Follow-up volumes appeared in 1993 and 1996, extending the time period to 1979 and with additional songs from the 1972-76 period, available on cassette or CD (ALL 25 volumes were issued in both formats). Each volume has twelve songs. Despite the greater capacity of compact discs, the running time of each of the volumes is no longer than the limit of vinyl records in the 1970s, from 38 to 45 minutes long.
Following an unsatisfying three-year stint at Mercury Records, Chuck Berry returned home to Chess in 1969, just like Phil Chess predicted. Heading home didn’t necessarily mean retreating, as the four-disc Have Mercy: His Complete Chess Recordings 1969-1974 illustrates. During his time at Mercury, Chuck followed the kids wherever they went, aligning himself with the psychedelic ‘60s in a way none of his peers did. This shift is immediately apparent on “Tulane,” the very first song he cut upon his return to Chess. An ode to a couple of kids who dealt dope underneath the counter of a novelty shop, “Tulane” puts Chuck on the side of the counterculture, and over the next five years, he never strayed back to the other side of the fence, often singing about getting stoned, dabbling with a wah-wah pedal, rhapsodizing about rock festivals, cheerfully telling smutty jokes.
While the compilation's first disc, „In The Twilight…“, focuses on the more calm, post-rock oriented side of the label, the second disc, „… These Rocks Have Teeth“ dives deep down into the realm of dark and epic heavy music that the label has become known and loved for, throughout their catalogue of now 85 releases. This compilation is a carefully designed and very listenable playlist, a perfect ride through the vast Pelagic Records universe!
Saint-Germain-des-Prés Café is a series of nu-jazz compilations distributed by Wagram Music. Its name evokes the cafés of the area in Paris associated with the existentialism movement. This 2CD set is the must have playlist from the fashionable Paris district, covering an eclectic selection of Nu Jazz, Downtempo, Lounge and Trip Hop, and features an entire disc exclusively mixed by Thievery Corporation. The Cool Tempo Reference Collection Down tempo, Lounge, Trip Hop + an exclusive selection of the mythic American Artist Thievery Corporation!
As Long as I Have You was a long time coming for Roger Daltrey. Set aside the fact that it's his first solo album since 1992's Rocks in the Head: the album was nearly four years in the making, started after his 2014 Wilko Johnson collaboration, Going Back Home, and not released until June of 2018. During that time, Daltrey battled viral meningitis, a struggle that had him on the verge of ditching the record, but his old Who cohort Pete Townshend heard some rough mixes and encouraged the singer to finish, volunteering his services as a session musician…
By the late 1980's, Emerson, Lake & Palmer were more than a decade away from the period of their greatest success. They had released a few albums in the late 1970's, and although they still sold reasonably well, neither the critics nor the public were especially thrilled by them. After taking a break for half a decade or so, in the mid-'80s, Keith Emerson and Greg Lake were ready to reunite. Carl Palmer, however, was busy drumming with Asia. So Emerson and Lake hooked up with Rainbow drummer Cozy Powell for one album as Emerson, Lake & Powell, and broke up shortly thereafter…
And All That Could Have Been is a double album by American industrial rock band Nine Inch Nails, released on January 22, 2002 by Nothing and Interscope Records. The live album contains music recorded during the Fragility v2.0 US tour in 2000. Disc one is a live album of most of their normal set list of the time, while disc two contains a studio album titled Still, containing "deconstructed" versions of previous Nine Inch Nails songs and some new material. The double DVD set, sold separately, includes video recordings of the songs performed on the CD, as well as additional song performances and footage from the tour…
Things Have Got To Change is wonderful post-Paris work from Archie Shepp – a record that has him bringing more focus back into his work after sessions overseas – and also making some great use of the legendary Joe Lee Wilson on vocals! There's a feeling here that's a real change for Shepp, but a great one too – a sound that's trying to reach new levels of expression in jazz – with a bit less of the sharp edges of the 60s, and more of the warmer, more righteous modes of the post-Coltrane generation.