Backing Track

The third and last of Bear Family's Everly box sets, Chained to a Memory 1966-1972, chronicles the final act of the Everly Brothers' prime years, beginning just after the duo started to shake their mid-'60s doldrums and documenting their subsequent revival as they shifted to country-rock, the sound they continued to mine until their acrimonious split in 1973. This is a weighty set, containing a hefty hardcover book and a bonus DVD in addition to ten CDs, but the extra length isn't merely Bear Family's modus operandi – it's needed to bring an end to a story this epic. Indeed, the music on Chained to a Memory is in some ways some of the most interesting the Everlys ever produced. As their star began to fade, the Everlys reconnected with their country beginnings, quite deliberately titling their 1968 makeover, Roots, finding a wealth of new sounds and sentiments within country-rock. They exhibited a keen ear for material from emerging songwriters, and they wrote some terrific new songs, songs that exhibited the widening chasm between the two brothers who shared a sound and continued to harmonize beautifully together even as their sensibilities began to drift apart.

2003 compilation of rarities & alternate versions includessix previously unreleased tracks, 'Finally the Finale', 'Reaching Out', 'Fool's Mate', 'Vindaloo', 'You Get What You Ask For' & 'Raped By Aliens'. Angel Air.

In some ways, the Sweet epitomized all the tacky hubris and garish silliness of the early '70s. Fusing bubblegum melodies with crunching, fuzzy guitars, the band looked like a heavy metal band, but were as tame as any pop group. It was a dichotomy that served them well, as they racked up a number of hits in both the U.K. and the U.S. Most of those songs were written by Nicky Chinn and Mike Chapman, a pair of British songwriters who had a way with silly, simple, and catchy hooks.

This unique 2CD compilation pulls together a slew of previously unreleased material from America's favorite band, The Beach Boys. The collection includes the new stereo remix of Wild Honey, as well as unreleased outtakes from the session recordings. Also included are unreleased session tracks from the Smiley Smile sessions and live tracks from Hawaii, Washington, DC and Boston.

If you are a video-maker, podcaster, or broadcaster or create audiobooks, you simply need to mix human voice with background music. That can be a time-consuming pain. Unless you use VoxDucker, which can automatically suppress the backing track in three different ways to get the most natural feeling in a blink of an eye. And it's not just voice-overs you may need a mighty ducker for. Think about drums and bass. And more. Just value your time and mix with VoxDucker.

If you are a video-maker, podcaster, or broadcaster or create audiobooks, you simply need to mix human voice with background music. That can be a time-consuming pain. Unless you use VoxDucker, which can automatically suppress the backing track in three different ways to get the most natural feeling in a blink of an eye. And it's not just voice-overs you may need a mighty ducker for. Think about drums and bass. And more. Just value your time and mix with VoxDucker.

2002 compilation featuring the British Invasion act's entire recorded output during their tenure at Decca 1964-66, outtakes & all, presented in fresh, crisp stereo mixes, all mastered to 24-bit with only one overdub from the original mono (out of necessity Zombies' drummer Hugh Grundy rerecorded his part on 'She's Not There' to match his original). 48 tracks. Big Beat.

Beau Williams (born January 6, 1950) is an American gospel singer from Texas. Williams' albums with Capitol Records include a self-titled album in 1982, Stay With Me (1983), Bodacious! (1984) and No More Tears (1986). After his third Capitol release, Williams signed with Light Records and returned to his roots in Gospel music. Williams' album "No More Tears" is a real cultural act. Behind the record was the production company Hush Productions, which had hit the Gold Room commercially for Freddie Jackson and was able to produce a long line of high-quality male vocalists (Beau Williams, Willie Collins, Lillo Thomas, John White, Scott White ), whose albums, however, typically sold poorly - which doesn't mean they were weak. On the contrary, these discs often found more soulfulness and edging than Freddie Jackson's albums, which largely replicated the same safe (albeit still high-end) hit mold from one disc to another.