Beat The Blues Before They Beat You

Presented on DOUBLE-CD are no less than 29 radio and tv broadcast live tracks from The Who, all dating back to the period 1965-1967. Included are cool versions of classic tracks s.a. 'Substitute', 'I Can See For Miles', 'My Generation', 'Happy Jack', 'Pictures Of Lily, 'Boris The Spider', a.s.o.

When Sam Cooke signed with RCA Records in 1960, he had already had several hits ("You Send Me," "What A Wonderful World," and "Only Sixteen" among them) on the small independent label Keen Records. He had paid attention to the business sides of things, too, and he signed with RCA because he was allowed to keep control of his song publishing…

Beat Avenue is 60-year-old Eric Andersen's most ambitious album, a 90-minute tour de force that encapsulates his musical and lyrical concerns over a lifetime. The music is often-dense rock dominated by a rhythm section led by guitarist Eric Bazilian of the Hooters. Equally dense is Andersen's highly poetic versifying, which he sings in his gruff baritone. Andersen is world-weary in these songs, roaming the globe haunted by the past and fearful of the future. He confesses to a reckless youth, but acknowledges that he can no longer afford such license. "What once was Charles Bukowski," he sings in "Before Everything Changed," referring to the free-living beat poet, "is now Emily Dickinson." The ballads and love songs "Song of You and Me," "Shape of a Broken Heart," "Under the Shadows," and "Still Looking for You" are rendered tenderly, but they are also full of regret and loss, past-tense reflections that recount memories of love long gone. The first disc of Beat Avenue is complete and formidable unto itself, but there is a second CD consisting of two lengthy songs. The title track, running more than 26 minutes, is a beat poem with jazzy accompaniment by Robert Aaron in which Andersen recalls a poetry reading he attended as a 20-year-old on the day President Kennedy was assassinated.

B.B. King - "Here's One You Didn't Know About": from the RPM & Kent Vaults (2015) {Ace Records CDTOP1457 rec 1954-1962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 413 Mb | MP3 @320 -> 191 Mb
Full Artwork @ 300 dpi (jpg) -> 73 Mb | 5% repair rar
© 1954-62, 2015 Modern Records / Ace Records | CDTOP 1457
Blues / Modern Electric Blues / Soul Blues / Early R&B / Memphis Blues

The great bluesman B.B. King, who died in 2015, was one of the few artists whose every note was of interest. This 25-track CD of mostly previously unissued recordings are drawn from his sessions for Modern Records between 1954 and 1962. Be Careful Baby is a rare thing a B.B. King song that has never been released before in any version, while two tracks appeared on Ace's 2014 RPM compilation Speak Easy. The version of Catfish Blues is from a completely different session to the familiar issued version and from B.B.'s commentary appears to be the version he played on the road. There are many comments from B.B. and the band which provide an insight into the recording process and B.B.'s relaxed and informal manner in the studio. The CD ends with a previous unheard interview, recorded backstage at the Fillmore Ballroom in San Francisco with radio station KSAY at the 10/10 spot on your dial. All tracks are from the original master tapes.

Blues Traveler has announced the release of their new studio album Traveler’s Blues on Round Hill Records, a collection of re-imagined and re-charged classics from The American Blues Songbook, set for release on July 30, 2021.

In 2013, Future was re-released on the Big Beats label featuring outtakes, alternate versions, and extensive liner notes by Alec Palao.
Though the Seeds' third album, 1967's Future, was pegged by critics as the band's attempt to ride the wave of baroque/psychedelic/orchestral magic the Beatles defined with Sgt. Pepper's, the recording was actually complete before the release of the Beatles' far more popular breakthrough album, making it impossible for the influence to touch the uncannily similarly minded flower power tones of Future. The Seeds had their own relatively huge smash with the raw high-pressure garage thumper "Pushin' Too Hard" the year before, and saw nothing wrong with recycling that tune's melody on more than a few songs on their first two albums…