Sixty years after the recordings were first released, Woody Guthrie's odes to the Dust Bowl are presented in their third different configuration. RCA Victor Records, the only major label for which Guthrie ever recorded, issued two three-disc 78 rpm albums, Dust Bowl Ballads, Vol. 1 and Dust Bowl Ballads, Vol. 2, in July 1940, containing a total of 11 songs. ("Tom Joad" was spread across two sides of a 78 due to its length.) Twenty-four years later, with the folk revival at its height, RCA reissued the material on a single 12" LP in a new sequence and with two previously unreleased tracks, "Pretty Boy Floyd" and "Dust Bowl Blues," added. Thirty-six years on, the Buddha reissue division of BMG, which owns RCA, shuffles the running order again and adds another track, this one an alternate take of "Talking Dust Bowl Blues."
“Dust Yourself Off” is a high-class debut from an act who had not yet quite found the way to shape and mould their influences into their own sound. It was a great starting point and the first of six albums for Fantasy that allowed them to hone a very distinctive style, that made them one of the most popular soul/funk groups of their era.
This late 1980’s album is a gem. 40 year old Tommy Chase was an experienced bandleader who worked with younger musicians and harnessed their energies to create an outfit who were at the forefront of the 80’s resurgence in modern jazz. They played hard bop to a younger audience who were only too ready to respond on the dance floor. Sadly, even by the time this came out, many of the great modern jazz originators had died, were no longer active or had moved on to play in different styles, but at least Tommy and co were there for us.
This is a specially priced, two-CDs-for-the-price-of-one photo-cube set, loaded with great stuff from Charlie Musselwhite, Koko Taylor, Lonnie Brooks, Johnny Winter, Billy Boy Arnold, Lonnie Mack, and a host of others who have trotted their wares on the label over the years. Besides giving the novice one great introduction to the label (as the music runs from traditional to modern), the big bonus here is a treasure trove of previously unissued tracks from Roy Buchanan (a chaotic version of Link Wray's "Jack the Ripper"); Floyd Dixon (a recut of his Blues Brothers-approved hit "Hey Bartender"); Albert Collins and Johnny Copeland in a marvelous outtake from the Showdown! album ("Something to Remember You By"); and the band that started it all, Hound Dog Taylor & the Houserockers, with a crazed version of Elmore James' "Look on Yonder's Wall," as sloppy as it is cool. Very good stuff.
Who, you might be asking? OK, so Americans may regard Southern California’s revivalists of powerful melodic punk *Face To Face *as something of a punk rock institution but over on this side of the pond their tumultuous ten-year career is more viewed as a punk rock travesty. For despite touring incessantly throughout the states and putting out consistently well written and well-received albums throughout the nineties, headlining venues up to 3000 capacity the band still had not released anything in Europe.
Digitally remastered two CD set containing four Smash/Mercury Records albums from The Killer, dating from 1969, 1970, 1971 and 1978. Together features Jerry Lee's sister Linda Gail and the album included the US Country Top 10 single 'Don't Let Me Cross Over'. Live At The International and In Loving Memories - The Jerry Lee Lewis Gospel Album are what they say they are Keeps Rockin was his last for Mercury and with producer Jerry Kennedy. Like the others in this package, the album made the US Country charts, and also produced the Country hit 'I'll Find It Where I Can'. His gospel performances of "The Old Rugged Cross" and "The Lily of the Valley" and live renditions of "Jambalaya, " "Take These Chains from My Heart" and "Flip, Flop and Fly" join his country Top 10s "Don't Let Me Cross Over" and "I'll Find It Where I Can, " his spins on "Blue Suede Shoes, " "Roll Over Beethoven, " "Sweet Little Sixteen" and more.
Virginians Ralph and Carter Stanley, the Stanley Brothers, took the traditional Appalachian string band songs of their home and updated them into a traditionally rooted modern bluegrass sound that was singular for its authentic tone, no-frills simplicity, and at times haunting and astonishing beauty, the very model of the high lonesome sound. This expansive four-disc, 111-track box covers the later part of the middle period of their recording career, collecting virtually every side the brothers recorded for the King record label between 1961 and 1965. That's a whole lot of Stanley Brothers, but the musical quality, integrity, and execution of this storied duo never waver here, and indeed, they never really did waver one bit any time the two of them stepped in front of the microphones.