Aircraft Illustrated From Vol 05, N 07 From 1972 07

Frank Sinatra's Greatest Hits Vol. 1 (1968). Frank Sinatra's Greatest Hits! concentrates on the Chairman of the Board's pop hits from the mid- and late '60s, several of which were single-only releases or only available on movie soundtracks. Appropriately, it begins with his biggest solo hit of the '60s, "Strangers in the Night," and then vacillates between adult contemporary pop songs and ballads. Much of the production sounds dated, with its guitars, reverb, and arrangements bearing all the hallmarks of '60s pop. While some of the songs rank among Sinatra's finest moments, particularly "Summer Wind" and "It Was a Very Good Year," most of these songs are guilty pleasures. They might not have the emotional resonance of his finest ballad and swing albums, but fluff like the Nancy Sinatra duet "Somethin' Stupid," the fuzz guitar-tinged "The World We Knew (Over and Over)" and the bluesy "This Town" are enjoyable as pop singles…

L'Infonie were born as a Québécois versatile rock commune in 1967 around the initiator Raôul Duguay and the musical chief Walter Boudreau, just along the Québécois "multidisciplinary" music scene in those days. Quite in the vein of late-60s concentrated music essence, mixed with pop, jazz, and classic, they recorded their first creation "Vol. 3" (currently released as an eponymous one) at André Perry Studio and released in 1969. Amazingly, their soundscape had been altered moment by moment - obvious jazz rock / fusion movement and a talented American musician Terry Riley could exert pretty influence upon their second work "Vol. 33 (Mantra)", featuring a sole suite "Mantra" based upon Terry's landmark piece "In C". Finally L'Infonie breathed new life into Québécois progressive rock world with their third double-album "Vol. 333" released in 1972…

Vol. 4 is the point in Black Sabbath's career where the band's legendary drug consumption really starts to make itself felt. And it isn't just in the lyrics, most of which are about the blurry line between reality and illusion. Vol. 4 has all the messiness of a heavy metal Exile on Main St., and if it lacks that album's overall diversity, it does find Sabbath at their most musically varied, pushing to experiment amidst the drug-addled murk…

1st Live Recordings is a two-volume album series released by Pickwick Records in 1979 containing live performances by The Beatles. Adrian Barber, the stage manager at the Star Club, on the instructions by King Size Taylor, the leader of The Dominoes, another group from Liverpool, recorded this on a Grundig home tape recorder at 3​3⁄4 ips in December 1962, probably during three performances at Hamburg's Star Club on 25, 28 or 29 and 30 December…

The complete collection: Every soul, funk, gospel, rock track from Indianapolis s greatest label on a 4 CD set Sometimes, all it takes is one man to recognize a city s potential for an industry. In Indianapolis, that man was Herb Miller, and his business was soul and funk. He came to prominence long after Indy s allure as a jazz destination waned. He founded LAMP Records in the late 1960s to wake Naptown from its musical slumber. Miller served a critical role in city s burgeoning soul and funk scene, providing not only financial backing, but acting as a one-stop, record-making shop for artists that had, to that point, been doing it all themselves. He s the Berry Gordy you ve never heard of. His roster national acts like the Vanguards and Ebony Rhythm Band alongside talented, regional acts such as the Moonlighters, Montiques, Pearls and the Words of Wisdom Truth Revue rivaled that of any American independent and paved the way for the ascension of 80s and 90s hitmakers Kenneth Babyface Edmonds and Antonio L.A. Reid, both of whom cut their teeth with LAMP alumnus.

“Rhythm & Blues Goes Rock & Roll volumes one to five from Atomicat Records looks at Caucasian cover-rockers from America and Australia. The musicians are from differing music backgrounds and covered R&B songs in their own style. The music within My Baby Left Me is sourced from the golden years of 1955 through to 1963, from labels large and small. Every album contains twenty-eight songs, and each album ends like Rock ‘n’ Roll evenings of the past, with a love song. The album is stuffed full of cover-rockers, with numerous artists being mostly unknown, but not lacking in star quality. The albums are perfect for collectors who wish to own a more diverse range of songs, and those who enjoy dancing.”

Capability Brown had and still have a cult following in UK music history as a "progressive" band, ultimately based on an outstanding piece from their second album, Voice. But largely their range covered mainstream pop music, treated in an "arty", alternative fashion. The band was a six-piece in which everyone sang and played instruments. The line-up consisted of Tony Ferguson (guitar, bass), Dave Nevin (keyboards, guitar, bass), Kenny Rowe (bass, percussion), Grahame White (guitar, lute, balalaika, keyboards), Joe Williams (percussion) and Roger Willis (drums, keyboards).
Ferguson and Nevin wrote the majority of the band's material, and the band also excelled in covers of obscure material (Rare Bird's Beautiful Scarlet and Redman, Argent's Liar, Affinity's I Am And So Are You and Steely Dan's Midnight Cruiser).
Capability Brown's forte was vocalizing…

The J. Geils Band made many fine, sometimes great, studio albums but where they really captured their full, thrilling potential was on the concert stage. Most live albums tend to be a poor excuse for actually being at the show in question, but the Geils Band's live albums jump out of the speakers with so much joy, fun, and unquenchable rock & roll spirit that you might as well be there. "Live" Full House was their first live record, and it is a blast from start to finish. Recorded in 1972 at Detroit's Cinderella Ballroom, the group runs through songs from their first two albums, The J. Geils Band and The Morning After, kicking out the jams on rockers like the Motown chestnut "First I Look at the Purse," Otis Rush's "Homework," and one of the group's first self-penned classics, "Hard Drivin' Man," as well as positively scorching through an incredible version of John Lee Hooker's dark and evil blues "Serves You Right to Suffer"…

The J. Geils Band made many fine, sometimes great, studio albums but where they really captured their full, thrilling potential was on the concert stage. Most live albums tend to be a poor excuse for actually being at the show in question, but the Geils Band's live albums jump out of the speakers with so much joy, fun, and unquenchable rock & roll spirit that you might as well be there. "Live" Full House was their first live record, and it is a blast from start to finish. Recorded in 1972 at Detroit's Cinderella Ballroom, the group runs through songs from their first two albums, The J. Geils Band and The Morning After, kicking out the jams on rockers like the Motown chestnut "First I Look at the Purse," Otis Rush's "Homework," and one of the group's first self-penned classics, "Hard Drivin' Man," as well as positively scorching through an incredible version of John Lee Hooker's dark and evil blues "Serves You Right to Suffer"…