This triple-disc 79-song compilation looks pretty impressive, and in some ways it is, representing most of the best work of each incarnation of the Drifters from 1953 through 1976. There's a lot of classic music here, including all of the big hits and many interesting (even musically glorious) flops and B-sides, but the limitations of three CDs make this less than ideal. Atlantic had already released a pair of two-CD sets, Let the Boogie Woogie Roll: Greatest Hits 1953-58 and All-Time Greatest Hits & More: 1959-1965, eight years earlier, each of which covers those major periods in question far more generously than does this box – although it must be conceded that the sound on the cuts included on Rockin' & Driftin' is improved over those late-'80s digital transfers, good as they seemed at the time…
A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band's fusion of rock, blues, classical, jazz, and poetry with a knock-out punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison's captivating vocals and probing prose…
Triana is the most legendary progressive rockband in Spain. Formed in 1974, the band were known for blending elements of progressive rock and flamenco music to make a style known as Andalusian rock or flamenco rock. "Quiero Contarte" is a triple album paying homage to Triana featuring, on the one hand a selection of the most emblematic songs from the 7 recorded albums by the legendary Andalusian rock band on two of the CDs. On the other, a CD featuring the album "Tributo a Jesús de la Rosa". This CD, produced by Gonzalo García-Pelayo, features 17 cover versions of their songs and played by famous modern spanish musicians (andaluz bands Alameda & Medina Azahara among them).
It was, at the time, one of the highest-grossing rock tours ever, grossing over 11 million dollars in an era when such figures were uncommon. Such success camouflaged the chaos behind the scenes – the bitter fights and feuds, the excess and indulgence that led to Crosby, Stills, Nash & Young pocketing about a half million dollars each, when all was said and done. Big bucks were the reason the CSNY 1974 tour even existed. Efforts to record a new album in 1973, their first since 1970's breakthrough Déjà Vu, collapsed but manager Elliot Roberts and promoter Bill Graham convinced the group to stage the first outdoor stadium tour in the summer of 1974, with the idea that CSNY would test-drive new material in concert, then record a new studio album in the fall, or maybe release a live record from the historic tour. Neither happened.
Hold on to your hat, we're coming in strong with one from the Windy City that'll have you movin' and shakin' from start to finish. DAVE'S PICKS VOLUME 31: UPTOWN THEATRE, CHICAGO, IL 12/3/79 signals a true rebirth of the Grateful Dead, reimagining classics and foreshadowing their 80s sound. This is as much in part due to freshly-minted member Brent Mydland bringing the organ back in as it is to Jerry finding new vivacity with his custom Tiger guitar. New guy, new guitar - it all makes for a heck of a good time!
Over the course of three discs, VOYAGE neatly navigates the long, rich career of David Crosby. Though he's best known as one-third of Woodstock-era folk-rock harmonists Crosby, Stills & Nash, the man with the angelic voice and the walrus moustache boasts a resume whose high points extend well beyond that association. VOYAGE doesn't stint on CSN (and sometimes Y) material, but the journeys into his early days with the Byrds, his solo albums, duo recordings with Graham Nash, and latter-day work with CPR are equally telling. From the mid-'60s Byrds tracks up to the present day, Crosby's knack for close, complex vocal harmonies, unusual jazz-influenced chord structures, and raga-tinged melodic lines serves as a connecting thread. VOYAGE allows listeners to follow Crosby's winding path through disparate eras, stopping off to marvel at the gorgeous sonic scenery along the way.
He's been part of two huge-selling international superstar rock groups, and recorded some very popular albums on his own and with David Crosby. Yet Graham Nash has never been thought of as a talent in his own right the way that, to varying degrees, either of his three bandmates in Crosby, Stills, Nash & Young have. This three-CD, 64-track box set can be seen as both a way of focusing the spotlight on Nash's work both within and outside of his famous bands, and also as a career retrospective of sorts, spanning as it does about 40 years of recordings. Like almost all such box sets, however, it won't be as balanced as everyone would like between his various career phases and contexts, or contain as much in the way of revelatory rarities as some would hope.
Disagreements and debates are common among Grateful Dead fans but there is a surprising consensus that the show the group gave at Barton Hall at Cornell University on May 8, 1977 is one of the band's greatest. It, like so many Dead shows, first gained its reputation through tape trading, but its legend soon eclipsed Deadhead circles, culminating in its induction into the Library of Congress's National Recording Registry in 2012. Rhino/Grateful Dead Records' official release followed in May 2017 – just in time for the concert's 40th anniversary; it was also bundled as part of a big box called Get Shown the Light, which contains all the shows the Dead did in May 1977 – and it's worth the wait.