See That my Grave

On November 11, 2003, Diamanda Galás released two albums, ending a five-year recording hiatus with a bang. Both are solo live recordings and present two very different sides of her. La Serpenta Canta showcased her song-based material (mostly blues). Defixiones: Will and Testament, Orders From the Dead is more typical of her operatic works of the 1990s.

From the earthy guitar-driven country blues of Blind Lemon Jefferson and Charley Patton to the sequined glamour of the classic blues singers Bessie Smith and Ma Rainey, this Rough Guide charts the early recorded history of the blues through its key pioneers.

Lightnin’ Hopkins is arguably the greatest Texas blues star of the 1960s era. A country bluesman of the highest caliber, his career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. His style, strong rhythms punctuated by his flowing but compact lead lines, created a stinging and heart-tearing evocative sound. This quintessential collector’s edition includes two of Hopkins’ finest albums: the long unavailable Lightnin’ Strikes, originally released in 1962 by Vee-Jay Records, and the self-titled Lightnin’ Hopkins, his1959 debut for the Folkways label. The two LPs are widely regarded as landmarks of the late-‘50s/early-‘60s blues revival. Both solid-blues masterpieces have been remastered and packaged together in this very special release, which also includes 5 bonus tracks from the same period.

Bob Dylan - Great White Wonder: 50th Anniversary - Fan Made Project, Not For Sale! (2018) {Ass Blaster AB036}
EAC rip | FLAC (tracks) -> 303 Mb | MP3 @320 -> 191 Mb
Full Artwork @ 600 dpi (jpg) -> 8 Mb | 5% repair rar
© 1969, 2018 Ass Blaster Records | AB036
Rock / Folk Rock / Folk / Americana / Roots Rock / Songwriter

Fan Made Release - Not For Sale! Vinyl Transfers by Prof Stoned & Luke Pacholski. Released in July 1969, Great White Wonder was pressed and distributed by two Los Angeles-based, fringe-of-record-business hustlers, Dub Taylor and Ken Douglas, who went on to become the biggest players in the bootleg market. The album set a high quality-benchmark: great music, good audio. Like almost all bootlegs of the early 1970s, it came in a white cardboard sleeve with a rubber-stamped title but no artist name.