Amber Wine

Everybody’s favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re eight Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!

Everybody’s favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re eight Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!

Although he adapted better than most swing-era musicians to the bop revolution that swept through jazz in the late '40s, Coleman Hawkins was still viewed by the record labels as a swing artist, and he recorded infrequently in the early '50s. His tough, romantic tenor saxophone sound was considered by many to be dated, although most bop tenor players knew better, and his stature rebounded as the decade wore on. This collection opens with three marvelous tracks recorded at Carnegie Hall during a Jazz at the Philharmonic concert, but the balance of the set (save for the lovely "And So to Sleep Again" and the striking "If I Could Be With You") feels like Hawkins in limbo, playing what is essentially incidental mood music…