Buster Phil

From the makers of the Junkshop Glam genre defining Velvet Tinmine, Glitterbest and Boobs compilations. comes this bookending box set.. 60 tracks of the finest slices of JSG in its various guises, as established by collectors around the world over the past decade. Including tracks from the USA, New Zealand, Netherlands, Sweden, Iceland, Australia as well as homegrown UK. Some previously unreleased, many first time on CD. Themed by arch JSG collector and musician Phil King into three groups.

Gold Review by William Ruhlmann
The major label Universal Music is the repository for the recordings the Righteous Brothers made in the 1960s, separately and together, for Moonglow, Philles, Verve, and MGM Records. Universal's Gold reissue series, like Sony BMG's Essential series, consists of two-CD compilations of label artists. The Righteous Brothers scored 22 entries on the Billboard Hot 100 between 1963 and 1974, 21 of which are included here. (The exception is a cover of the Jerry Butler hit "He Will Break Your Heart," which spent one week at number 91 as the B-side of the Top 20 hit "He.") Since the set contains 48 tracks in total, that means the format allows plenty of space for non-hits and album tracks. In the Righteous Brothers' case, it also allows for some of the many solo efforts of duo members Bobby Hatfield and Bill Medley.

With this all-star Cinerama epic, producer/director Stanley Kramer vowed to make "the comedy that would end all comedies." The story begins during a massive traffic jam, caused by reckless driver Smiler Grogan (Jimmy Durante), who, before (literally) kicking the bucket, cryptically tells the assembled drivers that he's buried a fortune in stolen loot, "under the Big W." The various motorists setting out on a mad scramble include a dentist (Sid Caesar) and his wife (Edie Adams); a henpecked husband (Milton Berle) accompanied by his mother-in-law (Ethel Merman) and his beatnik brother-in-law (Dick Shawn); a pair of comedy writers (Buddy Hackett and Mickey Rooney); and a variety of assorted nuts including a slow-wit (Jonathan Winters), a wheeler-dealer (Phil Silvers), and a pair of covetous cabdrivers (Peter Falk and Eddie "Rochester" Anderson). Virtually every lead, supporting, and bit part in the picture is filled by a well-known comic actor: the laughspinning lineup also includes Carl Reiner, Terry-Thomas, Arnold Stang, Buster Keaton, Jack Benny, Jerry Lewis, and The Three Stooges, who get one of the picture's biggest laughs by standing stock still and uttering not a word.

"The blackest of Italian pianists" was born May 16th, 1965, in Genoa. He studied piano with Maestro Flavio Crivelli and began his career collaborating with musicians from the Genoa Area, especially with the bassist Piero Leveratto. In 1993 he was invited for the first time in the USA. He plays with Red Holloway and Albert "Tootie" Heath on a tour on the West Coast.

Stanley Kramer followed his Oscar-winning Judgment at Nuremberg with this sobering investigation of American greed. Ah, who are we kidding? It’s a Mad, Mad, Mad, Mad World, about a group of strangers fighting tooth and nail over buried treasure, is the most grandly harebrained movie ever made, a pileup of slapstick and borscht-belt-y one-liners performed by a nonpareil cast, including Milton Berle, Sid Caesar, Ethel Merman, Mickey Rooney, Spencer Tracy, Jonathan Winters, and a boatload of other playing-to-the-rafters comedy legends. For sheer scale of silliness, Kramer’s wildly uncharacteristic film is unlike any other, an exhilarating epic of tomfoolery.

Sweet (also referred to as The Sweet) were a British rock band that rose to worldwide fame in the 1970s as a prominent glam rock act, with their most prolific line-up: lead vocalist Brian Connolly, bass player Steve Priest, guitarist Andy Scott, and drummer Mick Tucker. Sweet were formed in 1968 and achieved their first hit "Funny Funny" in 1971 after teaming up with songwriters Nicky Chinn and Mike Chapman and record producer Phil Wainman. During 1971 and 1972, their musical style followed a marked progression from the Archies-like bubblegum style of "Funny Funny" to a Who-influenced hard rock style supplemented by a striking use of high-pitched backing vocals.