Slam August 2011 (hq Pdf)

Extremely limited box set containing the expanded two CD edition of the Layla… album, the remastered double disc edition of Derek And The Dominos: In Concert, an audio-only DVD featuring DTS 5.1 and Dolby Surround 5.1 versions of Layla and Other Assorted Love Songs, mixed by legendary engineer Elliot Scheiner, a double 180gm vinyl reproduction of the original album, a hardcover book, artfully designed with rare and never-seen photographs, and featuring four meticulously researched essays and facsimiles of Derek And The Dominos concert tickets and various promotional items, including the famous "Derek is Eric" button. Digitally remastered and expanded two CD edition of this ground-breaking 1970 album. Derek & The Dominos were the almost fictional group recruited by Eric Clapton which came together during the sessions for George Harrison's All Things Must Pass album in 1970.

A fine compilation of 1965-73 BBC performances, the majority of the tracks hailing from 1965-67, although some are drawn from 1970 and 1973. As one of the best live bands ever, the Who as expected come through pretty well in the live-in-the-studio environment, although the arrangements usually stick close to the records. Most of the songs were done by the group for studio releases as well, but there are a few covers that they never put on their albums or singles at the time, making this essential for the fan. Those numbers include the obscure James Brown tune "Just You and Me, Darling," "Dancing in the Street," ""Good Lovin'," and "Leaving Here" (although a mid-1960s studio version of that last song was eventually released).

Who's Missing is a compilation of rare and previously unreleased songs by the English rock band the Who. Its second part, Two's Missing, was released in April 1987. The CD was reissued in Japan on 24 December 2011 with additional bonus tracks drawn from the Japanese only bonus disc for Then and Now, as a 2-CD set together with Two's Missing. The album was remastered by Jon Astley from the original analog master tapes. Reviewing for AllMusic critic Richie Unterberger wrote of the album: "Some of these [songs] are really good: the raucous 1965 cover of James Brown's 'Shout and Shimmy,' 'Heaven and Hell' (one of John Entwistle's better tunes), the 45 version of 'Mary Anne with the Shaky Hand,' the obscure Roger Daltrey tune 'Here for More.' Other cuts are pretty peripheral, like the '65 R&B version of 'Lubie (Come Back Home),' or the live version of 'Bargain.'"

One imagines that this collection was aimed at the total neophyte listener – taken in any other context, this is an odd collection of single sides by one of the premiere singles bands of the 1960s and early '70s. Does it start at the beginning, with either "I'm the Face" or "I Can't Explain"? No. Does it encompass many of the freestanding singles issued by this band through 1972? No. Does it even offer any of the less well-known single sides from that period? No – apart from the three-and-a-half-minute single edit of "Won't Get Fooled Again," which was hardly a sterling example of the format or the genre. Instead, listeners get all of the most familiar hits, albeit in their original mono mixes where relevant: "Substitute," "I'm a Boy," "Pictures of Lily," "I Can See for Miles," "Pinball Wizard," "Squeeze Box," etc. The best of it overlaps with Meaty Beaty Big and Bouncy.