This is a box set of previously unreleased live recordings from Yes's 1972 (fall) North American tour. There are seven concerts here, and each concert is covered by a pair of CDs. Each pair comes in its own double gatefold with unique artwork. On the inside is printed the location and date of the concert, along with the tracklisting and credits…
Monteux’s Beethoven has been described as visionary. Respect for the spirit of the score, directness of expression, exceptionally well-drilled playing and a sense of untainted idealism that lay at the very heart of the composer’s vision – these are the qualities that typify Monteux’s interpretation of Beethoven. Eight of the symphonies were recorded for Decca; the Ninth for Westminster; and the third (Eroica) again, for Philips. Together with the rehearsal for the Ninth and an impromptu in-studio performance of ‘La Marseillaise’, they form the most complete collection of Monteux’s Beethoven recordings. Other conductors may have offered a more personalised take on the music but none made it more universal or more human. The fascinating accompanying notes to the set are by Rob Cowan and the recordings have been remastered for this release.
A companion to the 2015-2016 Country Music Hall of Fame exhibit of the same name, Dylan, Cash and the Nashville Cats: A New Music City is a double-disc history of the moment when country met rock – or when rock met country, as the case might be. In this particular reading of country-rock history, the movement begins in 1966, when Bob Dylan headed down to Nashville to cut Blonde on Blonde with a crew of the city's renowned studio musicians. Prior to that, country could be heard in rock & roll mainly through rockabilly, a music that functions as prehistory on this collection, present through the presence of Sun veteran Johnny Cash but not much else.
BGO's 2015 release groups Charley Pride's second four albums onto two CDs: 1968's Songs of Pride…Charley, That Is; In Person and The Sensational Charley Pride, both from 1969; and 1970's Just Plain Charley. By this point, Pride established himself as a star and so RCA was willing to take some chances. Songs of Pride doesn't rely on well-known tunes but rather contains a bunch of new songs, largely written by Jerry Foster and Bill Rice, songs that helped align Charley closer to the modern sound of country in 1968, while In Person demonstrates his in-concert charm and skill. Sensational and Just Plain Charley pick up on Songs of Pride and they're both excellent examples of walking the line between modern sounds – the Bakersfield of Merle Haggard and the proto-outlaw of Kris Kristofferson – and the Music City machine, records that are enough of their time to evoke their era but classic enough to transcend it. This is Charley's peak in many ways and it's a pleasure to have them so easily available on this set.
Excellent five CD set containing albums from a quintet of Krautrock's finest bands packaged in mini LP sleeves and housed in a slipcase. Includes Parzival's Legend, L.A. Dusseldorf's Viva and self-titled albums from Message, Asterix and Gift…
Time to roll up the carpet and put on your dancing shoes – 28 killer-diller Louisiana tracks. The eleventh CD in the “By The Bayou” contains some real skirt-swirlers, with a couple of slower numbers slipped in to break up the tempo. In keeping with the other “Boppin’” discs in this series, we have included some pure rockabilly and Cajun tracks alongside the swamp rockers.
Continuing their trawl through the vaults of Joe Ruffino's legendary New Orleans R&B labels Ric and Ron, Ace pairs the complete Ric and Ron recordings of Tommy Ridgley with the complete sides of the singer's friend and follower Bobby Mitchell. The reason they're paired on a single disc instead of showcased on an individual title is simple: by 2015 standards, neither cut enough material to fill out a CD. Ridgley came much closer than Mitchell, though. Between 1960 and 1963, he put out six singles on Ric, which amounts to a total of 16 songs, none of which saw much circulation outside of New Orleans due to Ruffino's preference not to license his singles to larger labels.