Fever Tree Fever Tree '68 & Creation '69 (2015)

Here are the third and fourth albums from Fever Tree, that great lost Texas band of the sixties, and while neither is as good as the first two, both of them (particularly Creation) have some stunning moments…

See for Miles' Fever Tree/Another Time, Another Place combines Fever Tree's first two (and best) albums on one compact disc. While this is certainly of interest to collectors of '60s psychedelia, most listeners will be satisfied with one of the group's hits collections.

The second (and arguably most fully realized) album from Texas psychedelic band Fever Tree, Another Time, Another Place (1968) owes less to the sound of roots-based contemporaries like the 13th Floor Elevators, Moving Sidewalks, or the Sir Douglas Quintet and more to heavier West Coast acid rock. One of the most underrated '60s psych bands, Fever Tree comes off like a coincidental midnight meeting of Jim Morrison, Steppenwolf, Jefferson Airplane, Iron Butterfly, and Jimi Hendrix at the tail end of a drug and whiskey binge. Luckily, however, the group transcends its influences by sheer force of attitude. The material here (mostly written by producers Scott Holtzman and Vivian Holtzman) is of generally pretty high quality, wisely avoiding too much of the drippy "ice cream cones and cosmic smiles" type stuff…

Various Artists - Slow Grind Fever Vol. 3 & 4 (2015) {Stag-O-Lee Records STAG-O-066}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 401 Mb | MP3 @320 -> 175 Mb
Full Artwork @ 300 dpi (jpg) -> 33 Mb | 5% repair rar
© 2015 Stag-O-Lee Records | STAG-O-066
Rhythm & Blues / Rockabilly / Soul / Groove / Doo-Wop / Rock & Roll

The soundtrack to a smoky late night bar in Chicago, or a hot Sunday afternoon down at the Popcorn. If you feel the cold sweat of soul, and the cool chills of haunted crooners singing out their final swansong, or the sinful shakes of R&B in it's twilight years, then you have a bad case of Slow Grind Fever! This is a collection of haunting, hungry, heartbroken humdingers full of swing, sway and sleaze. With obscure B-sides sitting next to some of these great artists' last outings on wax. –Stag-O-Lee Records

2002 compilation for the 60's psychedelic band best-known for their hit, 'California Girls'. Featuring their entire self-titled 1968 debut album, a rare single & choice live tracks.

Formed by former Studebaker John (Blind Pig Records) bassist Ted May, former Walker Ranger session guitarist Brent Barker, and veteran drummer Tom May (who has played with members of Allman Brothers), Mississippi Fever members have shared the stage classic blues greats such as Ike Turner, Little Milton, and Chuck Berry. Brent and Ted were both featured in Guitar Player magazine for their inspired playing. Mississippi Fever combines influences of great classic artists such as Buddy Guy, Cream, Stevie Ray Vaughan, and early ZZ Top into a unique blend of blues and classic rock.

John Haley "Zoot" Sims (October 29, 1925 - March 23, 1985) was an American jazz saxophonist, playing mainly tenor and soprano. He was born in Inglewood, California, the son of vaudeville performers Kate Haley and John Sims, and grew up in a performing family. Sims learned to play both drums and clarinet at an early age. His father was a vaudeville hoofer and Sims prided himself on remembering many of the steps he taught him. Sims acquired the nickname "Zoot" early in his career while he was in the Kenny Baker band in California.

It Bites, Arena and Frost man John Mitchell has confirmed the launch of the first album from his Lonely Robot project. Please Come Home was released on February 23 via InsideOut, featuring bassist Nick Beggs and drummer Craig Blundell. Guest artists include Steve Hogarth, Jem Godfrey, Nik Kershaw, Heather Findlay, Kim Seviour and Peter Cox. The story is narrated by actor Lee Ingleby, of Master And Commander and Harry Potter fame. Guitarist, vocalist and producer John Mitchell reports: “I’d long thought about doing an album where I could have total control from start to finish with the music, lyrics, production, and choosing who I wanted to contribute – expanding from the idea of just a solo album. Please Come Home is very proggy, but it’s more about atmosphere than technical expertise, inspired by my love of science fiction and interest in the evolution of the human race.”