The Squeeze

One imagines that this collection was aimed at the total neophyte listener – taken in any other context, this is an odd collection of single sides by one of the premiere singles bands of the 1960s and early '70s. Does it start at the beginning, with either "I'm the Face" or "I Can't Explain"? No. Does it encompass many of the freestanding singles issued by this band through 1972? No. Does it even offer any of the less well-known single sides from that period? No – apart from the three-and-a-half-minute single edit of "Won't Get Fooled Again," which was hardly a sterling example of the format or the genre. Instead, listeners get all of the most familiar hits, albeit in their original mono mixes where relevant: "Substitute," "I'm a Boy," "Pictures of Lily," "I Can See for Miles," "Pinball Wizard," "Squeeze Box," etc. The best of it overlaps with Meaty Beaty Big and Bouncy.

This 22-song compilation features all of the essential recordings cut by the group in 1965 and 1966 after they broke with their original producer Mickie Most, and before Eric Burdon dissolved the core of the original lineup to pursue solo stardom with an Animals group featuring entirely different musicians. These tracks were perhaps more soul-oriented than their previous recordings, but the group still burns on the hits "Inside Looking Out" and "Don't Bring Me Down." Despite the absence of original keyboardist Alan Price, the group continued to showcase Burdon's passionate vocals and burning, vibrant organ (by Price's replacement Dave Rowberry) on both renowned and obscure R&B tunes, with an occasional original thrown in. Besides the entirety of their final British LP Animalisms (from 1966) and the above-mentioned singles, the CD includes the hits "Help Me Girl" and "See See Rider" (credited to "Eric Burdon and the Animals," these were possibly Burdon solo records). The four tracks from their first release, an independently released 1963 EP featuring primitive R&B standards, are small but noteworthy bonus cuts that close this collection.

Kenny Burrell - The Bluesin' Around Sessions (2013) {Essential Jazz 24bit Remaster rec 1961-1962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 475 Mb | MP3 @320 -> 182 Mb
Full Artwork @ 600 dpi (jpg) -> 253 Mb | 5% repair rar
© 1961-62, 2013 Essential Jazz Classics / Columbia | EJC55619
Jazz / Bop / Guitar

This release contains the complete original Kenny Burrell LP Bluesin' Around (Columbia FC38507), which showcases the guitarist in a quintet format with such stars as Illinois Jacquet, Hank Jones, Brother Jack McDuff, Leo Wright, and Eddie Bert. In addition, all existing songs from the same sessions that weren't included on the original LP plus all but one of the existing alternate takes from the dates. The music is presented here chronologically, in order to avoid mixing the personnel from the different sessions.

The Who by Numbers functions as Pete Townshend's confessional singer/songwriter album, as he chronicles his problems with alcohol ("However Much I Booze"), women ("Dreaming From the Waist" and "They Are All in Love"), and life in general. However, his introspective musings are rendered ineffective by Roger Daltrey's bluster and the cloying, lightweight filler of "Squeeze Box." In addition, Townshend's songs tend to be underdeveloped, relying on verbosity instead of melodicism, with only the simple power of "Slip Kid," the grace of "Blue Red and Grey," and John Entwistle's heavy rocker "Success Story" making much of an impact.

One imagines that this collection was aimed at the total neophyte listener - taken in any other context, this is an odd collection of single sides by one of the premiere singles bands of the 1960s and early '70s. Does it start at the beginning, with either "I'm the Face" or "I Can't Explain"? No. Does it encompass many of the freestanding singles issued by this band through 1972? No. Does it even offer any of the less well-known single sides from that period? No - apart from the three-and-a-half-minute single edit of "Won't Get Fooled Again," which was hardly a sterling example of the format or the genre. Instead, listeners get all of the most familiar hits, albeit in their original mono mixes where relevant: "Substitute," "I'm a Boy," "Pictures of Lily," "I Can See for Miles," "Pinball Wizard," "Squeeze Box," etc.

The 2020 deluxe edition features Pete Townshend’s remix of Beads On One String plus The Who Live at Kingston, a special acoustic performance recorded on 14th February 2020, recorded 50 years to the day since the seminal Live at Leeds show.

A masterful stride pianist, a playful vocalist, and an influential jazz figure who was enormously popular in the '30s and '40s.
Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers - and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream…