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This double-disc set is one of the more bountiful compilations gleaned from Mitch Miller's voluminous Columbia Records catalog. Unfortunately, the contents of 50 All-American Favorites (2004) have been confined to the years 1958 to 1962, during which time Miller's unconventional performance style was on its final descent. Mitch Miller & the Gang consisted of Miller fronting a full choral ensemble of vocalists who sang in unison.

Flo & Eddie - Illegal, Immoral And Fattening (1975) {One Way Records A22673 rel 1992}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 241 Mb | MP3 @320 -> 90 Mb | Full Artwork | 5% repair rar
© 1975, 1992 Columbia / Sony Music / One Way Records | A22673
Rock / Psychedelic / Sunshine Pop / Comedy Rock / AM Pop / Folk Rock

After issuing a pair of thoroughly excellent albums on Reprise Records, the Phlorescent Leech & Eddie aka Flo & Eddie – who were embodied by Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) – moved over to the Columbia label for two additional LPs Illegal, Immoral and Fattening (1975) and Moving Targets (1976). The contents of the former are split between studio and live material containing considerable overdubs. The support backup band for the project consists of West Coast session talents Phil Reed (lead guitar), Erik Scott (bass), Andy Cahan (keyboards), and Craig Krampf (drums) – with one notable exception that will be dealt with shortly.

Almost as an autoimmune response to the filth peddled by infamous British bastards Venom, Sodom was formed quite early on in metal's germination towards extremity. Birthed in 1981; before Slayer, before Possessed, and before the other 2/3rds of the German 'big three' (Destruction and Kreator), both of whom were also trios in their waking years, Sodom manifest like a bullet from oblivion with a pair of noisy and violent demos that spread enough buzz to get the acquire the attention of Steamhammer; who teamed up with the band to produce their In the Sign of Evil EP…

For his 18th album on Stony Plain, Duke Robillard leads his band – Bruce Bears on piano, Brad Hallen on acoustic bass, and Mark Teixeira on drums – through a set of covers of often obscure blues tunes from the late 1940s and early ‘50s. It's as if he is trying to re-create the contents of a jukebox in some Chicago bar of the era, with two songs each drawn from the repertoires of Guitar Slim ("Quicksand," "Later for You Baby"), Tampa Red ("Mercy Mercy Mama," "Let Me Play with Your Poodle"), Sugar Boy Crawford ("Overboard," "What's Wrong"), Pee Wee Crayton ("Blues After Hours," "Do Unto Others"), and Elmore James ("Tool Bag Boogie," "The 12 Year Old Boy"), plus Eddie Taylor's "Trainfare Home," John Lee Hooker's "Want Ad Blues," Jimmy McCracklin's "It's Alright," and Bobby "Blues" Merrill's "I Ain't Mad at You."

Vendetta must have had a lot of other band's shaking in their boots at the time Go and Live…Stay and Die was released, because it's such a compact, loaded weapon of 'things to do right' that it instantly placed the band among the ranks of the elite…