Limited Edition Numbered Box Sets 2 180 gram LPs in Stereo and Mono with restored original album art 2 SACDs in Stereo and Mono housed in custom 12" sleeve 7" single of "Honky Tonk Women"/ "You Can't Always Get What You Want" in Mono with original picture sleeve 80 page hardcover book with essay by David Fricke and never before seen photos by Ethan Russell Three 12"x12" hand-numbered, replica-signed lithographs printed on embossed archival paper, housed in foil-stamped envelope…
Although Albert King is pictured on the front cover and has the lion's share of tracks on this excellent compilation, six of the fourteen tracks come from Rush's shortlived tenure with the label and are some of his very best. Chronologically, these are his next recordings after the Cobra sides and they carry a lot of the emotional wallop of those tracks, albeit with much loftier production values with much of it recorded in early stereo. Oddly enough, some of the material ("All Your Love," "I'm Satisfied [Keep on Loving Me Baby]") were remakes – albeit great ones – of tunes that Cobra had already released as singles! But Rush's performance of "So Many Roads" (featuring one of the greatest slow blues guitar solos of all time) should not be missed at any cost.
As well as being one of the finest rock singers of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery. First rising to stardom as the frontwoman for San Francisco psychedelic band Big Brother & the Holding Company, she left the group in the late '60s for a brief and uneven (though commercially successful) career as a solo artist. Although she wasn't always supplied with the best material or most sympathetic musicians, her best recordings, with both Big Brother and on her own, are some of the most exciting performances of the era. She also did much to redefine the role of women in rock with her assertive, sexually forthright persona and raunchy, electrifying on-stage presence.
London’s Black Cat Bones were one of those bands from the late '60s that served as an incubator for its various members’ later rock incarnations, in this case the bands Free, Foghat, and Bad Company, all of whom drew members from Black Cat Bones. As an intact band, they only released a single album, Barbed Wire Sandwich, on Decca Records in 1969, and then splintered into the future. The album itself is a collection of rather generic period British blues pieces, a bit reminiscent of Cream in sound, although that doesn’t hinder cuts like “Chauffer” and the best track here, “Please Tell Me Baby,” from taking off into some interesting territory.
Rolling Stone Magazine released a list of "500 Greatest Songs of All Time" in November 2004. It represents an eclectic mix of music spanning the past 50 years, and contains a wide variety of artists sharing the spotlight. The Rolling Stone 500 was compiled by 172 voters comprised of rock artists and well-known rock music experts, who submitted ranked lists of their favorite 50 Rock & Roll/Pop music songs. The songs were then tallied to create the 500 Greatest Songs of All Time.
Colours launched onto the scene in 1968 with a stunningly glorious Psychedelic masterpiece of L.A studio wizardry. A super group before the name was coined, Colours was the brainchild of Gary Montgomery and Jack Dalton, two hard-working, former Motown songwriters who also penned songs for The Turtles, Nino & April and The Moon.
This magical mystery tour-de-force of Psychedelic Beatlesque Pop also features the talents of Derek & The Dominos bassist Carl Radle. This first-ever CD issue of their long-out-of-print albums (Colours and Atmosphere) is supplemented by long-lost '67 Dalton & Montgomery recordings cut just months before they formed Colours…
During his lifetime, Mickey Newbury was always regarded more as a songwriter than as a singer or recording artist. Johnny Cash, Roy Orbison, Linda Ronstadt, Charlie Rich, Tammy Wynette, Willie Nelson, Kenny Rogers, and Joan Baez all recorded his songs. That said, Saint Cecilia Knows (the Newbury estate's label) and Drag City are seeking to change that impression with An American Trilogy. It's a deluxe, limited-edition, four-disc box set collects the albums Looks Like Rain (1969), 'Frisco Mabel Joy (1971), Heaven Help the Child (1973), and a disc of rarities; it contains a poster lyric sheet/map and a 100-page booklet, with Newbury quotes, interviews, and more.