Rock — All Formats  

A massive amount of early work by The Animals – brought together in one overstuffed package with some unreleased tracks as well! The group here have a great rough sound – much more bluesy than in later years, which turns out to be a perfect setting for the young Eric Burdon – whose vocals soar out wonderfully over a mix of original tunes and remakes of American classics by folks like Ray Charles, John Lee Hooker, Sam Cooke, Bo Diddley, and others! Producer Mickie Most really knows how to keep the right sort of edge on the tunes – lots of raw power in the instrumentation, especially the Hammond and guitar – and a stark, dark quality to Eric's vocals that went onto become the stuff of legend. Package features 40 tracks in all – with titles that include "I Believe To My Soul", "Don't Let Me Be Misunderstood", "Club A Go Go", "For Miss Caulker", "Feel", "Boom Boom", "Don't Want Much", "It's My Life", "House Of The Rising Sun", "We've Gotta Get Out Of This Place", and "I'm Gonna Change The World".

A pair of mid 70s album by Bobby Bare – the ambitious, concept-driven Hard Time Hungrys – and the easygoing The Winners & Other Losers – two worthy efforts from one the most unique voices and personalities of his era! Both albums are heavy with songs written by Bare family friend and frequent songwriting partner Shel Silverstein. Johnny Cash gets all the mainstream attention for collaborating with Shel on "A Boy Named Sue", but Shel and Bare have a far richer collaborative history together. Home For The Hungrys tells the story of the impoverished, with the title track, "Back Home In Huntsville Again", "Bottles And Boxes", "Truck Driver, Truck Driver", "The Unemployment Line" and more. The Winners And Other Losers is simply a great batch of tunes, sans concept, with the enduring "Drop Kick Me Jesus", "My Better Half", "Keeping Rosie Proud Of Me" and more. 24 tracks in all.

A mid 70s album by Bobby Bare – the easygoing The Winners & Other Losers – a worthy effort from one the most unique voices and personalities of his era! This album is heavy with songs written by the Bare family friend and frequent songwriting partner Shel Silverstein. Johnny Cash gets all the mainstream attention for collaborating with Shel on "A Boy Named Sue", but Shel and Bare have a far richer collaborative history together. The Winners And Other Losers is simply a great batch of tunes, sans concept, with the enduring "Drop Kick Me Jesus", "My Better Half", "Keeping Rosie Proud Of Me" and more.

Groovy Eastern sounds from John Berberian – a musician we know from more rockish projects, but who steps out here on a relatively traditional set of tunes! As you'd guess from the title, Berberian's instrument is the oud – that weird stringed instrument we probably know best from Ahmed Abdul-Malik's jazz experiments of the early 60s, used here by John in styles that are much more in keeping with its Middle Eastern roots. The rhythms draw from Turkish, Armenian, and Arabic inspiration – and other instruments on the record include finger cymbals, clarinet, bongos, guitar, and assorted percussion. Most number features vocals sung in a haunting sort of tone – and tunes include "Rast Taksim", "Yarus", "Sevasda", "Savgulum", "Sevan 5/4", and "Azziza".

Brilliant 60s pop from the team of Tommy Boyce & Bobby Hart – best known for their key early songwriting work for The Monkees, but a heck of a great duo on their own! Boyce & Hart have a sparkly, sunshiney sound that's very much a part of The Monkees generation – a beautiful post-folk, post-surf blend of styles, and one that's served up with all the warmth and charm that made The Monkees so great – yet also with some cool twists and turns that make a record like this so great – the kind of chance-taking that A&M sometimes allowed its artists to take at the time! Backings are super-groovy – arranged by Artie Butler and Don McGinis – and titles include "I Wonder What She's Doing Tonite", "Teardrop City", "I Wanna Be Free", "The Countess", "Population", and "Two For The Price Of One" – a great cover of a Larry Williams & Johnny Watson soul tune! Features bonus mono single tunes – "The Ambushers", "Love Every Day", "Where Angels Go Trouble Follows", and "I Wanna Be Free".

Bill Cosby introduces this hip little live set from the John Mayall group – which is fitting, as there's definitely a bit of an LA groove on the set! Mayall's still in very bluesy territory, but he also gets some great soul jazz support too – from players who include Charles Owens on flute and soprano sax, Ernie Watts on tenor, and even the great Fred Jackson on baritone! Keef Hartley adds in some mighty heavy drums, but the group's further expanded by even more American players too – including Blue Mitchell on trumpet and Freddie Robinson on guitar – both players who definitely leave their mark on the set. There's some great electric piano too – and titles include the classic "Keep Our Country Green" – plus "Christmas 71", "Things Go Wrong", "Do It", "Moving On", "Red Sky", "Reasons", "High Pressure Living", and "Worried Mind".

Swinging British pop tracks by two of England's loveliest ladies of the 60s – neither of which is well known as a singer, but both of whom sound pretty darn groovy here! The first 4 tracks on the CD are from a 1966 EP by Twiggy – recorded early in her fame as a model, and with some especially nice backings from Johnny Hawksworth! Twiggy's vocals are surprisingly nice – kind of sweet and light, but also with a sense of darkness that we like a lot – but the Hawksworth arrangements are what really make the album groove, as they're filled with the weird touches we've come to love over the years in Johnny's own instrumental work. Twiggy tracks include "When I Think Of You", "Beautiful Dreams", "Over & Over", and "I Need Your Hand In Mine". Linda Thorson's probably best known as the actress who followed Diana Rigg's run on The Avengers, but here she emerges as a groovy little singer in her own right – working in late 60s Brit female modes that clearly borrow from Dusty Springfield, Sandie Shaw, and others – and which actually have some surprising soul-based touches as the set rolls on. And while we're not about to say that Linda's vocals are as strong as Dusty or Sandie's, we can say that the album's thoughtful arrangements from Kenny Lynch keeps things on very solid footing – pushing the tunes forward with a mixture of baroque, mod, and swinging styles that should have gotten Thorson another date or two in the studio. Titles include "Here I Am", "Better Than Losing You", "Wishful Thinking", "Pick Up My Heart", "You Will Want Me", and "Bad Time To Stop Loving Me".

One of the greatest songwriting partnerships of the 60s – featured here in a great mix of soul, rock, and vocal numbers from the time – including a fair number of unusual versions of hits from the team of Barry Mann & Cynthia Weil! Weil's got a style that's sometimes a bit deeper than her contemporaries – and when mixed with Barry's strong sense of punch in a tune, has a way of bringing some surprising sophistication to pop music – little emotive moments that peek out from more hook-heavy numbers – but all without ever sounding lachrymose or overblown. As part of that quality, lots of these tunes have some great New York-styled production – that uptown balance of emotion and class – and as with other titles in Ace's excellent songwriter series, the notes alone are almost worth the price of admission – given all the historical detail, cultural commentary, and cool images. Titles include "New World Coming" by Mama Cass, "Love Is Only Sleeping" by The Monkees, "Angelica" by Scott Walker, "Looking Through The Eyes Of Love" by Gene Pitney, "Love Him" by Doris Day, "Good Good Lovin" by Bobby Hebb, "You Baby" by Len Barry, "Born To Be Together" by The Ronettes, "This Is A Love Song" by Bill Medley, "Make Your Own Kind Of Music" by The Happenings, "Shape Of Things To Come" by Slade, and "Proud" by Johnny Crawford.

Stunning sounds from the farther reaches of the El Paso scene – amazing music that really gets at the rich array of underground acts working in the shadow of bigger local hero Bobby Fuller! The cuts here are very heavy on guitars, and often recorded with an echoey approach that makes each twang as resonant as thunder – a perfect way to make a heck of a lot out of a little, and really bring the best out of some of these groups! Our favorite cuts here are by Bob Taylor & The Counts – a combo that sports some really wicked guitar right up front, and raw vocals and tumultuous drums that almost recall the sound of early work by Johnny Burnette. Bob Taylor titles include "Taylor's Rock", "Child Fortune", "Thunder", and "Jill" – and other cuts include "You're Wrong" and "The Shadows Dance" by Johnny Garmon & The Shadows, "Be Mine" and "Jim's Jive" by Jerry Bright & The Embers, "Runaway" by Rock Kings, "Party" by Al Sims & The Alpine Two, "Little Rome" by Max Alexander & The Hi Fi Combo, and "Finders Keepers" by Don Guess & The Rock Kings.

Stunning sounds from the farther reaches of the El Paso scene – amazing music that really gets at the rich array of underground acts working in the shadow of bigger local hero Bobby Fuller! The cuts here are very heavy on guitars, and often recorded with an echoey approach that makes each twang as resonant as thunder – a perfect way to make a heck of a lot out of a little, and really bring the best out of some of these groups! Our favorite cuts here are by Bob Taylor & The Counts – a combo that sports some really wicked guitar right up front, and raw vocals and tumultuous drums that almost recall the sound of early work by Johnny Burnette. Bob Taylor titles include "Taylor's Rock", "Child Fortune", "Thunder", and "Jill" – and other cuts include "You're Wrong" and "The Shadows Dance" by Johnny Garmon & The Shadows, "Be Mine" and "Jim's Jive" by Jerry Bright & The Embers, "Runaway" by Rock Kings, "Party" by Al Sims & The Alpine Two, "Little Rome" by Max Alexander & The Hi Fi Combo, and "Finders Keepers" by Don Guess & The Rock Kings.

A weird sort of title – until you realize it's a play on the name of the city of Manchester, where most of this work originates – and where the testosterone must have been running high during the 70s, when most of these tunes were cut! The music here represents a world hardly heard from before – a British underground in the years after Deep Purple – rich in fuzz, and heavy on drums – making music that easily rivals the badass power of most of the bigger British groups of the time – and which often has an undercurrent of funk at the bottom too! That funky element is definitely at play on the track selection here, too – as you might expect with Finders Keepers at the helm – the folks who've given us fuzzy funky nuggets from around the globe, and have turned back towards home to dig up these mostly unreleased gems! Titles include "Windy Day" by Greasy Bear, "Hunt The Stag" by Stack Waddy, "Ten Days Gone" by Urbane Gorilla, "Crocadilla" by Spider Jive, "Come On In" by Slipped Disc, "Seven Stars" by Plasma, "Johnny" by Socrates, and "Is This Really Me" by JC Heavy.

A weird sort of title – until you realize it's a play on the name of the city of Manchester, where most of this work originates – and where the testosterone must have been running high during the 70s, when most of these tunes were cut! The music here represents a world hardly heard from before – a British underground in the years after Deep Purple – rich in fuzz, and heavy on drums – making music that easily rivals the badass power of most of the bigger British groups of the time – and which often has an undercurrent of funk at the bottom too! That funky element is definitely at play on the track selection here, too – as you might expect with Finders Keepers at the helm – the folks who've given us fuzzy funky nuggets from around the globe, and have turned back towards home to dig up these mostly unreleased gems! Titles include "Windy Day" by Greasy Bear, "Hunt The Stag" by Stack Waddy, "Ten Days Gone" by Urbane Gorilla, "Crocadilla" by Spider Jive, "Come On In" by Slipped Disc, "Seven Stars" by Plasma, "Johnny" by Socrates, and "Is This Really Me" by JC Heavy.

John Mayall's on a new crusade here – hitting lines that are almost more truly blusey than his previous albums – thanks to a new lineup in the Blues Breakers combo! Alongside Mayall's lead on vocals, organ, harmonica, and bottleneck guitar – the group also features Mick Taylor on guitar, John McVie on bass, Keep Hartley on drums, Chris Mercer on tenor, and Rip Kant on baritone sax – the latter two of whom help keep the set from being a straight Chicago electric blues copy. Titles include "I Can't Quit You Baby", "Streamline", "Snowy Wood", "Man Of Stone", "Stand Back Baby", and "My Time After A While".

A definite diary of this unique British combo of the 60s – and a set that's arguably one of the band's bluesiest to date! The set features live recordings from 1967 – most very long and stretched-out, with a feel that's arguably even more rootsy than any American blues of the time – an possibly even more so than some of Mayall's earlier records too! The looseness of the performances really unlocks some new sounds in the group – and given the experimentation and intensity of some of these tracks, it's easy to see why they were such an important force at the time. Mick Taylor serves up some great guitar solos – and other players include Dick Heckstall-Smith and Chris Mercer on saxes, plus Keef Hartley on drums. Titles include an unusual interview section, plus "Blood On The Night", "Edmonton Cooks Ferry Inn", "I Can't Quit You Baby", and "My Own Fault".

In case you stumbled upon the wrong record, they are Motörhead and they play rock n' roll! This is pre-Ace Of Spades, groundwork-paving, gnarly, primitive and incendiary Motörhead – too loud and fast for mainstream rockers, too menacing for fancy lads of all stripes, too gutteral and nasty even for most early metal fans – the world just didn't know what to make of Lemmy & co. They'd catch up, eventually. Titles include "Motörhead", "Vibrator", "Lost Johnny", "Iron Horse/Born To Lose"., "White Line Fever", "Keepers On The Road", our second favorite version of "Train Kept A Rollin'" (sorry, Aerosmith) and "The Watcher".

In case you stumbled upon the wrong record, they are Motörhead and they play rock n' roll! This is pre-Ace Of Spades, groundwork-paving, gnarly, primitive and incendiary Motörhead – too loud and fast for mainstream rockers, too menacing for fancy lads of all stripes, too gutteral and nasty even for most early metal fans – the world just didn't know what to make of Lemmy & co. They'd catch up, eventually. Titles include "Motörhead", "Vibrator", "Lost Johnny", "Iron Horse/Born To Lose"., "White Line Fever", "Keepers On The Road", our second favorite version of "Train Kept A Rollin'" (sorry, Aerosmith) and "The Watcher".