Treat me Like Dirt

Rothberg is one of the (few) post-Alanis women whose stance is more complicated than outraged one minute, cautiously loving the next. Her songs about relationships are complicated and often ambiguous, and she is equally unflinching in her descriptions of the successes and failures she has witnessed. Strongly rooted in the singer/songwriter aesthetic of one woman and her guitar, the songs on Between the 1 and the 9 are fleshed out a bit with other instruments but retain their edge. The biggest surprise here is in the maturity of her voice, which gives the songs their immediacy and intimacy.

The Dutch National Opera presents this World Premiere Recording of the opera 'Waiting for Miss Monroe' by leading Dutch composer Robin de Raaff. Star soprano Laura Aikin performs as the main protagonist in the role of Marylin Monroe, backed by the Netherlands Chamber Orchestra, conducted by Steven Sloane.

George Jones - Birth Of A Legend: The Truly Complete Starday & Mercury Recordings 1954-1961 (2017) {6CD Bear Family BCD 16100}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.92 Gb | MP3 @320 -> 1.02 Gb
Artwork @ 300 dpi (png) -> 51 Mb | 5% repair rar
© 1954-61, 2017 Bear Family Records | BCD 16100
Country / Honky Tonk / Nashville Country / Country Gospel / Country Pop

In May 1956, the Texan label Starday issued a wild rockabilly single by Thumper Jones. Its top side, the kinetic “Rock It”, was primal, uncontrolled and wild. The flip, “How Come It”, was less frenzied but still driving and infectious. Original pressings of the two-sided pounder in either its 45 or 78 form now fetch at least Ј200. This is not your usual rockabilly rarity though. The record’s label credited the songs to a Geo. Jones. Thumper Jones was a pseudonymous George Jones (1931–2013), who was cashing in a hip style: the only time he did so with rockabilly.

This three-CD box set currently rates as the best - and most digestible - overview of Howlin' Wolf's career. Disc one starts with the Memphis sides that eventually brought him to the label, including hits like "How Many More Years," but also compiling unissued sides that had previously only been available on vinyl bootlegs of dubious origin and fidelity. The disc finishes with an excellent cross section of early Chicago sessions, including classic Wolf tracks like "Evil," "Forty Four," "I'll Be Around," and "Who Will Be Next?" Disc two picks it up from there, guiding listeners from mid- to late-'50s barnburners like "The Natchez Burning" and "I Better Go Now" to the bulk of the Willie Dixon classics. The final disc runs out the last of the Dixon sessions into mid-'60s classics like "Killing Floor," taking the listener to a nice selection of his final recordings…

This three-CD box set currently rates as the best - and most digestible - overview of Howlin' Wolf's career. Disc one starts with the Memphis sides that eventually brought him to the label, including hits like "How Many More Years," but also compiling unissued sides that had previously only been available on vinyl bootlegs of dubious origin and fidelity. The disc finishes with an excellent cross section of early Chicago sessions, including classic Wolf tracks like "Evil," "Forty Four," "I'll Be Around," and "Who Will Be Next?" Disc two picks it up from there, guiding listeners from mid- to late-'50s barnburners like "The Natchez Burning" and "I Better Go Now" to the bulk of the Willie Dixon classics. The final disc runs out the last of the Dixon sessions into mid-'60s classics like "Killing Floor," taking the listener to a nice selection of his final recordings…

This three-CD box set currently rates as the best - and most digestible - overview of Howlin' Wolf's career. Disc one starts with the Memphis sides that eventually brought him to the label, including hits like "How Many More Years," but also compiling unissued sides that had previously only been available on vinyl bootlegs of dubious origin and fidelity. The disc finishes with an excellent cross section of early Chicago sessions, including classic Wolf tracks like "Evil," "Forty Four," "I'll Be Around," and "Who Will Be Next?" Disc two picks it up from there, guiding listeners from mid- to late-'50s barnburners like "The Natchez Burning" and "I Better Go Now" to the bulk of the Willie Dixon classics. The final disc runs out the last of the Dixon sessions into mid-'60s classics like "Killing Floor," taking the listener to a nice selection of his final recordings…

These Charly, UK sets are not easy to find. Their sets are generally made with great care and pride. 151 Chess and Sun recordings- it is entitled "Complete" although it does not contain two very non-essential albums from the period (The Super Super Plus Band from 1967 and the 1968 Cadet album aka "Howlin' Wolf Didn't Like This Album"- and with good reason; both are quite disposable and unnecessary), plus a conversation; this is all from Sun and Chess, his very best stuff, the real essential recordings without a bad track in the lot.

"Chasin' Wild Trains" is the thirteenth studio album by Kim Carnes, released in 2004. It was Carnes' first full-length album since 1991's "Checkin' Out the Ghosts" which was released only in Japan and her first to be released both in the U.S. and internationally since 1988's "View from the House". "Chasin' Wild Trains" was originally released by the Sparky Dawg Music label in the U.S. and later re-issued internationally by Dutch label Corazong. The album did not chart, however.