Sing Me a Song

2008 ten CD boxset that contains nearly 160 of the biggest Country hits from the biggest stars of the genre including Jim Reeves, Chet Atkins, Merle Travis and many others. If you want to immerse yourself into the musical world of classic Country music, then there's no better package than this collection.

Formed in 1967 by former Motions guitarist Robbie Van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of Van Leeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross' Colossus Records imprint. Although Shocking Blue's albums (1968’s Shocking Blue, 1969’s At Home, 1970’s Scorpio’s Dance, 1971’s 3rd Album, 1972’s Inkpot, 1972’s Attila, 1973’s Dream on Dreamer, and 1974’s Good Times) featured progressive rock elements…

Formed in 1967 by former Motions guitarist Robbie Van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of Van Leeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross' Colossus Records imprint. Although Shocking Blue's albums (1968’s Shocking Blue, 1969’s At Home, 1970’s Scorpio’s Dance, 1971’s 3rd Album, 1972’s Inkpot, 1972’s Attila, 1973’s Dream on Dreamer, and 1974’s Good Times) featured progressive rock elements…

Joe Cocker is a star whose success has always been touched with sadness; a performer whose performing span was limited by the sheer destructiveness of the performance. Only singers of opera, surely, can sustain such an act: and then only by restricting their movements on stage and going easy on the whisky and cocaine. So Joe was the jaded rock star of 1973/74; like John Lennon forgetting himself in a New York nightclub, Joe's music was going to seed. Only John claims it wasn't like that at all - and Joe didn't lose it completely.

Formed in 1967 by former Motions guitarist Robbie Van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of Van Leeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross' Colossus Records imprint. Although Shocking Blue's albums (1968’s Shocking Blue, 1969’s At Home, 1970’s Scorpio’s Dance, 1971’s 3rd Album, 1972’s Inkpot, 1972’s Attila, 1973’s Dream on Dreamer, and 1974’s Good Times) featured progressive rock elements…

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams' departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s.