High Tide Complete

Three CD set featuring all of the recordings by progressive rock band High Tide. Featuring the albums 'sea shanties', 'high tide' and an additional cd of demos and studio out-takes recorded in 1969 and 1970. Formed in London in 1969, High Tide featured the intense guitar playing of Tony Hill (formerly with The Misunderstood), the violin and keyboard skills of Simon House, bassist Peter Pavli and drummer Roger Hadden. The band was managed by Clearwater, also home to Hawkwind, Skin Alley and Cochise and were signed to Liberty Records soon after their formation. Their debut album, the stunning 'Sea Shanties' was recorded at Olympic studios and some of the heaviest gothic psychedelic rock record ever recorded. Issued in a striking sleeve designed by artist Paul Whitehead, the album is now regarded as a true classic of the era. Their second album, 'High Tide', was recorded in 1970 and was another wonderful work.

Although Basie's years with RCA Victor are usually regarded as his weakest, there is still plenty of good music to hear from these years. "Sweets" Edison and Emmett Berry still sparked the trumpet section and tenor saxophonist Buddy Tate and singer Jimmy Rushing were still on board. Perhaps the most interesting feature from these years, though, was the addition of an unknown tenorman who had only recently replaced Illinois Jacquet, a guy named Paul Gonsalves. While there are a few throwaway novelties in this set, there are also some fine performances, both by the band itself and by a small "band within the band".

Limited 21 CD set from the Dutch progressive rockers. This box holds the band's sixteen studio album (including three double albums) and two bonus CD's with non-album tracks, rarities and demo's. One of the bonus CD's most remarkable items is 'Happy New Year', a Kayak demo dating from '74 or '75, that has never been released…

Hook-laden tunes transformed Salisbury, Wiltshire, England-based quintet Dave Dee, Dozy, Beaky, Mick & Tich into one the United Kingdom's top pop bands of the mid-'60s…

As this expansive (though not entirely as "complete" as promised) anthology reminds us, Comus' frightening musical visions surely represented the darkest side of England's late-'60s folk-rock movement. Like a Fairport Convention from Hell, the group pushed folk boundaries into alien progressive, psychedelic, and acid rock realms, capping it with desperate and macabre subject matter and warping all the genres involved (and numerous minds) in the process. 1971's disorienting, often terrifying debut, First Utterance, could have doubled as (and may have well inspired, in part) the soundtrack to Robin Hardy's The Wicker Man a few years later, given its recurring pagan themes and varied blend of voices (some male, some female, some…?) and instrumentation (flute, oboe, strings, etc.).

There Is A Tide is the new album from Chris Potter and ONLY Chris Potter. Recorded during lockdown, Chris performed ALL instruments including drums, guitar, bass, percussion, woodwinds and, of course, saxophones.

On the heels of their rapturously received The Red Bird Girls: Very First Time in True Stereo 1964-66 compilation, producers Ron Furmanek and Ash Wells have come up with the first legitimate album devoted to the classic Blue Cat recordings of the Ad-Libs, featuring 24 tracks taken straight from the original master session tapes! And among those 24 tracks are a full five unreleased songs and nine unreleased alternate versions, featuring three previously unheard versions of the big hit “The Boy from New York City” including an a cappella demo! Notes by James Moniz tell the Ad-Libs story with help from copious quotes from group member Norman Donegan, while Manhattan Transfer member Tim Hauser pens an introduction. Another incredible find from the Red Bird / Blue Cat vaults!

This particular box set from Wrasse contains all 26 albums, which were previously released by the label in three separate compilation groupings. Each disc is housed in its own mini-LP sleeve, bearing original cover art, and the set contains four booklets - one for each grouping of albums and a brief biography in a booklet of its own. What's confusing, at least initially, is that the back of the box numbers the albums one through 26, while each booklet numbers them starting at one. In other words, discs ten and 19 both bear the number one and start again with their groupings.