Dr. WU' - A Night Of Classic Rock And Blues Live At The 81 Club (2019)
Band mates Jim Ashworth and Bryan Freeze formed Dr. Wu’ in 2002 after growing up and playing in various bands starting in the late 60’s. The name was taken from a favorite Steely Dan song that encourages us to live life to the fullest and strive to be the veryv best that we can be. With this as their goal, they set out to record their “Texas Blues” Project Volume I “Fort Worth Artists”… a long overdue recorded history utilizing guest appearances by musicians who have made Fort Worth a global mecca of top players… especially great “guitar slingers”. Following the release of their highly successful, Texas Blues Project Vol. 1 Fort Worth Artists, longtime friends and bandmates Jim Ashworth and Bryan Freeze embarked on a year long studio project, focused on producing their 2nd Blues CD....
A magical night captured Live at the 81 Club with Dr. Wu' along with the great Buddy Whittington, Mouse Mayes and all the band at the top of their game. Covering Clapton, Paul Rogers and Free, Hendrix, Allman Bros., Robert Johnson, along with favorite Dr. Wu' originals.
RONNIE LANE - Just For A Moment [The Best Of] (2019)
Ronnie Lane is one of the finest songwriters the UK has produced. This is the first time that comprehensive look at Ronnie's post Faces career has been undertaken. In many ways, Ronnie Lane remains an enigma in the story of rock 'n' roll. An artist who was determined to chart his own destiny and break free from the demands of the music "business". His sense of disillusion with the rock 'n' roll lifestyle led him to leave his hugely successful band for a ramshackle country farm and a life on the road. He would create The Passing Show - a now legendary circus tent tour of the country with assorted clowns, acrobats and comedians. Ronnie created a sound and style that leaned heavily on an array of influences particularly folk, country music and later R&B with welcome contributions from the band of musicians he surrounded himself with. Ronnie was not alone in his rural idyll - many friends would join him in his new artistic endeavors - Gallagher and Lyle, Kevin Westlake, Billy Livesey as well as Ronnie Wood, Pete Townshend and Eric Clapton. Eventually the symptoms of MS would surface and in the '80s Ronnie would move To Austin Texas where he still wrote and performed up until his death in 1997.
RONNIE LANE & SLIM CHANCE - Ooh La La An Island Harvest (2014)
Despite being one of rock & roll's best songwriters, and playing foundational roles in the Small Faces and the Faces, Ronnie Lane has been rather ill-served by the official music biz. After leaving the Faces in 1973, he moved to Fishpool farm, near Hyssington on the Welsh-English border. There, while living the country life, he assembled Slim Chance, an evolving band that wove together a loose, spirited, good-timey amalgam of blues, rural folk, skiffle, country, roots rock, and even some early jazz and vaudeville in both originals and well-chosen covers. They released three albums between 1974 and 1976: Anymore for Anymore, Ronnie Lane's Slim Chance, and One for the Road. They scored one hit single with "How Come," and nearly had another with "The Poacher." Edsel reissued the albums in the U.K. in the 1990s, and the Lane family's Just for a Moment from 2006 touched on the Slim Chance material. Ooh La La: An Island Harvest addresses that absence. Over two discs and 37 tunes, it compiles material from the two latter albums, unreleased alternate versions of classic Lane tunes, and eight cuts from the BBC in Concert broadcast of 1974. Unfortunately, Anymore for Anymore is not represented by studio material, but there still isn't a duff cut here. The fourth-take alternate of "Ooh La La" features a woolier alto sax solo creating a wilder, more celebratory feel, while the drunken first take of Chuck Berry's "You Never Can Tell" contains false starts, but finds its teetering groove and look out. The midtempo "Steppin' and Reelin'" blends acoustic and electric guitars, mandolins, and rickety snare in a priceless roots rock barroom shuffle. The alternate take of "I'm Gonna Sit Right Down (And Write Myself a Letter)" touches on vaudeville by way of 1940s jazz-blues and it's looser than the album version. The second-take of "The Poacher" uses more cello, less violin. The swelling organ underscores the baroque pop melody, making it sound brighter. When you contrast it with the choppy R&B of "Street Gang," the raw acoustic blues of "Nobody's Listenin'," and the breezy back-porch waltz of "Country Boy," you understand what this band was capable of--even when they weren't trying that hard. Thankfully, the tracks from the BBC in Concert gig are placed together at the end of disc two, and reproduced in solid quality. They include a kinetic version of "How Come" and a soulful country-rock reading of "I Believe in You." Most importantly, it includes a devastatingly beautiful, wonderfully ragged "Debris," followed by a raucous reading of the title cut to close. Ooh La La: An Island Harvest makes for absolutely essential listening for anyone interested in Lane and mid-'70s rock & roll. That said, it creates real longing for official reissues of all three RLSC albums and whatever else remains in the can.
SYL JOHNSON - Complete Mythology (2010)
Syl Johnson, whose real last name is Thompson, started out as a blues musician in the 50s, playing with the likes of Junior Wells, Howlin' Wolf and Magic Sam to name a few. His older brother is the blues musician Jimmy Johnson. Syl began recording for Twinight in the mid 60s. Syl used to describe himself as "soulful like Marvin (Gaye) and funky like James (Brown)", however, make no mistake, he wasn't a copycat. Syl was, and is a definite star. He just had the unfortunate luck of being stuck in a time period of immense creativity. A time period of Motown and Stax. Many lesser known labels who had talented acts just could not compete. Syl eventually left Twinight for Hi Records. Unfortunately for Syl, Hi Records had a budding younger star named Al Green, so he was relegated to the sidelines while Al Green rose to fame. Syl took a sabbatical from the music industry in the early 80s, only to return in 1994. Unbeknownst to him, his work was being heavily sampled by hiphop artists. With the newfound interest in his material, and not to mention the checks from sampling, he came out of retirement. His new material, in addition to the sampling of his old material sparked an interest in his earlier material, and this is where this box set comes in. Prior to the present, the only way to get this material was via the original pressings that were quite rare and very expensive. The "Is it because I'm Black" LP routinely commanded upwards of $400-$500 depending on the condition.
The music in this set is simply breathtaking. There are 81 tracks in total, so while it's certainly voluminous, it's not overwhelming so. The set itself has to be one of the most fabulously packaged sets I've seen in recent years. The contents of the box are 6 LPs, 4 CDs, a 52 page coffee table book with a lot of previously unpublished photos, notes and tidbits all housed in a hard, sturdy box. Numero Group really went above and beyond with their presentation. While the music here is first rate all the way, and that should be all that matters, it isn't all that matters to everyone. It would be remiss if I didn't address the audio quality. Given the age, and most likely less than stellar studio mastering, it is quite good. The audio quality between the LPs varies from fair to very good. What is noticeable on some titles is slight surface noise. This doesn't detract from the music, because it's inaudible when the music is playing. It's only audible in the pauses between tracks. It wasn't an issue for me, but it is there on occasion. For the most part, the LPs are silent. The CDs are CDs. While they are fine, they simply do not hold a candle to the LPs in terms of dynamics and punch. Nevertheless, they are great to have. This box set highlights the range of Syl's music. From the vulnerability, pain and anguish in his voice on the song "Is It Because I'm Black", to the boastful funk driven track "My Funky Band", to his earnest cover of "Come Together" by The Beatles; It's quite clear that he's not a one dimensional musician. He's capable of evoking the whole gamut of human emotion. That's a trait that many musicians lack. I can't recommend this box set enough. Apart from just being great music, it's a historical artifact. You will not be able to get all this music anywhere else, and certainly not at the MSRP of this set. It might be called "The Complete Mythology", but there is no myth here. This is the real deal, and it's as real as it gets.
ERIC CLAPTON - Give Me Strength: The '74-'75 Recordings (2013)
Give Me Strength: The ’74/’75 Recordings is a 5CD+ Blu-ray Audio box set that celebrates the period between April 1974 and June 1975 when Clapton produced the studio albums 461 Ocean Boulevard and There’s One In Every Crowd, as well as the live double set E.C. Was Here. All three of those albums are included in this new box in remastered, expanded form, and all include previously unreleased session outtakes or unheard live performances. 461 Ocean Boulevard includes four previously released outtakes (including a couple of versions of Getting Acquainted), whilst amongst the bonus offerings on There’s One In Every Crowd are two unreleased session tracks Burial and Fools Like Me, and both sides of the Knockin’ On Heaven’s Door single. E.C. Was Here is not only remastered, but REMIXED, and expanded across two CDs, with numerous unissued extras such as versions of Layla, Crossroads and Little Wing.
Give Me Strength: The 1974/1975 Recordings features a wealth of unreleased recordings and material including: A 60-page hardbound book with extensive liner notes and packed with rare photos and behind-the-scene images. Rare, unreleased outtakes from 461 Ocean Boulevard and There's One In Every Crowd. E.C. Was Here remixed and expanded features live tracks from Long Beach Arena (including unreleased versions of Crossroads, I Shot The Sheriff, Layla and Little Wing), the Hammersmith Odeon, Nassau Coliseum and Providence Civic Center. The fifth CD is taken up with Clapton’s sessions with blues guitarist and singer Freddie King. Originally recorded for King’s Burglar album, four tracks are featured here, including a previously unreleased 22-minute version of Gambling Woman Blues.
RORY GALLAGHER - Big Guns: The Very Best Of Rory Gallagher 2005)
The compilation Big Guns: The Very Best of Rory Gallagher is one of the ways assembling a retrospective should be done. This set offers a portrait of a true guitar hero and songwriter, one whose flash never outweighed his substance, one whose work is so utterly and dazzlingly fresh it not only stands the test of time, but transcends it. Being an Irish bluesman was tough for Gallagher, especially when he began his career in the 1960s. When he passed away in 1995 at the age of 47, he left behind 17 albums and a legacy of hard traditional blues and big, knotty blues-rock. These two discs are the first retrospective to span the entire length of his career, from his time with the power trio Taste to his signature albums like Calling Card and Deuce, through to his final acoustic album, Wheels Within Wheels (released posthumously). There are many gems here beginning with "Born on the Wrong Side of Time" by Taste, and unreleased live versions of the traditional "Bullfrog Blues" and Junior Wells' "Messin with the Kid." The stone killers are cuts that Gallagher's fans recognize him for, such as "Tatoo'd Lady," the title number from Calling Card, or "I'm Not Awake Yet" from Deuce. There are also fine moments from later in his career as well, such as "Kickback City" from Defender and "Bad Penny" from Top Priority (though it would have been better if the compilers had picked "Philby" or "Follow Me.") "Sinner Boy" is here from Taste's Live at the Isle of Wight, along with "What's Goin' On" (not the Marvin Gaye tune). While fans may quibble about individual selections, the only glaring omission is the absence of the stellar "Walk on Hot Coals." The package is fine enough with numerous autobiographical quotes from Gallagher, a slew of good photos, and a good liner essay by David Sinclair. While it may be the tried and true devotees that seek this out ultimately, the music listener who would most benefit is the one interested in the evolution of blues or in fine guitar players. For the latter, Big Guns would be nothing short of a revelation.
V.A. - Screaming and Crying: 75 Masterpieces By 35 Blues Guitar Heroes (2012)
Over three discs and 75 tracks, the set straddles the spectrum of the electrified blues which fuelled the British R&B boom of the 1960s and beyond, mixing much-feted names such as Chuck Berry and Bo Diddley with more deliciously obscure outings by the likes of Doctor Ross and Guitar Shorty. Slaven s liner notes outline the story behind the roughshod classics which bust out of the set, whether screaming with the joy of musical release, or crying in a pool of despair, both amplified through jacked-up guitar strings. Selections are explained using a thread which shows how the trail-blazing T-Bone Walker (represented by tracks which avoid overlap with Fantastic Voyage s much-lauded T-Bone collection You re My Best Poker Hand, FVTD099) influenced the likes of Pee Wee Crayton, Clarence Gatemouth Brown, Johnny Copeland and Johnny Guitar Watson, whose aptly-named Space Guitar was obviously a big influence on Hendrix (as were many of the names on show). Noted guitar abusers are present and incorrect, including over-loading Pat Hare in James Cotton s band, Johnny Otis Pete Guitar Lewis distorting through Midnight In The Barrel House , while the mighty John Lee Hooker and Elmore James display their inimitable axe attacks on several outings. The fearsome triumvirate of Kings - B.B., Albert and Freddie - get three tracks apiece, as do Bo Diddley and Chuck Berry, whose lesser-known Mad Lad is a lesson in controlled virtuosity. Other guitarists very much pled in through the fifties to the sixties include Buddy Guy, Little Milton, Muddy Waters, Otis Rush, Tiny Grimes, Earl Hooker, Hop Wilson, Magic Sam, Lowell Fulson, Jimmy Reed s Eddie Taylor, Mickey Baker, Guitar Slim, Goree Carter and Ike Turner (showing how underrated his savage guitar style was). Neil Slaven has constructed a veritable dizzbuster of a collection, exuding the kind of glow and continuity which can only come from knowledge and passion. As he says in his notes, Some of these recordings have become cornerstones of a long life and not one of them has diminished with the ensuing years.
NEIL MERRYWEATHER, JOHN RICHARDSON AND BOERS - S/T (1970) & MERRYWEATHER & CAREY - Vacuum Cleaner (1971)
After his exit from the band “Merryweather”, Neil and his manager flew to Toronto where Neil found his new band members. He recruited Robin Boers as drummer. Robin was in the “Ugly Ducklings”, a local Toronto band that had a single on the Canadian charts. For guitarist, he chose John Richardson who had played with the “Lords of London” and “Nucleus”, two popular bands on the Toronto scene. Neil and Morey Alexander flew them back to LA. The “Merryweather, Richardson & Boers” album was recorded for Kent Records as a one-off deal to raise money to support the band, with the advance being used to rent a house to live and rehearse in. The LP was recorded in one night at Paramount Studios. Neil wrote the songs on the fly, they did a couple of cover songs, and it was done in about four hours. It was quickly mixed at Village Recorders. Neil brought Jack Velker into the crew to play organ. He was a member of a Canadian band called the “49th Parallel” that disbanded in LA. “Merryweather, Richardson & Boers” added Neil’s girlfriend, Lynn Carey, to the band for some more recordings at Kent Studios. They did covers of “Shop Around” and “Lucille” with Neil and Lynn singing a two-part harmony. Kent Records put the songs out as a single by “Mama & Papa Rock ‘n’ Family”. “Merryweather, Richardson & Boers” never played a live date.
The vocal harmony between Neil Merryweather and Lynn Carey parked the interest of RCA’s A&R staff and they signed the duo. Neil Merryweather and Lynn Carey, using a pool of musicians, recorded the "Vacuum Cleaner" LP for RCA in 1971. The tracks that Neil and Morey produced at Kent Records by “Mama & Papa Rock ‘n’ Family” were bought by RCA and featured on the Vacuum Cleaner album. Richardson, Boers and Velker returned to Canada after “Ivar Avenue Reunion” was completed. Neil brought in Kal David (“Illinois “Speed Press”) and ex-“Merryweather” band mates Edward Roth and Coffi Hall to finish the record. “Merryweather & Carey” were featured in Russ Meyer’s movie “The Seven Minutes”. The “Merryweather & Carey” “Vacuum Cleaner” album cover was painted on the side of “The Whiskey”. “Merryweather & Carey” never gave a live performance. After this album Neil and Lynn formed Mama Lion.
ALAN PRICE SET - The Price To Play (1966) & A Price On His Head (1967) 
Alan Price is an English musician, best known as the original keyboardist for the British band the Animals and for his subsequent solo work. After leaving the Animals, Price went on to have success on his own with his own band the Alan Price Set and later with Georgie Fame.
Price's first album (released in the U.K. only, although some tracks would come out in the U.S.) is a rather routine set of club R&B/soul. Fronting a six-piece that includes three horns, Price sticks mostly to covers of familiar American tunes like "Mercy Mercy," "Ain't That Peculiar," "I Can't Turn You Loose," and "Barefootin'" on this amiable, but hardly remarkable, set. Price's voice is appealing, but lacks power, and in all it sounds like a clump of covers ground out hurriedly to get an album on the market. Georgie Fame did this kind of thing better, though Price's approach isn't as jazz-oriented. The CD reissue on Repertoire doubles the length of the original LP by adding 12 bonus tracks from 1965-1967 singles, including the brilliant British hit "I Put a Spell on You." The other singles cuts, alas, aren't in the same league, though in general they're better than the ones that constituted The Price to Play. His cover of "Any Day Now" is decent, and the interpretation of Randy Newman's "Simon Smith and the Dancing Bear" (presented in two versions) would both give him a British hit and foretell a move into a much poppier direction.
Alan Price's second album consolidated the change of direction he'd started in early 1967, when his cover of Randy Newman's "Simon Smith and His Amazing Dancing Bear" became a big British hit. Moving away from the jazzy Animals-styled R&B-rock that he'd presented on his first album and singles, Price moved into a more original, if less powerful, brand of Newman-influenced vaudevillian pop. The Randy Newman influence isn't a matter of conjecture; about half of the songs were covers of songs by Newman (who had yet to release his first album at the time A Price on His Head was issued), often of tunes that remain obscure even to serious Newman fans. The effect is something like hearing an even jauntier, more lighthearted Georgie Fame, as even Price's own compositions bore a strong Newman influence in their emphasis on poppy craft and wit. Breaking up the Newman and Price songs were covers of Bob Dylan's "To Ramona" and the little-known Gerry Goffin-Carole King number "On This Side of Goodbye." For a long time the material on this album was difficult to find, particularly in the United States, where Price's early work was virtually unknown. But the CD era has seen it reissued several times, both on its own and as part of the compilation The House That Jack Built: The Complete 60's Sessions.
BRYAN LEE - Play One For Me (2013)
Today, Bryan Lee, the Braille Blues Daddy, Blind Giant of the Blues, New Orleans Institution, husband, father, and friend passed from this life into legend. RIP.
Bryan Lee (March 16, 1943 - August 21, 2020) was an American blues guitarist and singer based in New Orleans, Louisiana. He is also known by the nickname braille blues daddy and has been a fixture on Bourbon Street since the 1980s. Play One For Me, from Bryan Lee and it's a soul stirred blues stew. Opening with Aretha (Play One For Me) has a real nice R&B flow featuring Kevin Anker on keys and Lee on vocals. Freddie King's It's Too Bad (Things Are Going So Tough) has a real nice blues sway and features some real sweet guitar riffs from Lee. A strong soul track written by Bobby Womack, When Love Begins (Friendship Ends) has a great lyrical line and melody. With just the right touch of blues guitar, Lee leads Steve Gomes on bass and Robb Stupka on drums into the mist surrounded by a solid string and horn section. Tasty guitar riffs really highlight what is likely my favorite track on the release. Chester Burnett's Evil Is Going On produces a nice treat with Kim Wilson joining on harp. Anker plays really nice key work underneath the melody providing a nice balance and Lee on vocal and guitar punctuation makes this another hot track. Straight To Your Heart is a nice New Orleans style blues funk track. I've always loved this style of blues playing and Lee has his finger on the pulse. Poison, an interesting slower blues track. Johnny Moeller on guitars and Wilson on harp add a lot to the overdriven vocals and guitar work of Lee who does a nice job on this track. Why has a real nice walking bass line and blues lope with Ankers on organ and Moeller on guitar pushing Lee to the boiling point on his guitar solo on this particular track. Really nice cut. The release ends with high steppin Sixty-Eight Years Young, a funky rhythm track having only the essence of instrumentation under vocal except for a pretty hot guitar solo. This is a great conclusion to a really cool release!
V.A. - Rogue's Gallery: Rogue's Gallery Pirate Ballads, Sea Songs & Chanteys (2006) & Son of Rogues Gallery: Pirate Ballads, Sea Songs & Chanteys (2013)
Johnny Depp and director Gore Verbinski hatched the idea for Rogue's Gallery while filming "Pirates of the Caribbean: Dead Man's Chest" that idea being to cast genteel rock superstars like Bono, Lou Reed, Bryan Ferry, Andre Corr, and Sting to reinterpret gritty seafaring standards for an exhaustive 43-track double-disc set produced by Hal Wilner. Throw in a bunch of credible folk stars (Loudon Wainwright III, Richard Thompson), their offspring (Rufus, Teddy) and a string of other curious characters (Jarvis Cocker, Antony) and what results is one of the strangest compilations in recent memory, if not exactly the most historically authentic or, well, digestible. Nick Cave embraces the role just a little too hard on "Fire Down Below," while Ferry can't help but sound like he's singing for the cast of "The Love Boat," but cut through the chaff and there is some real bootie here: Bono's "Dying Sailor to His Shipmates," Jolie Holland's "The Grey Funnel Line" and "Boney" by a mysterious tramp called Jack Sh**, which must be some kind of anagram for Johnny Depp.
Not every song sung at sea is a sea shanty. Shanties are work songs designed to be sung to accompany labor on ships at sea, and they are designed to flow and be sung in the rhythm necessary for the task at hand, a task that may well need timed and unison movement. Sea songs, on the other hand, are songs that chronicle life at sea, and they are generally more narrative and personal, while a pirate song is, well, a song about pirates, or a song sung by pirates. All three of these maritime song styles are represented on this two-disc, 36-track collection, which is an expanded sequel to 2006's Rogue's Gallery: Pirate Ballads, Sea Songs & Chanteys, and it's clear that these are songs of utility and personal definition and declaration rather than anything designed to court the pop charts in any fashion. Not that there isn't star power here, because there's plenty of that, but like the first installment, the songs themselves are the true stars. Among the highlights on this fascinating set are Shane McGowan's bleary rendition of "Leaving of Liverpool," Beth Orton's hushed, atmospheric "Bamboo (River Come Down)," a pairing of Tom Waits and Keith Richards on a stirring version of "Shenandoah," and Michael Stipe and Courtney Love's "Rio Grande," along with the only two cuts here that weren't recorded specifically for this project, Frank Zappa's "Wedding Dress/Handsome Cabin Boy" and Marianne Faithfull's "Flandyke Shore," but everything on these two discs fits into the theme and flow.
V.A. - Listen People: The Graham Gouldman Songbook 1964-2005 (2017)
Listen People offers an overview of almost half a century of great British songwriting, from Graham's early 60s songs for his own first group the Mockingbirds, to his 21st century collaborations with Kirsty MacColl and McFly. Just about all of Graham's best-known songs are included, many of them performed by singers and groups with whom he has long been associated such as the Hollies, Herman's Hermits, the Yardbirds and both Wayne Fontana and the Mindbenders. As is the norm with Ace's Songwriter Series, all-time hits and unfairly obscure classics sit comfortably together for your listening pleasure. Also included are great selections from several groups of which Graham has been a member including Wax his 80s collaboration with Andrew Gold the obscure High Society and, naturally, 10cc. Graham's songs have been interpreted by artists as diverse as Larry Williams & Johnny Watson, Rush, Cher and Morrissey all of whom are also featured. Graham is still writing and still touring. Many of the songs included here are featured in his sets to this day. This compilation of many of his most eminent copyrights comes to you with the full approval of the man himself.
GRAHAM GOULDMAN - The First 4 Solo... (1968 - 2012)
The Graham Gouldman Thing is the debut album by singer-songwriter Graham Gouldman, later a founding member of 10cc. Prior to the album's recording Graham Gouldman had established himself as a hit singles songwriter, with his most successful sons written for Herman's Hermits, The Yardbirds and The Hollies. On the album Gouldman delivered his own versions of several songs recorded by other musicians ("No Milk Today" by Herman's Hermits, "For Your Love" by The Yardbirds, "Bus Stop" by The Hollies, "Pamela, Pamela" and "The Impossible Years" by Wayne Fontana, "Behind the Door" by St. Louis Union and Cher) as well as his own new compositions. Gouldman recorded the album at Olympic Studios in London, a studio that would later be extensively used by Led Zeppelin. It was recorded with the assistance of John Paul Jones and Eddie Kramer, and both of whom would also achieve considerable success with Led Zeppelin. The liner notes acknowledge the use of "some fabulous players on the sessions", but do not name them. In sleeve notes for the 2004 CD re-release, Gouldman said his manager Harvey Lisberg sested he make the album, reworking his hits and recording new songs.
Animalympics is the soundtrack from the animated film Animalympics, released in 1980. The music for Animalympics was written and produced by Graham Gouldman, founding member and bassist with 10cc. The musicians on the soundtrack comprised most of the rest of 10cc, with the exception of Eric Stewart who was recovering from the car accident since January 1979. The soundtrack was recorded primarily in Strawberry Studios North and South, used extensively by 10cc, as well as in Los Angeles. The cover features a cartoon gold medal, on a white background in the US edition, and on a yellow background in the UK and European edition. The soundtrack had a limited physical release, only available on LP and cassette. A&M Records released the US edition. The UK and European editions were released by Mercury Records.
Despite having maintained his position among Britain's finest ever songwriters since his emergence in 1964, Graham Gouldman has remained surprisingly silent on the solo front, with only one full album to his credit (the early-'80s Animalympics soundtrack) since 1968 brought his debut, The Graham Gouldman Thing. Of course, he's never had any shortage of outlets for his work, whether it's the string of hits he composed during the 1960s, the effortless brilliance of his 10cc years, or latter-day collaborations with the likes of Andrew Gold and the late Kirsty MacColl. But still, And Another Thing was long overdue, all the more so since its casual blend of warmth, sincerity, and deathless melodicism remains as captivating as he ever has. The bulk of the album is comprised of newly composed material, penned with partners as varied as Claudio Guidetti, Gary Barlow (ex-British boy band Take That), Chris Difford (Squeeze), and S (Madness), and highlighted by two bona fide classics, the delightful "Can Anybody See You?" and the self-confessedly Beatles-influenced "Walking With Angels." The most immediate point of entry for older fans, however, surely lies in the three reprises that also punctuate the set: "Heartful of Soul" revisits a song he penned for the Yardbirds back in the mid-'60s; "You Stole My Love," first cut by his own band, the Mockingbirds, is revised to include the chorus from another oldie, the Mindbenders' once controversial "Schoolgirl"; and "Ready to Go Home" is plucked from the comparative obscurity of the last 10cc reunion. And Another Thing cannot, of course, begin to be compared with The Graham Gouldman Thing -- that album's contents, after all, stand as a virtual "best-of" for the entire 1960s. As a bookend to the three decades between the two albums, however, And Another Thing presents the portrait of a songwriter whom time has only tightened.
Late 2012 saw a flurry of activity from 10cc, including the release of an excellent career-spanning box set called Tenology, but perhaps the most noteworthy development on this front was the release of Love and Work, Graham Gouldman's first album in 12 years. Gouldman dedicates Love and Work to his late friend and Wax partner Andrew Gold and that isn't just a matter of sentiment; the album pares back Gouldman's lingering eccentricities and focuses entirely on his precision popcraft, a skill that's been at the foundation of his music since the Hollies. Here, the vibe is gentle and reflective but never melancholy, the songs are sculpted but never fussy, the melodies unfurl with an elegant grace. All these qualities speak to Gouldman's status as a pop veteran, one who is comfortable with his legacy and where he resides now, but the remarkable thing about Love and Work is how it builds upon what Gouldman has done before. Much of this sounds as if it could have been a soft rock hit between 1977 and 1982, an era when McCartney-derived pop often hit the charts, so it has a familiarity but it also has a freshness due to how Gouldman refuses to chase after a nonexistent hit. He's simply making artful, exceptionally crafted pop, which is more than enough to turn Love and Work into something of a small gem.
MORSE - PORTNOY - GEORGE - Cover To Cover Anthology (Vol. 1 - 3) 
Neal Morse (vocals, keyboard, guitar), Mike Portnoy (drums, vocals) and Randy George (bass, keyboards) are each widely acclaimed as progressive rock musicians in their own fields, but fans worldwide know that, together, they can always be relied upon to create a particular magic. On their Cover To Cover series, the trio has covered songs from such greats as, Paul McCartney, Cream, The Who, Jethro Tull, Steely Dan, and many more. They also have also covered some prog classics from the likes of King Crimson and Yes. Cover To Cover Anthology (Vol.1-3) brings together all 3 albums, including the brand new ‘Cov3r to Cov3r’ as well as remastered & resequenced versions of the first two releases, across 3CD’s. Limited 3CD in digipak with slipcase.
V.A. - The Art Of Field Recording: Volume I & Volume II (2007)
This set unearths all manner of unknown Americana. Archivists Art and Margo Rosenbaum spent half a century recording obscure artists from the backwoods: parlour tunes, church hymns, slide blues, chain gang songs, Southern gospel and creepy country ballads. Complete with scholarly tome, the result is a riveting document of an all-but-vanished culture. An essential companion piece to Harry Smith's Anthology of American Folk Music.
This is volume 1 of Dust-to-Digital's robust Art of Field Recording series assembled by esteemed archivists Art and Margo Rosenbaum. This impressive 4CD set includes ballads, blues, spirituals, work songs and slave songs, religious singing, such as the African-American ring-shout and other traditional folk music from Georgia, Indiana, Iowa, Kentucky, Michigan and New York performed with voices and stringed instruments such as banjo and fiddle. The diverse talents of both Art and Margo Rosenbaum have allowed them to document music traditions in a way few others could have done. Art is a painter, a muralist, and an illustrator, as well as a collector and performer of traditional American folk music. Margo is a photographer that has captured many of Art's field recording encounters. Art Rosenbaum of Athens, Georgia, has been collecting and studying traditional American music for over 50 years. His focus covers Appalachian banjo tunes and ballads, Southern and Midwestern fiddle tunes, blues and spirituals. Rosenbaum began seeking out traditional performers while in his teens, rediscovering and recording the great blues guitarist Scrapper Blackwell and fiddler John W. Summers, both in his then-home state of Indiana. His fieldwork has produced archival material in the Indiana University Folklore Archives, the University of Georgia Libraries and the Archives of the American Folklife Center at the Library of Congress.
Founded by Lance Ledbetter in 1999, Dust-to-Digital's mission is to produce high quality cultural artifacts which combine rare, essential recordings with historic images and detailed texts describing the artists and their works. Art is a painter, a muralist, and an illustrator, as well as a collector and performer of traditional American folk music. He has been collecting and studying traditional American music for over 50 years. His focus covers Appalachian banjo tunes and ballads, Southern and Midwestern fiddle tunes, blues and spirituals. Rosenbaum began seeking out traditional performers while in his teens, rediscovering and recording the great blues guitarist Scrapper Blackwell and fiddler John W. Summers, both in his then-home state of Indiana. His fieldwork has produced archival material in the Indiana University Folklore Archives, the University of Georgia Libraries and the Archives of the American Folklife Center at the Library of Congress. His Art of Field Recording Vol. I was nominated for an Award for Excellence in Historical Recorded Sound Research from the Association for Recorded Sound Collections.
PINK FLOYD - Wish You Were Here (1975) [The High Resolution Remasters, 2017]
Wish You Were Here is the ninth studio album by the English rock band Pink Floyd, released on 12 September 1975 through Harvest Records and Columbia Records, their first release for the latter. Based on material Pink Floyd composed while performing in Europe, Wish You Were Here was recorded over numerous sessions throughout 1975 at Abbey Road Studios in London. The album's themes include criticism of the music business, alienation, and a tribute to founding member Syd Barrett, who left seven years earlier with deteriorating mental health. Like their previous record, The Dark Side of the Moon (1973), Pink Floyd used studio effects and synthesisers. Guest singers included Roy Harper, who provided the lead vocals on "Have a Cigar", and Venetta Fields, who added backing vocals to "Shine On You Crazy Diamond". To promote the album, the band released the double A-side single "Have a Cigar" / "Welcome to the Machine". Wish You Were Here received mixed reviews from critics on its release, who found its music uninspiring and inferior to their previous work. It has retrospectively received critical acclaim, hailed as one of the greatest albums of all time, and was cited by keyboardist Richard Wright and guitarist David Gilmour as their favourite Pink Floyd album. It reached number one in the US and UK and Harvest's parent company, EMI, was unable to keep up with the demand. Since then, the record has sold an estimated 13 million copies. Despite the problems during production, the album remained Wright's favourite: "It's an album I can listen to for pleasure, and there aren't many Floyd albums that I can." Gilmour shares this view: "I for one would have to say that it is my favourite album, the Wish You Were Here album. The end result of all that, whatever it was, definitely has left me an album I can live with very very happily. I like it very much."
PINK FLOYD - Animals (1977) [The High Resolution Remasters, 2017]
Animals is the tenth studio album by English rock band Pink Floyd, released on 23 January 1977 through Harvest and Columbia Records. It was recorded at the band's Britannia Row Studios in London throughout 1976, and was produced by the band. The album continues the longform compositions that made up their previous works, including Wish You Were Here (1975). The album received positive reviews from critics and was commercially successful, reaching number 2 in the UK and number 3 in the USA. Animals is both a progressive rock album and a concept album, focusing on the social-political conditions of mid-1970s Britain, and was a change from the style of their earlier work. Tension within the band during production later culminated in keyboardist Richard Wright leaving two years later. The album's cover shows an inflatable pig floating between two chimneys of the Battersea Power Station, conceived by the band's bassist and lead songwriter Roger Waters, and was designed by long-time collaborator Storm Thorgerson. The band released no singles from the record, but promoted it through the In the Flesh tour. Waters' agitation with audiences during this tour inspired their next record, The Wall. Animals was released in the UK on 23 January 1977,[nb 1] and in the US on 12 February. It reached number two in the UK, and three in the US. Thanks to the album and the band's back catalogue, noted The Guinness Book of British Hit Albums, "Pink Floyd bested ABBA for most weeks on chart (in 1977), 108 to 106."
PINK FLOYD - Meddle (1971) [The High Resolution Remasters, 2018]
Meddle is the sixth studio album by English rock band Pink Floyd, released on 31 October 1971 by Harvest Records. The album was produced between the band's touring commitments, from January to August 1971 at a series of locations around London, including Abbey Road Studios and Morgan Studios. With no material to work with and no clear idea of the album's direction, the band devised a series of novel experiments which eventually inspired the album's signature track "Echoes". Although the band's later albums would be unified by a central theme with lyrics written entirely by Roger Waters, Meddle was a group effort with lyrical contributions from each member, and is considered a transitional album between the Syd Barrett-influenced group of the late 1960s and the emerging Pink Floyd. The cover has been explained by its creator Storm Thorgerson to be an ear underwater; as with several previous albums designed by Hipgnosis, though, Thorgerson was unhappy with the final result. The album was well-received by critics upon its release, and was commercially successful in the United Kingdom, but lacklustre publicity on the part of the band's American label Capitol Records led to poor sales there upon initial release.
On release, Meddle received generally positive reviews from music critics. Rolling Stone's Jean-Charles Costa wrote: "Meddle not only confirms lead guitarist David Gilmour's emergence as a real shaping force with the group, it states forcefully and accurately that the group is well into the growth track again", and the NME called it "an exceptionally good album". Steve Peterson of Hit Parader cited "Fearless" as its best song and said of the album, "This has got to be their best ever." Ed Kelleher of Circus called it "another masterpiece by a masterful group", noting "Fearless" as "fascinating" and praising "Echoes" as "a tone poem that allows all four group members much time to stretch their muscles". However, Melody Maker was more reserved, describing it as "a soundtrack to a non-existent movie".
PINK FLOYD - Ummagumma (1969) [The High Resolution Remasters, 2019]
Ummagumma is the fourth studio album by English rock band Pink Floyd. It is a double album and was released on 7 November 1969 by Harvest Records. The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at Abbey Road Studios. The artwork was designed by regular Floyd collaborators Hipgnosis and features a number of pictures of the band combined to give a Droste effect. It was the last album cover to feature the band. Although the album was well received at the time of release, and was a top five hit in the UK album charts, it has since been looked upon unfavourably by the band, who have expressed negative opinions about it in interviews. Nevertheless, the album has been reissued on CD several times, along with the rest of their catalogue.
Very rare and extremely limited 2019 EU 4CD Box Set collection of Pink Floyd containing the "Ummagumma" album high resolution remaster plus outtakes, rarities and live material. This Deluxe Edition contains a 12 page booklet with the complete tracklistings and detailed recording information. Limited and numbered edition of 300. Ummagumma is the fourth album by the English rock band Pink Floyd. It is a double album and was released on 7 November 1969 by Harvest Records. The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at Abbey Road Studios.
KANSAS - The Absence of Presence (2020)
The Absence of Presence is the sixteenth studio album by American progressive rock band Kansas. The album was originally due to be released on June 26, 2020, but due to manufacturing delays the release date was postponed to July 17, 2020. It is their fourth studio album without founding member, lead vocalist and keyboardist Steve Walsh, who retired from the band in 2014; the other three being 1982's Vinyl Confessions, 1983's Drastic Measures and 2016's The Prelude Implicit. It is their second album with lead vocalist and keyboardist Ronnie Platt and guitarist Zak Rizvi. It is the first album with keyboardist Tom Brislin, who replaced former keyboardist David Manion. The Absence of Presence serves as a follow-up of The Prelude Implicit, but unlike that album, The Absence of Presence was written entirely by the band. The bulk of the songwriting duties were carried out by the band's newest members, Zak Rivzi (who wrote the music for 6 of the 9 songs) and Tom Brislin (who wrote the music for the other 3 songs, plus lyrics for 6 songs), with other lyric contributions by Ronnie Platt (2 songs) and founding member Phil Ehart (4 songs). Ehart also came up with the album title, as well as at least three of the song titles (the title track, "Throwing Mountains", and "Animals on the Roof"), which gave Brislin a concept to work with. The Absence of Presence marks the debut lead vocal from Brislin, making the total number of lead vocalists in the band at three, a feature not seen since Somewhere to Elsewhere. The album's recording sessions took place contemporaneously with the band's tour cycle. The album reached the following positions on various Billboard Charts: Album Sales, #10; Current Album Sales, #10; Independent Albums, #32; Rock Albums, #31; Germany Albums, #7.
ERIC CLAPTON & FRIENDS - A Tribute To Ginger Baker: London 2020 (2020)
A gathering of British classic rock legends took the stage in London on Monday night (Feb. 17) to give Ginger Baker a proper sendoff. The drummer’s two-time bandmate, Eric Clapton, had announced the benefit concert to celebrate the musical life of his “dear friend” who died at 80 on October 6, 2019. The charity event, billed as Eric Clapton & Friends: A Tribute to Ginger Baker, was held at the Eventim Apollo Hammersmith in London, U.K. Some friends! Joining EC were such legends as Steve Winwood (who formed Blind Faith with Baker, Clapton and Ric Grech), Ronnie Wood, Roger Waters and Nile Rodgers. Want more? Also playing in the tribute to Baker were Kenney Jones, Paul Carrack and Chris Stainton on keys, Steve Gadd, Willie Weeks, Baker’s son, Kofi Baker, himself a drummer, singers Katie Kissoon and Sharon White, Sonny Emory, Henry Spinetti, and Clapton’s nephew, Will Johns. The evening’s 15-song setlist honored Baker’s lifetime in music, which naturally include Clapton and Baker’s work together in Cream and Blind Faith. The evening’s final number, “Cross Road Blues” (a.k.a. “Crossroads”), allowed many of the guitar legends the opportunity to solo. Before any music was played, a filmed tribute to Baker, with plenty of performance clips, was shown on the big screen behind the stage. Clapton then spoke. “Some of that stuff was 50 years ago, but it feels like yesterday. I used to call him Peter Edward… and I think he’s here… somewhere.”
ROGER TAYLOR - The Lot (2013)
The Lot (stylised as the lot) is a compilation album by Queen drummer Roger Taylor. The album contains nearly all of his solo work, both with the Cross and by himself. The album's release was originally scheduled for 11 October 2013, but was pushed back a month; both The Lot and Fun on Earth were released on 11 November 2013. Many fans soon complained about technical issues with The Lot. Taylor and his manufacturing team attempted to address these by asking buyers to return copies of the problematic first issue in exchange for corrected copies. The album was re-released on 10 November 2014.
Apart from his work with Queen, Taylor recorded five solo albums, and three with the Cross. He released his first single, "(I Wanna) Testify", in 1977. He went on to record two solo albums, Fun in Space (1981) and Strange Frontier (1984). They were modestly successful when released. In 1986, two years after the release of Strange Frontier, Taylor formed the Cross, recruiting Spike Edney, Clayton Moss, Peter Noone, and Josh Macrae. The Cross went on to record three albums: Shove It; Mad, Bad and Dangerous to Know; and Blue Rock. The band split up in 1993. After the breakup of the Cross, Taylor released his third solo album, Happiness?. It engendered some controversy, due to the inclusion of the track "Nazis 1994". The furore likely increased sales, however. In 1998, Taylor released his fourth album, Electric Fire. He would not record another album until Fun on Earth, which was released on 11 November 2013. All of Taylor's solo albums and all of the Cross albums, as well as several standalone singles and alternate mixes of some songs, are included on The Lot, a 12CD + 1 DVD-disc box set released on the same day as Fun on Earth. Discs One through Eight are the Taylor and Cross albums, in chronological order. Discs Nine through Twelve include singles, such as the Cross's "Manipulator", which is not on any of the band's albums. Disc Thirteen is a DVD containing music videos. There were several technical problems with the first issue of the album. These included errors in the printed lyrics, the inclusion of the wrong mixes of some songs, and several other audio issues. Consumers who had bought the initial release were asked to return their copies to Universal Records, which would replace them with corrected copies. Taylor assessed The Lot as a good retrospective of his career: "It's very satisfying to get it all in one place. I didn't realise how much there was: eight CDs, videos, lots of singles. I’d forgotten a lot. But it's very satisfying".
DEEP PURPLE - Whoosh! (2020) [reup with full scans]
Whoosh! is the twenty-first studio album by English rock band Deep Purple, released on 7 August 2020. The album was originally set to be released on 12 June 2020, but was later postponed due to the COVID-19 pandemic. Three songs from the album were released as digital singles, beginning with "Throw My Bones". The instrumental "And the Address" first appeared as the opening track on the band's 1968 debut album Shades of Deep Purple. The only musician to feature on both recordings was drummer Ian Paice.
Deep Purple is a band that needs no introduction. At this point, even if you do not know the band’s music by name, chances are you have heard their music somewhere or the other. A career spanning decades influencing bands by the tens of dozens, Deep Purple are legends by any standard. Fast forward to 2020, one would assume that if not all, most possibilities of rock music could already be explored. Oh, is rock dying? No, not quite. Deep Purple’s latest offering ‘Whoosh!’ is evidence enough that rock as a genre of music continues to be innovative and above all fun.
SIMON AND GARFUNKEL - Collected Works (1981) 
Collected Works is the first box set released by Simon & Garfunkel in 1981. It contains all five of their albums: Wednesday Morning, 3 A.M., Sounds of Silence, Parsley, Sage, Rosemary and Thyme, Bookends, and Bridge over Troubled Water. Originally released in 1981 as a 5-LP box set, it was reissued as a 3-CD set in 1990.
THE CRAZY WORLD OF ARTHUR BROWN - S/T (1968) [Remastered, 2010] & Strangelands (1988)
The Crazy World of Arthur Brown are an English psychedelic rock band formed by singer Arthur Brown in 1967. The original band included Vincent Crane (Hammond organ and piano), Drachen Theaker (drums), and Nick Greenwood (bass). This early incarnation were noted for Crane's organ and brass arrangements and Brown's voice and the burning helmet he used to wear during live shows.
1968 debut by the theatrical rocksinger's band, featuring both mono and stereo versions of five tracks, including the #2 smash 'Fire'. 15 tracks total. Pete Townsend was associate producer of the album. Though a bit over-the-top, this album was still powerful and surprisingly melodic, and managed to be quite bluesy and soulful even as the band overhauled chestnuts by James Brown and Screamin' Jay Hawkins. 'Spontaneous Apple Creation' is a willfully histrionic, atonal song that gives Captain Beefheart a run for his money. Though this one-shot was not (and perhaps could not ever be) repeated, it remains an exhilaratingly reckless slice of psychedelia.
Recorded in the late 1960s, but not issued until the late 1980s, this is Arthur Brown's missing second album. Had it appeared right after it was recorded, it would have bewildered listeners to no end. Brown was no longer weird in an accessible and entertaining fashion -- he was just weird, period. It's as if he decided to do his debut album over again, but concentrated almost exclusively on the hellish dissonance bits that linked, opened, and closed some tracks, rather than the songs themselves. Loosely arranged as a suite divided into the four parts of "The Country," "The City," "The Cosmos," and "The Afterlife," it's untuneful and demented stuff that owes at least as much to free improv jazz as psychedelic rock. It's also much heavier on the operatic vocal histrionics and unfathomably metaphysical lyrics, with few of the R&B-grounded organ riffs that helped put his debut album into the Top Ten. The one song that sounds as if it could have -- just barely -- fit onto the first Crazy World album is "Planets of the Universe," with its floating organ and lilting, melodious vocals, although these unexpectedly cut into a busk of "Dem Bones." A distraught, lo-fi cover of the '50s death rock hit "Endless Sleep" ends the strange, sprawling, messy affair.
PAUL McCARTNEY - Flaming Pie (1997) [2CD Edition, 2020]
Flaming Pie is the tenth solo studio album by English musician Paul McCartney, released on 5 May 1997 by Parlophone in the UK and Capitol Records in the US. His first studio album in over four years, it was mostly recorded after McCartney's involvement in the highly successful Beatles Anthology project. The album was recorded in several locations over two years, 1995 and 1997, featuring two songs dating from 1992. The album featured several of McCartney's family members and friends, most notably McCartney's son, James McCartney. In Flaming Pie's liner notes, McCartney said: "[The Beatles Anthology] reminded me of the Beatles' standards and the standards that we reached with the songs. So in a way it was a refresher course that set the framework for this album." Flaming Pie peaked at number two in both the UK and the US and was certified gold. The album, which was well-received by critics, also reached the top 20 in many other countries. From its release up to mid-2007, the album sold over 1.5 million copies. The album was reissued on 31 July 2020 as a part of the Paul McCartney Archive Collection with bonus tracks, outtakes and demos. The album is ranked number 988 in All-Time Top 1000 Albums (3rd edition, 2000).
Flaming Pie 2CD Edition released on 31 July 2020, as part of the Paul McCartney Archive Collection series. The Flaming Pie reissues were published in several editions - the 2 CD features the original album remastered + 21 tracks of bonus audio.
BETH HART - Greatest Hits (2020)
Beth Hart emerged in the 2010s as a formidable singer and songwriter on the contemporary blues scene. Her rise to stardom was a long time coming. Hart first made inroads as a contestant on Star Search in 1993 and had a brief period where she was pushed as a possible adult-alternative act, landing a slot on the 1996 Lollapalooza tour. A series of bad business breaks and personal troubles kept her on the margins throughout the 2000s, but in 2011, she teamed with blues guitar hero Joe Bonamassa for Don't Explain and the collaboration rejuvenated her career. Alternating between records with Bonamassa and solo albums, Hart developed a reputation as an incisive, soulful songwriter and a powerful vocalist. She took artistic risks on her records, too, changing her backing musicians and collaborating with superstar producer Rob Cavallo for her stark, intimate 2019 album, War in My Mind. Hart was a child prodigy of sorts. She was four years old when she started playing piano and wound up attending the High School for the Performing Arts in Los Angeles, majoring in vocal and cello. Soon, she gravitated toward blues. When she was in her late teens, she began playing L.A.'s club circuit, but her first breakthrough arrived when she won the Female Vocalist portion of Star Search in 1993. Taking home the prize didn't give her a career boost. What earned her reputation was playing in clubs, often in a combo with guitarist Jimmy Khoury, bassist Tal Herzberg, and drummer Sergio Gonzalez. This became the Beth Hart Band, and the group signed to Atlantic's Lava subsidiary, releasing their debut Immortal in 1996. Despite landing a few sl/ots on the 1996 Lollapalooza tour, Immortal didn't turn into a hit and the Beth Hart Group soon disbanded. Hart stayed on Atlantic for her solo debut, 1999's Screamin' for My Supper. Its single "L.A. Song (Out of This Town)" performed well on Billboard's Adult Contemporary chart, and Hart also earned attention playing the lead role of Janis Joplin in the off-Broadway production Love, Janis.
Personal troubles, including addiction, slowed Hart's progress in the early 2000s. She left Atlantic and signed with Koch, releasing Leave the Light On in 2003. Leave the Light On found some success in various territories throughout the world, particularly New Zealand and Europe. "Learning to Live" became a number one hit in Denmark and she sustained her European popularity, recording the 2005 concert album Live at the Paradiso in Amsterdam, and releasing 37 Days on the continent in 2007. 37 Days wrapped up her major-label contract, so Hart signed with Provogue in 2010, releasing My California that year. Over the next couple of years, My California scored television placements, leading to the album getting a belated American release in 2012. During those two years, she strengthened her connections with musicians, appearing on Slash's eponymous 2010 album, then playing with Jeff Beck at the Kennedy Center in 2006. Hart's most fruitful collaboration was with Joe Bonamassa, a hotshot blues guitarist with a strong fan following. In 2011, the pair released the duet album Don't Explain, which turned into a Blues hit and raised her profile considerably. The increased exposure helped her 2012 album Bang Bang Boom Boom -- which, like Don't Explain, was produced by Kevin Shirley -- become her first solo album to appear on the Billboard Blues Album chart. She reunited with Bonamassa for Seesaw in 2013, which wound up snagging her a Grammy nomination for Best Blues Album. The pair released the concert album Live in Amsterdam in 2014, which topped the Billboard Blues chart. The solo Better Than Home arrived in 2015, followed by Fire on the Floor in 2016 (the album received a stateside release in 2017). Hart and Bonamassa released the covers album Black Coffee in 2018; it was another Blues chart topper. That same year, Hart released a pair of live albums -- Front and Center: Live from New York and Live at the Royal Albert Hall -- but her next major project was War in My Mind, an introspective, ballad-heavy record produced by Rob Cavallo that appeared in September 2019.
CROW - 1969/71 [2010/11]
Crow formed in Minneapolis, Minnesota, U.S.A. in August, 1967. Originally known as the "South 40", they were former members of the Rave-Ons and the Jokers Wild. The original band members were Dave Wagner (vocals), Larry Wiegand (bass/vocals), Dick Wiegand (guitar), Dave (Kink) Middlemist (Hammond organ/vocals) and Harry Nehls (drums/vocals). They released the "South 40 Live at Someplace Else" LP in 1968. In 1969 they added Denny Craswell (Castaways) on drums/vocals, changed their band name to Crow, and released the album "Crow Music" on the Amaret label. They had a number of Top-40 hits from 1969 to 1972, including "Evil Woman", "Slow Down", "(Don't Try To Lay No Boogie Woogie) On the King of Rock n' Roll" and "Cottage Cheese" among others. They disbanded in 1972 but reformed again in 1988. They continue to play select concerts all over the United States and have released numerous CD's. All the members have won Minnesota Music Awards for their own individual instruments. In 2005 they were inducted into the Minnesota Rock/Country Hall of Fame and in 2009, the Iowa Rock & Roll Music Hall of Fame.
IAN GILLAN BAND - Clear Air Turbulence (1977) & The Rockfield Mixed Plus (2004)
Clear Air Turbulence is the second studio album by British band Ian Gillan Band, released in 1977 with cover by Chris Foss. The album was initially worked on during the period July 1976 to September 1976. A UK tour was promoted, though all of the dates were cancelled until April 1977 in order that the new album could be rerecorded and remixed at Kingsway Recorders, London. The album was reissued in 1989 by Virgin Records on CD, and in 2010 by Edsel Records.
So just exactly what are 'The Rockfield Mixes'? In essence they are the second and most dynamic of The Ian Gillan Band albums, namely 'Clear Air Turbulence'. The mixes on this CD were done at Rockfield Studios in Wales but Ian Gillan was unhappy with the results and the album underwent a major remix before it was finally released on 15 April 1977. The Ian Gillan Band's music was a fusion of many styles from Rock to Jazz Funk. The Rockfield Mixes is a unique opportunity to hear classy (and some say superior) performances, from a great 70's Rock super group, in their original form.
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