12 Year Animals

Sidestepping the horrendous title, Gratefully Dead 1964-1968, it's nice to see an Animals compilation that digs a bit deeper into their catalog, album tracks, B-sides, and curios, as opposed to rehashing the same old hits ad nauseam. The first ten tracks are mainly covers of blues and R&B tunes that were staples in the early Animals repertoire circa 1964 to 1966, such as "Dimples," "Bright Lights Big City," "Talkin' 'Bout You," and "Smokestack Lightning." The remaining 11 tracks from 1967 and 1968 are credited to the second lineup of the band now called Eric Burdon & the Animals, who plunge into psychedelic blues by way of bizarre tunes such as "Gratefully Dead," "It's All Meat" (which is a sped-up "Spoonful"), "Closer to the Truth," "Year of the Guru," and "White Houses."

The fifth studio album from Welsh quintet Super Furry Animals was their most commercially successful to date. A musically eclectic record, incorporating pop, prog, punk, jungle, electronica, techno and death metal, the album was shortlisted for the Mercury Music Prize in 2001 and named as Mojo's best album in the same year. Their major label debut album peaked at #3 on the UK album chart on release, supported by singles '(Running) Rings Around The World', 'It's Not The End of the World' and 'Juxtapozed With You'. Paul McCartney and John Cale make cameo appearances on the album too.

The title is a bit of a misnomer; this double CD only includes the complete sessions that the Animals recorded with producer Mickie Most in 1964 and 1965. The 40 songs capture the band at their peak, including most of their best and biggest hits: "House of the Rising Sun," "Don't Let Me Be Misunderstood," "Bring It on Home to Me," "We Gotta Get Out of This Place," "I'm Crying," "It's My Life," and "Boom Boom." Most of the rest of the tunes don't match the excellence of these smashes, though they're solid. The great majority of them are covers of vintage R&B/rock tunes by Chuck Berry, Fats Domino, and the like, which aren't quite as durable as reinterpretations from the same era by the Stones and Yardbirds.

Five CD set featuring all of the albums recorded by Eric Burdon & the Animals for the MGM Records label issued between October 1967 and December 1968. Eric Burdon & the Animals came together in December 1966 when the original Animals had ground to a halt. Vocalist Eric Burdon recruited Vic Briggs (guitar, piano), John Weider (guitar, violin, bass), Danny McCulloch (bass) and Barry Jenkins (drums) to form a new group which changed direction away from raucous rhythm and blues and embraced psychedelic rock and the influences of the emerging counter-culture…

This 22-song compilation features all of the essential recordings cut by the group in 1965 and 1966 after they broke with their original producer Mickie Most, and before Eric Burdon dissolved the core of the original lineup to pursue solo stardom with an Animals group featuring entirely different musicians. These tracks were perhaps more soul-oriented than their previous recordings, but the group still burns on the hits "Inside Looking Out" and "Don't Bring Me Down." Despite the absence of original keyboardist Alan Price, the group continued to showcase Burdon's passionate vocals and burning, vibrant organ (by Price's replacement Dave Rowberry) on both renowned and obscure R&B tunes, with an occasional original thrown in. Besides the entirety of their final British LP Animalisms (from 1966) and the above-mentioned singles, the CD includes the hits "Help Me Girl" and "See See Rider" (credited to "Eric Burdon and the Animals," these were possibly Burdon solo records). The four tracks from their first release, an independently released 1963 EP featuring primitive R&B standards, are small but noteworthy bonus cuts that close this collection.

A genre-spanning 2CD mix of hit singles, slow burners and lost gems from soul, funk, psych, garage and rock’n’roll. The 45s that defined 1965 and crystallised author Jon Savage’s memories of the year. 1965 was the year of Dylan, folk-rock and protest, and the year when the post-beat bohemian subculture took over from traditional showbiz as the principal youth culture. Suits and group uniforms were out: denim, suede and long hair in. It was also a vintage Motown year. In the first week of 1965, the Supremes were at #2 US and three other Motown records were in the Billboard Top 40. Two weeks later the Supremes reached #1, the first of six Motown achieved that year – and, in March, EMI UK launched the Tamla Motown label with hits by the Supremes and Martha & the Vandellas. Harder core soul artists such as Wilson Pickett and James Brown also had US pop hits and, thanks to the pirate radio stations and inspired promotion by Decca PR Tony Hall, Pickett narrowly missed the UK Top 10.