The Rollito Stones The Singles 1971 2006

This Dutch compilation approaches the Moody Blues' career from an unusual angle. Although scoring three Top Ten hits in its native U.K. and another three in the U.S., the group is known primarily as an album act, having reached the Top Ten of the LP charts six times in Britain and eight times in America. During their initial period, 1964-1966, when Denny Laine was the lead singer, they were a singles band (as all rock & roll performers were then), but they had only one hit single, "Go Now!" Their real success came with the release of the album Days of Future Passed in 1967. By compiling all (well, almost all) of their A-side singles, the makers of this two-CD set have created not only a greatest hits collection, but also a rarities album. That is because, of the Moody Blues' first ten U.K. singles, only "Go Now!" and both sides of their sixth single, "Stop!"/"Bye Bye Bird," were included on their 1965 debut album. A 1993 CD reissue of that album added the singles "Steal Your Heart Away" and "I Don't Want to Go on Without You," included here, but that still leaves six tracks included on the present collection – "Everyday," "Boulevard de la Madeleine," "This Is My House (But Nobody Calls)," "Life's Not Life," "Fly Me High," and "Love and Beauty" – that have not been much heard since their release as British singles in 1965-1967.

The Best Days features on 8 compact discs legendary radio live recordings from the 60s, 70s and 80s plus one unplugged show.

Brand new compilation, newly re-mastered, with many tracks on CD for the first time incl. "Try Me". Lim. Ediiton of 400 numbered copies. CD 1 & 2 consists of tracks recorded at the Chess Studios in Chicago. CD 3 & 4 consists of non-Chess recording sessions made between 1977 and 1983. Track 2-2 is misspelled: "Fanny […]", Track 3-6 is misspelled "[..] (yor love)".

The Rolling Stones By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them.

Journey to the Centre of the Eye is the debut album from English progressive rock band Nektar that came out in November 1971. Though formally divided into 13 tracks, the entire album consists of a single continuous piece of music, with some musical themes which are repeated throughout the work. Because of its narrative nature, it has been called a rock opera and/or dense concept album. The story follows an astronaut who, while on a voyage to Saturn, encounters aliens who take him to their galaxy, where he is suffused with knowledge and wisdom. It is usually interpreted as a commentary on the nuclear arms race.

The Rolling Stones, Now! is the third American studio album by the English rock band the Rolling Stones, released in February 1965 by their initial American distributor, London Records. Although it contains two previously unissued songs and an alternative version, the album mostly consists of songs released earlier in the United Kingdom, plus the group's recent single in the United States, "Heart of Stone" backed with "What a Shame". Mick Jagger and Keith Richards wrote four of the songs on the album (including the US single), with the balance composed by American rhythm and blues and rock and roll artists.

Like Steely Dan, The The wasn't so much a band as a personal musical conceit/alter ego, this one for English writer-performer Matt Johnson. While Johnson's "band" came of age during the English synth pop boom of the early ‘80s, electricity was about the only common denominator between Johnson and his fashion slave contemporaries. Indeed, the sense of conscientious outrage that informs many of the two decades worth of singles collected here fostered a perception of Johnson as something of a prickly malcontent. But fashion was never an end in itself for Johnson, even on early pop fare like "Uncertain Smile" and "Perfect." Johnson's restless creative bent has led him to remix many of these tracks anew, ensuring that this set would never be seen as mere artistic obituary. Johnson's reputation as a socio-political crank reached its zenith on tracks like "Heartland" (which decries the reverse cultural colonization of Britain by America) and "Armageddon Days" (a shotgun blast at pan-religious hypocrisy, here introduced by a hilarious parody of the Sweet's "Ballroom Blitz": "Are you ready Jesus? Yeah! / Budda? Uh-huh."), but subsequent history has only proven him sagacious.