft Parade: 50th Anniversary Deluxe Edition, limited to 15,000 individually numbered copies, includes the original studio album – and the non-LP B-side of “Wishful Sinful,” “Who Scared You” – as newly remastered by the band’s longtime collaborator, Bruce Botnick on CD and 180-gram vinyl plus new liner notes by rock journalist David Fricke. 13 previously unreleased tracks are spread across Discs 2 and 3, including stripped-down “Doors Only” mixes sans the brass and strings of “Tell All The People,” “Touch Me,” “Wishful Sinful,” “Runnin’ Blue,” and “Who Scared You.” The set additionally features three of those stripped-down (“Touch Me,” “Wishful Sinful,” and “Runnin’ Blue) versions with new guitar parts added by Robby Krieger. Three more tracks have been culled from studio rehearsals – with Ray Manzarek (a.k.a. Screamin’ Ray Daniels) on vocals – that include an early version of “Roadhouse Blues,” a song that would arrive the following year on Morrison Hotel. These three songs feature newly recorded bass parts by Robert DeLeo of Stone Temple Pilots, who joined Krieger and John Densmore at a tribute concert for Manzarek in 2016, three years after the organist died of cancer. Manzarek’s take on “Roadhouse Blues” is available now on all digital download and streaming services. Among the three studio outtakes collected on the set’s final disc is much-bootlegged, hourlong jam “Rock Is Dead,” which appears on this set in its entire, surviving form for the first time ever.
NICK DRAKE - Tuck Box (2013) [5CD Box Set]
Nick Drake was strling to find success when he died from an overdose of antidepressants in 1974, at the age of 26, but since then his gentle, haunting songs have transformed him into a folk legend. Now his complete catalogue has been re-released, housed in a replica of his school tuck box. The 5CD set of course includes his three now-celebrated albums, including Five Leaves Left, with lush string backing on songs such as River Man, and the more stark and simple Pink Moon, on which he demonstrated his impressive guitar work. Then there's Made to Love Magic, released in 2004, which includes out-takes and his final 1974 recordings, including the bleak Black Eyed Dog, and Family Tree, a set of home recordings he made before 1969, that was originally released in 2007. It's predictably patchy, but he showed some inspired guitar work on his cover of Bert Jansch's Strolling Down the Highway. Each CD comes housed in mini-replica LP sleeves and come with reproductions of the original shop posters for each release. The box set itself is a 7-inch square and the design depicts Nick Drake's own tuck box from his Marlborough College days, used to guard the various cakes dispatched weekly from his mother, Molly Drake.
T. REX - Dandy In The Underworld (1977) [3CD Book Set, 2019]
This, the final official Marc Bolan and T. Rex album, was conceived during a turbulent time in rock history. Issued on 11 March 1977, Dandy In The Underworld arrived in the wake of the Damned’s ‘New Rose’ and the Sex Pistols’ ‘Anarchy In The UK’, singles that had given the emerging punk rock a national platform. To promote the album, Bolan undertook a tour of the UK and Europe, with support from The Damned, who acknowledged T. Rex as a big influence.
Following the success of Edsel book sets of the 'Tanx' + 'Zinc Alloy' Albums, and 'Bolan's Zip gun' + 'futuristic Dragon', as well as 'born to boogie', we now present the final T. Rex album, 1977's "Dandy in the underworld". Produced by Marc Bolan, the album features the hit singles "I love to boogie" (# 13), "Dandy in the underworld" And "the soul of my suit". "Celebrate summer", the last single released in Bolan's lifetime, is included as a bonus track along with several other non-album a- and b-sides. For this deluxe media book edition, we have added 36 bonus outtakes, demos and alternate mixes, 20 of which are previously unreleased. These have been mastered from original first generation tapes in the possession of two dedicated fans - This is the first time these tapes have been used. The book features a brand new 9,500+ word note by acknowledged Bolan authority, Mojo writer Mark Paytress, as well as an interview with friend Steve Harley, plus a fan's first-hand account of one of the concerts on the "Dandy" Uk tour, Bolan's last tour. The book also features ephemera, press clippings and photos from the era, from fans' Collections.
THE ROLLING STONES - Let It Bleed (1969) [50th Anniversary Deluxe Box Set, 2019]
Let It Bleed is the eighth British and tenth American studio album by English rock band the Rolling Stones, released in December 1969 by Decca Records in the United Kingdom and London Records in the United States. Released shortly after the band's 1969 American Tour, it is the follow-up to 1968's Beggars Banquet. The album charted as a top-ten album in several markets, including reaching number one in the UK and number three in the US. While no highly-charting singles were released from the album, many of the album's songs became staples of Rolling Stones live shows and on rock radio stations for decades to come, including two gospel-infused songs, "Gimme Shelter" and "You Can't Always Get What You Want", both of which ranked highly on retrospective "best ever" songs lists, including 2004's "500 Greatest Songs of All Time" by Rolling Stone magazine. It was voted number 40 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).
This 2019 set feature newly remastered (by Bob Ludwig) stereo and mono versions of the album on both vinyl and SACD. The collection also includes a reproduction of the 1969 seven-inch mono single of ‘Honky Tonk Women’/ ‘You Can’t Always Get What You Want’ in a picture sleeve. An 80 page hardcover book includes an notes by he-gets-everywhere journalist David Fricke, along with never-before-seen photos by the band’s tour photographer Ethan Russell. Perhaps in the hope of distracting you from the lack of bonus audio, this set also includes more ‘stuff’ in the shape of three 12” x 12” hand-numbered REPLICA-signed lithographs printed on embossed archival paper, and a massive (23” x 23”) poster. If you are interested in the remastering, Bob Ludwig apparently worked from Direct Stream Digital files taken from the original tapes at a 2.8 MHz sampling rate.
LUCKY PETERSON - 50: Just Warming Up! (2019)
A prodigy in blues and R&B, Lucky Peterson has gone from being a boy wonder to a respected veteran musician over the course of a half-century. Making his professional debut at an age when most kids are in kindergarten, Peterson matured into a skillful instrumentalist with a sharp, incisive attack on guitar and a funky keyboard sound that splits the difference between soul and gospel, as well as a rich, flexible voice that's passionate but doesn't overplay its hand.
50 - Just Warming Up! is the new album from American blues legend and multi-instrumentalist Lucky Peterson. He is one of the most riveting performers of the modern blues era. A searing lead guitarist, a rich and powerful organist, and a first-rate vocalist, Lucky's musicianship effortlessly translates gospel, rock, and jazz into a 21st century blues. Many reminisce about the bygone days of the blues, but its flame still burns hot in the hands of Lucky Peterson.
RONNIE WOOD [With His Wild Five] - Mad Lad: A Live Tribute To Chuck Berry (2019)
Mad Lad: A Live Tribute to Chuck Berry - Ronnie Wood will honor one of his musical heroes with Mad Lad: A Live Tribute to Chuck Berry. The album, released on November 15, 2019 is the first installment of a series of three albums Wood plans to record that pays tribute to those who influenced him. Recorded in 2018 at the Tivoli Theatre in Wimborne, England, Mad Lad finds Wood and His Wild Five interpreting nine Berry classics, including "Johnny B. Goode," "Back in the U.S.A."and "Little Queenie," with Irish singer Imelda May guesting on three other tracks. The album also features the Wood-penned "Tribute to Chuck Berry" and "Worried Life Blues," a Maceo Merriweather song that Berry released as the B-side to "Bye Bye Johnny."
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THE MARCUS KING BAND - The Marcus King Band (2016) & Carolina Confessions (2018) [Yandex reupload]
A young guitarist who plays and sings with an impressive degree of seasoned maturity and passion, Marcus King delivers a hearty mixture of soul, blues, rock, and jazz that has made him a rising star on the blues and jam band circuits. On his debut album, 2015's Soul Insight, King and his band generated a powerful, guitar-based attack rooted in high-impact blues and southern soul, while 2016's The Marcus King Band took a more eclectic approach, with the more dynamic numbers revealing a gentler aspect, showing the influence of gospel and folk. 2020's El Dorado was King's first album as a solo act, and put a greater emphasis on his strengths as a vocalist. Marcus King was born in Greenville, South Carolina on March 11, 1996. His father, Marvin King, was a well-known blues guitarist in South Carolina who also played with gospel acts, and his grandfather was also a regionally popular musician. Marcus was barely out of diapers when he first picked up a guitar, and at age eight, he started playing shows with his father. In his teens, he began playing out with his own band, jling club gigs at night and school in the morning as he and his bandmates barnstormed with what they called "soul-influenced psychedelic Southern rock." In 2015, the Marcus King Band King on guitar and lead vocals, Alex Abercrombie on keyboards and backing vocals, Anthony House on bass, and Jack Ryan on drums released their debut album, Soul Insight. Warren Haynes of Gov't Mule checked the band out and liked what he heard; he tapped the Marcus King Band to open shows for Gov't Mule and reissued Soul Insight on his Evil Teen Records label.
Haynes' championing of the group helped spread the news about King's music, and he soon landed a record deal with the venerable independent label Fantasy Records. Personnel shakeups led to a new lineup of the Marcus King Band, with Abercrombie and House leaving the group, while King and Ryan were joined by Stephen Campbell on bass, Matt Jennings on keyboards, Dean Mitchell on sax, and Justin Johnson on trumpet and trombone. The new edition of the Marcus King Band went into Carriage House Studios in Stamford, Connecticut with Haynes serving as producer, and cut their second album mostly live in the studio. The Marcus King Band was released by Fantasy in October 2016, with the group touring extensively in support. A third full-length, Carolina Confessions, arrived in 2018, landing at number two on the blues albums chart. King became friends with fellow guitarist Dan Auerbach, co-founder of the Black Keys, and they teamed up to make King's first solo album. Auerbach produced 2020's El Dorado, recorded in Nashville with a band comprised of veteran Music City session players, while King put a greater emphasis on his impassioned vocal stylings along with his agile guitar work.
CHRIS REA - Shamrock Diaries (1985) [Expanded Edition, Remaster, 2019] [Yandex reupload]
‘Shamrock Diaries’, originally released in April 1985, is Chris Rea’s seventh album and was his first that saw him break into the UK Top 20 (15) and achieved Silver selling status in the UK alone. It was the kick-start to the incredibly prolific career he has become known and loved for to this day. The singles from this album were ‘Stainsby Girls’ and ‘Josephine’. ‘Shamrock Diaries’ comes with the original album fully remastered alongside a second disc of live performances, b-sides and previously unreleased versions of tracks from the accompanying album. There are also extensive new sleeve notes containing exclusive new interviews with Chris Rea unique to this release and telling the story behind the album. This 2CD deluxe edition has been newly remastered for the very first time and includes a bonus disc of alternate versions, singles and live shows.
STEPHEN STILLS - Stills (1975) + Illegal Stills (1976) + Thoroughfare Gap (1978) 
Stephen Arthur Stills is an American singer, songwriter, and multi-instrumentalist best known for his work with Buffalo Springfield and Crosby, Stills, Nash & Young. Stills's solo career and bands have combined sales of over 35 million albums. Stills was ranked number 28 in Rolling Stone's 2003 list of "The 100 Greatest Guitarists of All Time" and number 47 in the 2011 list. He became the first person to be inducted twice on the same night into the Rock and Roll Hall of Fame. According to Neil Young, "Stephen is a genius."
2007 digitally remastered double CD featuring CSN' Stephen Stills' three mid-'70s studio albums recorded for CBS. Stills was released in 1975, followed one year later by Illegal Stills. Fans had to wait another two years until the release of Thoroughfare Gap (1978). This two disc set comes in a slimline double jewelbox housed in a slip case featuring extensive liner notes.
GOV'T MULE [with Robby Krieger] - The Fonda Theatre, 2013-10-30 Los Angeles, CA (2013)
On October 30th, 2013, Gov’t Mule returned to the Fonda Theatre on Hollywood Blvd for the first of two Halloween shows going down in the Golden state. One set featured an abundance of material from their self-titled debut, their latest release Shout and a few cuts from albums in-between. A second set included a celebration of one of the most legendary back catalogs of all-time, the music of the Doors. To make these occasions that much more special, Robby Krieger, the guitarist of the seminal band being fêted, would be joining Warren Haynes and company. In the four decades that have passed since the death of Jim Morrison, Robby has found himself as part of a myriad of live acts and tributes concerts that celebrate the music of the Doors. With or without his former bandmates Ray Manzarek and John Densmore, he’s backed up or played alongside an array of musicians from all over the rock and roll spectrum; Eric Burdon, Alice Cooper, Eddie Vedder, Perry Farrell, Ian Astbury, Marilyn Manson, Scott Weiland, Slash, Widespread Panic, Particle and Rich Robinson, to name a few. These days, he can be found playing gigs with his own band, Robby Krieger’s Jam Kitchen. Regardless of whom he is playing with, his expressive tone and phrasing is as outstanding as ever. On this night with the Mule, his stirring guitar wizardry slithered through the dark and deranged trip that is “The End,” weaved fluidly through the drifter’s tale “Riders on the Storm,” and unleashed the kaleidoscopic rock and acid blues of “LA Woman.” There was something extra special about this Mule-O-Ween. This was also the first time that a key player from the band being covered was sitting in, and they were doing it in the city that inspired the songs being played. Jim Morrison, and now Ray Manzarek, who passed away in May, are no longer with us, but a show like this was a reminder that there are still new experiences to be had with the music of one of America’s greatest and most revolutionary bands. The evening may have come to an end with “When the Music’s Over,” but the music is still alive and well in the hearts of many. Thanks to the dedication of bands like the Mule, who once again proved that there is no songbook that they can’t pull off, and Robby’s transcendental musicianship still shining all these years later, they won’t have to “turn out the lights.”
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