Colosseum – The Collectors Colosseum (1971)

LPFrontCover1Colosseum are an English jazz rock band, mixing blues, rock and jazz-based improvisation. Colin Larkin wrote that “the commercial acceptance of jazz rock in the UK” was mainly due to the band. Between 1975 and 1978 a separate band Colosseum II existed playing progressive rock.

Colosseum, one of the first bands to fuse jazz, rock and blues, were formed in early 1968 by drummer Jon Hiseman with tenor sax player Dick Heckstall-Smith, who had previously worked together in the New Jazz Orchestra and in The Graham Bond Organisation, where Hiseman had replaced Ginger Baker in 1966. They met up again early in 1968 when they both played in John Mayall’s Bluesbreakers, during which time they played on the Bare Wires album. Childhood friend Dave Greenslade was quickly recruited on organ, as was bass player Tony Reeves who had also known both Hiseman and Greenslade since being teenage musicians in South East London. The band’s line-up was completed, after lengthy auditions, by Jim Roche on guitar and James Litherland (guitar and vocals), although Roche only recorded one track before departing.

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Their first album, Those Who Are About to Die Salute You, which opened with the Bond composition “Walkin’ in the Park”, was released by the Philips’ Fontana label in early 1969. In March the same year they were invited to take part in Supershow, a two-day filmed jam session, along with Modern Jazz Quartet, Led Zeppelin, Jack Bruce, Roland Kirk Quartet, Eric Clapton, Stephen Stills, and Juicy Lucy.

Colosseum’s second album, later in 1969, was Valentyne Suite, notable as the first release on Philip’s newly launched Vertigo label, established to sign and develop artists that did not fit the main Philips’ brand, and the first label to sign heavy metal pioneers Black Sabbath.

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For the third album, The Grass Is Greener, released only in the United States in 1970, Dave “Clem” Clempson replaced James Litherland. Louis Cennamo then briefly replaced Tony Reeves on bass, but was replaced in turn by Mark Clarke within a month. Then Hiseman recruited vocalist Chris Farlowe to enable Clempson to concentrate on guitar. This lineup had already partly recorded the 1970 album Daughter of Time.

In March 1971, the band recorded concerts at the Big Apple Club in Brighton and at Manchester University. Hiseman was impressed with the atmosphere at the Manchester show, and the band returned five days later for a free concert that was also recorded. The recordings were released as a live double album Colosseum Live in 1971. In October 1971 the original band broke up.

After the band split, Jon Hiseman formed Tempest with bassist Mark Clarke; Dave Greenslade formed Greenslade together with Tony Reeves. Chris Farlowe joined Atomic Rooster; and Dick Heckstall-Smith embarked on a solo career. Clem Clempson joined the hit group Humble Pie.

Hiseman formed another group called Colosseum II in 1975, with a stronger orientation towards jazz-fusion rock, which featured guitarist Gary Moore and Don Airey on keyboards. They released three albums before disbanding in 1978.

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Colosseum reunited on 24 June 1994 at the Freiburg Zelt Musik Festival, with the same line-up as when they split in 1971. On 28 October they played a concert in Cologne at E-Werk which was recorded for a TV Special. Recordings from this show were released in 1995 as a CD and a video, and re-released in 2004 as a DVD. The rejuvenated band then played a lengthy tour of mainly German concerts. A second tour followed in 1997, to promote their new studio album “Bread and Circuses”. They also appeared at major festivals in 1998, 1999 and 2000.

In 2003 they toured on the back of “Tomorrow’s Blues” CD, followed also by gigs in England in 2004. Hiseman’s wife, saxophonist Barbara Thompson, joined the band on various occasions. When Dick Heckstall-Smith died in December 2004 she became a permanent member of the band.

In 2005, there were three memorial concerts for Dick Heckstall-Smith, one in Hamburg Germany and two in England.

On 24 September 2005 they performed in Moscow, followed by more concerts in 2006.

In 2007, the made their first appearance in Japan and returned to play more dates in Germany.

Further tours of Europe were made in 2010.

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In October 2010, Jon Hiseman’s biography, Playing the Band – The Musical Life of Jon Hiseman, was published. In November 2012, a Kindle version (with minor re-edits) of Playing the Band was published.[6]

Colosseum played their “Summer 2011” tour of 22 gigs in Germany, Italy, Austria, Finland and Poland. The tour started in June and ended on 20 August in Germany, Rostock, at Bad Doberan “Zappanale” festival. According to the interview of the bandleader Jon Hiseman, Bad Doberan was the last concert of the band. Their second ‘last’ concert was in Poland, Slupsk, at “Legends of Rock” festival on 13 August 2011 and the third ‘last’ concert in Finland, Äänekoski, at “Keitelejazz” festival on the 23 July 2011. These announcements were based on Barbara’s worsening Parkinson’s condition preventing her from playing. However, with the arrival of new medication, her ability to play was renewed, so those announcements proved to be premature and the band continued to record and play until 2015.

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More studio releases followed, as expanded editions of Valentyne Suite and Colosseum Live, and several compilation sets of earlier work. From 2011 to 2014, Colosseum gradually recorded their final album, titled “Time on our Side”, which was eventually released late in 2014, to coincide with their final flurry of dates in Germany and the UK. These included 24 concerts during 2014 in Central Europe, starting 23 October at Steinegg Festival, Collepietra, Italy. Followed by concerts in February 2015 before ending on 28 of that month at the Shepherd’s Bush Empire, London. At all these concerts, Jon Hiseman confirmed from the stage that this tour would be Colosseum’s last.

After 23 years, the band played what Jon referred to as ‘the last hurrah!’ before a packed and very appreciative audience at the Shepherd’s Bush Empire, London on 28 February 2015. Special ‘guest’ was Ana Gracey, the daughter of Jon Hiseman and Barbara Thompson. Together with Chris Farlowe she sang her own composition “Blues to Music”, which was also included on the final Colosseum CD.

Jon HisemanColosseum reunited again after the death of Jon Hiseman to play selected shows in 2020. The line-up is Chris Farlowe, Clem Clempson and Mark Clarke, joined by Kim Nishikawara (sax), Adrian Askew (keys, organ) and Malcolm Mortimore (drums). In August 2021, it was reported that the keyboard position would be filled by Nick Steed. This line-up started touring on the 29th of August in Hamburg at Landhaus Walter to be continued in UK. On April 15 2022, they released their new studio album “Restoration”.

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The Collectors’ Colosseum is a compilation album (with some previously unreleased tracks !) by Colosseum that was released in England in 1971.

Enjoy this excellent music … Colosseum were in these days one of the most imporant Jazz-Rock groups and they are still today eminently important in the history of music ! And they are still active, although their founders, Jon Hiseman and Dick Heckstall-Smith has unfortunately long since died

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Personnel:
Dave Clempson (guitar, vocals on 01., 06. + 08.)
Chris Farlowe (vocals on 01.)
Dave Greenslade (keyboards)
Dick Heckstall-Smith (saxophone)
Jon Hisman (drums, percussion)
James Litherland (guitar, vocal on 02., 03., 04. + 05.)
Tony Reeves (bass)

An Italian re-issue:
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Tracklist:
01. Jumping Off The Sun (originally recorded late in 1969 (1) (Taylor/Tomlin) 3.36
02. Those About To Die (excerpt from their first LP) (Hiseman/Greenslade/Reeves/ Heckstall-Smith) 4.53
03. I Can’t Live Without You (recorded 1968; previously unreleased) (Litherland) 4.18
04. Beware The Ides Of March (from their first LP) (Hiseman/Greenslade/Reeves/ Heckstall-Smith) 5.38
05. Walking In The Park (from their first LP) (Bond) 3.55
06. Bolero (recorded late in 1969; previously unreleased) (Ravel) 5.28
07. Rope Ladder To The Moon (recorded late in 1969; previously unreleased) (Bruce/Brown) 3.20
08. The Grass Is Greener (recorded late in 1969; previously unreleased) (Heckstall-Smith/ Hiseman) 7.33

(1) with Chris Farlowe’s vocals overdubbed over Dave Clempson’s originals. In addition, there are extra guitar overdubs by Clempson.

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Kiki Dee – I´ve Got The Music In Me (2001)

FrontCover1Pauline Matthews (born 6 March 1947), better known by her stage name Kiki Dee, is an English singer. Known for her blue-eyed soul vocals, she was the first female singer from the UK to sign with Motown’s Tamla Records.

Dee is best known for her 1973 hit “Amoureuse”, her 1974 hit “I’ve Got the Music in Me” and “Don’t Go Breaking My Heart”, her 1976 duet with Elton John, which went to number 1 on both the UK Singles Chart and the US Billboard Hot 100 chart. Her 1981 single “Star” became the theme song for the talent show Opportunity Knocks when it was revived by the BBC in 1987. In 1993, she performed another duet with John for his Duets album, a cover version of Cole Porter’s “True Love”, which reached number 2 in the UK. During her career, she has released 40 singles, three EPs and 12 albums.

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Dee was born in Bradford, West Riding of Yorkshire, England. At the age of 10 she won a local talent contest, and at 16 she had her first paid job in show business. “I realised when I sang at family parties and Christmases I’d suddenly get everyone’s attention and, being the youngest of three, I thought what a brilliant attention-seeking ploy it was,” stated Dee in a 2013 interview. She went on to say: “My older brother had a lot of Elvis on vinyl and really that was my first introduction to music during the Fifties.”

Aged 16, Dee worked at Boots in Bradford during the day, whilst in the evenings she sang songs with a dance band in Leeds. A record scout liked her singing and invited her to London to do an audition. There, in 1963, she signed as a solo artist to Fontana Records.

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After singing with a local band in Bradford in the early 1960s, Dee began her recording career as a session singer. She sang backing vocals for Dusty Springfield, among others, but did not achieve solo success in the UK for many years. In 1963, Dee released her first single, “Early Night”, the first of eleven singles on Fontana, none of which reached the charts. Her 1966 release “Why Don’t I Run Away From You” (a cover of Tami Lynn’s “I’m Gonna Run Away From You”) was a big hit on Radio London and Radio Caroline, and she sang the B-side “Small Town” in her appearance in Dateline Diamonds the same year. Also in 1966, she achieved wider coverage by singing “Take a Look at Me” in the hit comedy, Doctor in Clover. She brought out an EP, Kiki In Clover – which included “Take a Look at Me” – at the same time as the film’s release.

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She recorded her debut album, I’m Kiki Dee, in 1968 which included a series of Phil Spector-style tracks and covers. Her 1968 release “On a Magic Carpet Ride”, which was originally a B-side, has remained popular on the Northern soul circuit. Much of her early recorded work for Fontana Records, was released on 24 January 2011, on the CD compilation I’m Kiki Dee.

Songwriter Mitch Murray created her stage name, and penned her first single, “Early Night”. In the United States she became the first white British artist to be signed by Motown, releasing her first Motown single in 1970.

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In the days before BBC Radio 1, Dee was a regular performer of cover versions on BBC Radio, and she starred with a group of session singers in the BBC Two singalong series, One More Time. She also appeared in an early episode of The Benny Hill Show in January 1971, performing the Blood, Sweat and Tears hit, “You’ve Made Me So Very Happy”. Nevertheless, it was only after she signed with Elton John’s label, The Rocket Record Company, that she became a household name in the UK. Her first major solo hits were “Amoureuse”[1] (written by Véronique Sanson, with English lyrics by Gary Osborne) (1973) and “I’ve Got the Music in Me” (written by Tobias Stephen Boshell), the latter credited to the Kiki Dee Band (1974). In addition to her burgeoning career as a lead vocalist, she could sometimes be heard singing backing vocals on various John recordings, such as “All the Girls Love Alice” from Goodbye Yellow Brick Road and various tracks on Rock of the Westies.

Kiki Dee, Ronnie Wood and Mick Hucknall perform during the Helping The Heart of Music Concert in aid of the PRS members benevolent fund starring the ‘Faces’ supported by the ‘Rhythm Kings’ on October 25, 2009 in London, England:
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Her biggest hit came in 1976, when she replaced an ailing Dusty Springfield for the recording of a duet with John, “Don’t Go Breaking My Heart” (pseudonymously written by John and lyricist Bernie Taupin). The single reached number 1 in both the UK and US, remaining at the top for six weeks in the UK. At the end of the summer, she played as support act to Queen at their Hyde Park concert in front of a crowd of 150,000 people. Prior to the concert, in an interview for Record Mirror, she stated, “My confidence is at an all-time high.”

After a quiet period in the late 1970s, Dee launched a comeback in 1981, releasing one of her biggest hits, “Star”, written by Doreen Chanter of the Chanter Sisters. This later became the theme music to the BBC1 programme Opportunity Knocks between 1987 and 1990. Dee joined forces again with John in 1981, recording a cover of the Four Tops’ song “Loving You Is Sweeter Than Ever” which was written by Ivy Jo Hunter and Stevie Wonder. Both of these were included on her album Perfect Timing, which became a modest hit on the album chart, and she supplied backing vocals for John’s 1983 album Too Low for Zero. Dee also sang the song “What Can’t Speak Can’t Lie” (1983), composed and recorded by the Japanese jazz fusion group Casiopea, and with lyrics by Gary Osborne.

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She performed at Live Aid in 1985, reprising “Don’t Go Breaking My Heart” with John, and performing backing vocals on the other songs in his set. She also contributed backing vocals to John’s 1992 album The One, and a year later recorded “True Love” with John for his 1993 album Duets.

Dee released the live album Almost Naked, a joint effort with Carmelo Luggeri in 1995, followed by the studio albums Where Rivers Meet (1998) and The Walk Of Faith (2005) with Luggeri. In September 2013, Dee and Luggeri released their third studio album, A Place Where I Can Go, on Spellbound Records. They have been touring together ever since.

Dee’s single “Sidesteppin’ with a Soul Man,” released in October 2013, was her 40th single release.

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Dee has also appeared in musical theatre, notably in the lead role in Willy Russell’s West End musical Blood Brothers, in which she took on the role originally played by Barbara Dickson for the 1988 production and recording. She received an Olivier Award nomination in 1989 in the Best Actress in a Musical category. In 1990, she contributed to the last recording studio collaboration between Alan Parsons and Eric Woolfson, on the album Freudiana, performing “You’re On Your Own” and part of “No One Can Love You Better Than Me”.

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In 2008, Dee’s first DVD was released. Under The Night Sky was a collaboration with guitarist Carmelo Luggeri, filmed live at the Bray Studios in London; the music was produced by Ted Carfrae. That same year, several albums from her earlier 1970s–1980s Rocket catalogue were re-released by EMI Records, including an expanded edition of Almost Naked with extra tracks, such as a cover of Neil Young’s “Heart of Gold” and a new take on “Sugar on the Floor”. The same year, Demon Records (UK) issued a remastered edition of Perfect Timing, with several bonus tracks, including an alternate mix of “Loving You Is Sweeter Than Ever.”

Dee had previously starred in Pump Boys and Dinettes in London’s West End, at the Piccadilly Theatre, from 20 September 1984 to 8 June 1985.

In 2019, Dee was portrayed by actress Rachel Muldoon in the Elton John biopic Rocketman.

In her 40s, Dee was diagnosed with uterine cancer. (wikipedia)

KikiDee04And here´s a nice low budget sampler with many of their hits (includig two sngles from the Sixties) … she had a real good Pop-Soul feeling !

I think she could have done a lot more with her voice.

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Personnel:
Kiki Dee (vocals)
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many, many studio musicians

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Tracklist:
01. Amoureuse (Sanson/Osbourne) (1973) 4.10
02. Loving & Free (Dee) (1973) 4.21
03. Chicago (Conrad/Goodman) (1977) 4.21
04. I’ve Got The Music In Me (Boshell) (1974) 5.03
05. (You Don’t Know) How Glad I Am (Harrison/Williams) (1975) 4.00
06. Step By Step (Boshell) (1974) 4.33
07. Dark Side Of Your Soul (Dee/Lasley/Zane) (1978) 4.04
08. Why Don’t I Run Away From You (Berns) (1974) 2.40
09. Runnin’ Out Of Fools (Ahlert/Rodgers) (1965) 2.35
10. Ain’t Nothing Like The Real Thing (AShford/Simpson) (1975) 2.26
11. One Jump Ahead Of The Storm (Seals/Joseph) (1978) 3.26
12. First Thing In The Morning (Bosell) (1977) 5.49
13. Talk To Me (Dee/Lasley/Zane) (1978) 3.29
14. You Need Help (Boshell) (1976) 6.04
15. You’re Holding Me Too Tight (Golde/Weill) 3.59
16. One Step (Snow/Ballard) (1978) 3.31
17. Can’t Take My Eyes Off You (Gaudio/Crewe) (1968) 3.07
18. Stay With Me, Baby (Ragovoy/Weiss) (1978) 3.59

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The official website:
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Led Zeppelin – Coda (Deluxe Edition) (198/2015)

LPFrontCover1Coda is a compilation album by the English rock band Led Zeppelin. The album is a collection of unused tracks from various sessions during Led Zeppelin’s twelve-year career. It was released on 19 November 1982, almost two years after the group had officially disbanded following the death of drummer John Bonham. The word coda, meaning a passage that ends a musical piece following the main body, was therefore chosen as the title.

The fifth Swan Song Records album for the band, Coda was released to honour contractual commitments to Atlantic Records and also to cover tax demands on previous monies earned. It cleared away nearly all of the leftover tracks from the various studio sessions of the 1960s and 1970s. The album was a collection of eight tracks spanning the length of Zeppelin’s twelve-year history. Atlantic counted the release as a studio album, as Swan Song had owed the label a final studio album from the band. According to Martin Popoff, “there’s conjecture that Jimmy [Page] called ‘We’re Gonna Groove’ a studio track and ‘I Can’t Quit You Baby’ a rehearsal track because Swan Song owed Atlantic one more studio album specifically.”

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Guitarist Jimmy Page explained that part of the reasoning for the album’s release related to the popularity of unofficial Led Zeppelin recordings which continued to be circulated by fans: “Coda was released, basically, because there was so much bootleg stuff out. We thought, “Well, if there’s that much interest, then we may as well put the rest of our studio stuff out”.[4] As John Paul Jones recalled: “They were good tracks. A lot of it was recorded around the time punk was really happening… basically there wasn’t a lot of Zeppelin tracks that didn’t go out. We used everything.”

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“We’re Gonna Groove” opens the album and, according to the album notes, was recorded at Morgan Studios in June 1969.[3] It was later acknowledged to have come from a January 1970 concert at the Royal Albert Hall, with the guitar parts overdubbed and the original guitar part removed—this can be heard in the original Royal Albert Hall show on 9 January 1970.[citation needed] This song was used to open a number of concerts on their early 1970 tours and was originally intended to be recorded for inclusion in Led Zeppelin II. “I Can’t Quit You Baby” is taken from the same concert as “We’re Gonna Groove” but was listed as a rehearsal in the original liner notes.[6] The recording was edited to remove the overall “live” feel: the crowd noise as well as the beginning and ending of the song were deleted. Crowd tracks were muted on the multitrack mixdown on this recording as with “We’re Gonna Groove”.

“Poor Tom” is from sessions for Led Zeppelin III, having been recorded at Olympic Studios in June 1970, and “Walter’s Walk” is a leftover from the sessions for Houses of the Holy.

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Side two consists of three outtakes from the band’s previous album, In Through the Out Door. The opening track, the uptempo “Ozone Baby” was recorded at that album’s sessions at Polar Studios, Stockholm in November 1978, as was the rock’n’roll styled “Darlene”.

The third track, “Bonzo’s Montreux” was recorded at Mountain Studios, Montreaux, Switzerland in September 1976. It was designed as a Bonham drum showcase, which Page treated with various electronic effects, including a harmonizer.

The final track, “Wearing and Tearing” was recorded at Polar in November 1978. It was written as a reaction to punk and to show that Led Zeppelin could compete with the new bands. It was planned to be released as a promotional single to the audience at the 1979 Knebworth Festival, headlined by Led Zeppelin, but this was cancelled at the last minute. It was first performed live at the 1990 Silver Clef Awards Festival at Knebworth in 1990 by Plant’s band with Page guesting.

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The 1993 compact disc edition has four additional tracks from the box sets, Led Zeppelin Boxed Set (1990) and Led Zeppelin Boxed Set 2 (1993), the previously unreleased “Travelling Riverside Blues”, “White Summer/Black Mountain Side” and the “Immigrant Song” b-side “Hey, Hey, What Can I Do” from the former and the previously unreleased “Baby Come On Home” from the latter.

The album cover was designed by Hipgnosis, the fifth album cover the design group designed for Led Zeppelin. It was also the last album cover Hipgnosis designed before disbanding in 1983. The main four letters CODA are from an alphabet typeface design called “Neon” designed by Bernard Allum in 1978.

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Reviewing for Rolling Stone in 1983, Kurt Loder hailed Coda as “a resounding farewell” and a “marvel of compression, deftly tracing the Zeppelin decade with eight powerful, previously unreleased tracks, and no unnecessary elaboration”. Robert Christgau wrote in his “Consumer Guide” column for The Village Voice:

They really were pretty great, and these eight outtakes—three from their elephantine blues phase, three from their unintentional swan song—aren’t where to start discovering why. But despite the calculated clumsiness of the beginnings and the incomplete orchestrations of the end, everything here but the John Bonham Drum Orchestra would convince a disinterested party—a Martian, say. Jimmy Page provides a protean solo on “I Can’t Quit You Baby” and jumbo riffs throughout.

According to Julian Marszalek of The Quietus, however, “Coda has always been regarded as the band’s weakest release. Made up of eight tracks that spanned Led Zeppelin’s lifetime, it refused to flow as an album. Devoid of a coherent narrative, it felt tossed together to make up for contractual obligations.”

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A remastered version of Coda, along with Presence and In Through the Out Door, was reissued on 31 July 2015. The reissue comes in six formats: a standard CD edition, a deluxe three-CD edition, a standard LP version, a deluxe three-LP version, a super deluxe three-CD plus three-LP version with a hardback book, and as high resolution 24-bit/96k digital downloads. The deluxe and super deluxe editions feature bonus material containing alternative takes and previously unreleased songs, “If It Keeps On Raining”, “Sugar Mama”, “Four Hands”, “St. Tristan’s Sword”, and “Desire”. The reissue was released with an altered colour version of the original album’s artwork as its bonus disc’s cover.

The reissue was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 78, based on 8 reviews. In Rolling Stone, David Fricke said it is “the unlikely closing triumph in Page’s series of deluxe Zeppelin reissues: a dynamic pocket history in rarities, across three discs with 15 bonus tracks, of his band’s epic-blues achievement”. Pitchfork journalist Mark Richardson was less impressed by the bonus disc, believing “there is nothing particularly noteworthy about the ‘Bombay Orchestra’  (1972) tracks”. (wikipedia)

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Released two years after the 1980 death of John Bonham, Coda tied up most of the loose ends Led Zeppelin left hanging: it officially issued a bunch of tracks circulating on bootleg and it fulfilled their obligation to Atlantic Records. Coda doesn’t contain every non-LP track Zeppelin released — notably, the B-side “Hey Hey What Can I Do” and anything from the BBC sessions were left untouched (they’d be added to Coda on a 1993 CD revision of the compilation, and also appear on the major three-disc overhaul Jimmy Page masterminded in 2015) — but it does gather much of what was floating around in the wake of their demise, including three blistering rockers that were rejected for In Through the Out Door. If “Ozone Baby,” “Darlene,” or “Wearing and Tearing” — rockers that alternately cut loose, groove, and menace — had made the cut for In Through the Out Door, that album wouldn’t have had its vague progressive edge and when they’re included alongside a revival of the band’s early raver “We’re Gonna Groove,” the big-boned funk of the Houses of the Holy outtake “Walter’s Walk,” and the folk stomp “Poor Tom” (naturally taken from the sessions for Led Zeppelin III), they wind up underscoring the band’s often underappreciated lighter side. For heaviness, there’s a live version of “I Can’t Quit You Baby” and “Bonzo’s Montreux,” a solo showcase for the departed drummer, and when this pair is added to the six doses of hard-charging rock & roll, it amounts to a good snapshot of much of what made Led Zeppelin a great band: when they were cooking, they really did groove. (by Stephen Thomas Erlewine)

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Personnel:
John Bonham (drums, percussion)
John Paul Jones (bass, guitar, keyboards)
Jimmy Page (guitars, electronic effects)
Robert Plant (vocals, harmonica)
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Bombay Orchestra (on 17. + 18.)

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Tracklist:
01. We’re Gonna Groove (Live on 9 January 1970 at the Royal Albert Hall, London, England) (Edit; remix with guitar overdubs and live audience eliminated) (Bethea/King) 2.38
02. Poor Tom (Led Zeppelin III outtake, 1970) (Page/Plant/Bonham) 3.02
03. I Can’t Quit You Baby (Live on 9 January 1970 at the Royal Albert Hall, London, England: sound rehearsal, edited version) (Dixon) 4.18
04. Walter’s Walk (Houses of the Holy outtake, possibly with later overdubs, 1972) (Page/Plant/Bonham/Jones) 4.32
05. Ozone Baby (In Through the Out Door outtake, 1978) (Page/Plant) 3.36
06. Darlene (In Through the Out Door outtake, 1978) (Bonham/Jones/Page/Plant) 5.07
07. Bonzo’s Montreux (Recorded in 1976) (Bonham) 4.22
08. Wearing And Tearing (In Through the Out Door outtake, 1978) (Page/Plant) 5.30
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The 2 companion discs:
09. We’re Gonna Groove (Alternate mix) (Bethea/King) 2.40
10. If It Keeps On Raining (When The Levee Breaks) (Rough mix) (Bonham/Jones/ Minnie/Page/Plant) 4.14
11. Bonzo’s Montreux (Mix construction in progress) (Bonham) 5.00
12. Baby Come On Home (Berns/Page/Plant) 4.30
13. Sugar Mama (mix) (Led Zeppelin outtake) (Page/Plant) 2.51
14. Poor Tom (Instrumental mix) (Page/Plant) 2.17
15. Travelling Riverside Blues (BBC Session) (Johnson/Page/Plant) 5.12
16. Hey, Hey, What Can I Do (Bonham/Jones/Page/Plant) 3.57
17. Four Hands (Four Sticks) (Bombay Orchestra) (Page/Plant) 4.46
18. Friends (Bombay Orchestra) (Page/Plant) 4.27
19. St. Tristan’s Sword (Rough mix) (Led Zeppelin III outtake) (Page) 5.42
20. Desire (The Wanton Song) (Rough mix) (Page/Plant) 4.10
21.Bring It On Home (Rough mix) (Dixon) 2.32
22. Walter’s Walk (Rough mix) (Page/Plant) 3.20
23. Everybody Makes It Through (In The Light) (Rough mix) (Jones/Page/Plant) 8.34

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Barbra Streisand – Duets (2002)

FrontCover1Barbara Joan Streisand (born April 24, 1942), known professionally as Barbra Streisand, is an American singer, actress, and filmmaker. With a career spanning over six decades, she has achieved success in multiple fields of entertainment, and is among the few performers awarded an Emmy, Grammy, Oscar, and Tony (EGOT).

Streisand began her career by performing in nightclubs and Broadway theaters in the early 1960s. Following her guest appearances on various television shows, she signed to Columbia Records, insisting that she retain full artistic control, and accepting lower pay in exchange, an arrangement that continued throughout her career, and released her debut The Barbra Streisand Album (1963), which won the Grammy Award for Album of the Year. Throughout her recording career, Streisand has topped the US Billboard 200 chart with 11 albums—a record for a woman—including People (1964), The Way We Were (1974), Guilty (1980), and The Broadway Album (1985). She also achieved five number-one singles on the US Billboard Hot 100—”The Way We Were”, “Evergreen”, “You Don’t Bring Me Flowers”, “No More Tears (Enough Is Enough)”, and “Woman in Love”.

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Following her established recording success in the 1960s, Streisand ventured into film by the end of that decade. She starred in the critically acclaimed Funny Girl (1968), for which she won the Academy Award for Best Actress. Additional fame followed with films including the extravagant musical Hello, Dolly! (1969), the screwball comedy What’s Up, Doc? (1972), and the romantic drama The Way We Were (1973). Streisand won a second Academy Award for writing the love theme from A Star Is Born (1976), the first woman to be honored as a composer. With the release of Yentl (1983), Streisand became the first woman to write, produce, direct, and star in a major studio film. The film won an Oscar for Best Score and a Golden Globe for Best Motion Picture Musical. Streisand also received the Golden Globe Award for Best Director, becoming the first (and for 37 years, the only) woman to win that award. Streisand later directed The Prince of Tides (1991) and The Mirror Has Two Faces (1996).

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With sales exceeding 150 million records worldwide, Streisand is one of the best-selling recording artists of all time. According to the Recording Industry Association of America (RIAA), she is the highest-certified female artist in the United States, with 68.5 million certified album units tying with Mariah Carey. Billboard ranked Streisand as the greatest female artist on the Billboard 200 chart and the top Adult Contemporary female artist of all time. Her accolades include two Academy Awards, 10 Grammy Awards including the Grammy Lifetime Achievement Award and the Grammy Legend Award, five Emmy Awards, four Peabody Awards, the Presidential Medal of Freedom, and nine Golden Globes.

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Duets (retitled Star Collection in some countries) is a compilation album by American singer Barbra Streisand, released on November 26, 2002, by Columbia Records. The collection features nineteen duets from Streisand’s career, including two newly-recorded ones: “I Won’t Be the One to Let Go” with Barry Manilow and “All I Know of Love” with Josh Groban. The former song was released as the album’s lead single on November 4, 2002, as a streaming-only exclusive for AOL Music website members. Duets was reissued in South American countries in 2013 under the title Star Collection with new artwork.

The compilation was executively produced by Streisand and her manager, Jay Landers. Music critics highlighted the album’s duets with Ray Charles, Judy Garland, and Frank Sinatra, but were disappointed by her decision to release another compilation album following The Essential Barbra Streisand, which was released earlier in 2002. Commercially, the album peaked within the top ten of record charts in Denmark and the Netherlands; it also entered the Billboard 200 at number 38 and became certified Gold by the Recording Industry Association of America (RIAA) for shipments of 500,000 copies. Duets has gone on to sell 1.5 million records worldwide.

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During 2002, Streisand and Columbia Records released two compilation albums, with the first one being The Essential Barbra Streisand, a greatest hits album mostly consisting of the singer’s top ten hits and top forty hits. Later that year, on November 26, she released Duets, a compilation of nineteen duets from her music catalog. The collection was executively produced by Streisand and her manager, Jay Landers.

Fourteen out of the album’s nineteen tracks were originally featured on previous Streisand studio albums. In addition, the singer included three songs that were originally performed live with another artist. “I’ve Got a Crush on You”, with Frank Sinatra, initially appeared on his 1993 Duets album, while her rendition of “Ding-Dong! The Witch Is Dead” with Harold Arlen was first released on his 1966 studio album Harold Sings Arlen (With Friend). Her medley of “Get Happy / Happy Days Are Here Again” with Judy Garland was originally performed live on The Judy Garland Show in 1963. With eighteen of the album’s songs being duets with other musicians, Streisand’s medley of “One Less Bell to Answer” and “A House Is Not a Home” is a duet with herself, first released on the 1971 album Barbra Joan Streisand.

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Streisand recorded two new tracks for the album: “I Won’t Be the One to Let Go” with Barry Manilow and “All I Know of Love” with Josh Groban. The former track was written by Richard Marx and Manilow, while the latter was written by David Foster and Linda Thompson.

“I Won’t Be the One to Let Go” was released as the album’s lead and only single on November 4, 2002, as an exclusive download for AOL Music website members. Although the track was not released commercially, “I Won’t Be the One to Let Go” was distributed as a promotional CD single on January 6, 2003. With the release handled by Columbia Records, the CD was sent exclusively to United States radio stations and includes the “Radio Version Edit” and “Radio Version” releases of the song. In 2013, Sony Music Entertainment rereleased the compilation in South American countries with a new cover art, but identical track listing, under the title Star Collection.

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Duets entered and peaked on the Billboard 200 at number 38, during the week of December 14, 2002. It was the chart’s eleventh highest debut and would go to spend fourteen weeks on the listing. On January 9, 2003, it was certified Gold by the Recording Industry Association of America (RIAA) for physical shipments of 500,000 copies, and during the year-end Billboard 200 chart in 2003, the compilation was listed at number 176. As of June 22, 2007, Duets has sold 561,000 copies in the United States, outselling its predecessor (The Essential Barbra Streisand) by 55,000 copies. In Oceania, the album peaked in Australia and New Zealand at numbers 13 and 11, respectively. In the two aforementioned countries, it received a Gold certification by the Australian Recording Industry Association for shipments of 35,000 copies and a Platinum certification by Recorded Music NZ for shipments of 15,000 copies.

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The album entered several record charts across Europe as well. According to the Official Charts Company, it peaked at numbers 39 and 30, in Scotland and the United Kingdom, respectively. In the latter country, the compilation spent 6 weeks charting during 2002 and was ranked on the year-end sales charts at position 89. In Denmark and the Netherlands, Duets peaked within the top ten at numbers 10 and 9, respectively. The album reached number 26 in Spain and received a Gold certification by PROMUSICAE for shipments of 50,000 copies. Its lowest peak positions were achieved in France, Germany, and Switzerland, where the compilation peaked at numbers 44, 53, and 88, respectively. The album has sold over 1.5 million copies worldwide.

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In her lengthy career, Barbra Streisand has never shown much inclination to share the spotlight. In the movies, she must endure a leading man, but in her recordings, she has gone it alone for the most part. In 1978, however, a disc jockey edited together her and Neil Diamond’s recordings of “You Don’t Bring Me Flowers,” and she and Diamond quickly cut a real duet, resulting in a number one hit. Thereafter, she cannily coaxed others into sharing the microphone, resulting in chart singles with Donna Summer, Barry Gibb, Kim Carnes, former boyfriend Don Johnson, Bryan Adams, and Celine Dion, and album tracks with Johnny Mathis, Michael Crawford, and Vince Gill. The material mostly consisted of mediocre adult contemporary ballads that were outshone by the star power of the singers.

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This album collects all those duets, plus a couple of newly recorded mediocre adult contemporary ballads sung with Barry Manilow and Josh Groban, and a few stray tracks from the 1960s and early ’70s when Streisand joined another singer. Her unsuitability to the duet format is repeatedly evidenced, as she seems virtually incapable of shutting up when her partner is trying to take a solo, invariably humming in the background to draw attention back to herself. The only real exception to this rule is the version of “I’ve Got a Crush on You” recorded for Frank Sinatra’s own Duets album, a track Streisand did not control. Naturally, the best performances occur when she is paired with a singer who is more than just a cipher — Sinatra, Ray Charles, or Judy Garland, the latter two in TV performances. Then, of course, there’s the medley of “One Less Bell to Answer” and “A House Is Not a Home” on which she finally finds the perfect duet partner, her overdubbed self! (by William Ruhlmann)

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Personnel:
Barbra Streisand (vocals)
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many, many studio musicians

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Tracklist:
01. I Won’t Be The One To Let You Go (w/Barry Manilow) (Marx/Manilow) (new recording; 2002) 4.40
02. Guilty (w/Barry Gibb) (B.Gibb/R.Gibb/M.Gibb) (1980) 4.25
03. You Don’t Bring Me Flowers (w/Neil Diamond) (A.Bergman/M.Bergman/Diamond) (1978) 3.25
04. I Finally Found Someone (w/Bryan Adams) (Streisand/Hamlisch/Lane/Adams) (1996) 3.42
05. Cryin’ Time (w/Ray Charles) (Owens) (1991) 2.18
06. I’ve Got A Crush On You (w/Frank Sinatra) (G.Gershwin(I.Gershwin) (1993) 3.23
07. Tell Him (w/Celine Dion) (Foster/Thompson/Afanasieff) (1987) 4.53
08. No More Tears (Enough Is Enough) (w/Donna Summer) (Jabara/Roberts) (1979) 4.43
09. What Kind Of Fool (w/Barry Gibb) (B.Gibb/Galuten) (1989) 4.07
10. I Have A Love / One Hand, One Heart (w/Johnny Mathis) (Bernstein/Sondheim) (1993) 4.45
11. One Less Bell To Answer / A House Is Not A Home (Dubbed Duet) (Bacharach/David) (1971) 6.32
12. Lost Inside Of You (w/Kris Kristofferson) (Streisand/Russell) (1976) 2.55
13. Till I Loved You (w/Don Johnson) (Yeston) (1988) 4.17
14. Make No Mistake, He’s Mine (w/Kim Carnes) (Carnes) (1984) 4.11
15. If You Ever Leave Me (w/Vince Gill) (Marx) (1999) 4.38
16. The Music Of The Night (w/Michael Crawford) (Webber/Hart/Stilgoe) (1993) 5.38
17. Ding Dong! The Witch Is Dead (w/Harold Arlen) (Arlen/Harburg) (1966) 1.54
18. Get Happy / Happy Days Are Here Again (w/Judy Garland) (Arlen/Koehler/Yellen) (1963) 2.22
19. All I Know Of Love (w/Josh Grobin) (Foster/Thompson) (new recording; 2002) 4.29

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The official website:
Website

Aretha Franklin – A Natural Woman & Other Hits (1997)

FrontCover1Aretha Louise Franklin (March 25, 1942 – August 16, 2018) was an American singer, songwriter and pianist.

Referred to as the “Queen of Soul”, she has twice been placed ninth in Rolling Stone’s “100 Greatest Artists of All Time”.

With global sales of over 75 million records,

Franklin is one of the best-selling music artists from the second half of the 20th century to the present. (wikipedia)

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And here´s a low budget sampler with many of her hits.

It´s never too late, to discover Arthea Franklin (again).

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Personnel:
Aretha Franklin (vocals, piano)
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many, many studio musicians

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Tracklist:
01. 1 (You Make Me Feel Like) A Natural Woman (Goffin/King/Wexler) 2.45
02.The House That Jack Built (Lance/Robbins) 2.21
03. Son Of A Preacher Man (Hurley/Wilkins) 3.17
04. Spirit In The Dark (Franklin) 4.01
05. I Say A Little Prayer (Bacharach/David) 3.37
06. Bridge Over Troubled Water (Simon) 5.34
07. Ain’t Nothing Like The Real Thing (Ashford/Simpson) 3.50
08. Without Love (Hunter/Franklin) 3.48
09. Eleanor Rigby (Lennon/McCartney) 2.37
10. Rock Steady (Franklin) 3.13

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More from Aretha Franklin:
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John Lee Hooker – The Best Of (1991)

FrontCover1John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues.

Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie.

Hooker was ranked 35 in Rolling Stone’s 2015 list of 100 greatest guitarists.

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Some of his best known songs include “Boogie Chillen'” (1948), “Crawling King Snake” (1949), “Dimples” (1956), “Boom Boom” (1962), and “One Bourbon, One Scotch, One Beer” (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don’t Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song “I’m In The Mood”) and Chill Out (for the album) both earned him Grammy wins as well as Don’t Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). (wikipedia)

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And here´s a pretty good sampler with many of his finest recordings with a nice booklet.

And real good possibility to discover the music from one of the greatest Blues artiss !!!

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Personnel:
John Lee Hooker (guitar, vocals)
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many, many studio musicians

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Tracklist:
01. I’m In The Mood (1959) 2.46
02. Boogie Chillun (1959) 2.37
03. It Serves Me Right To Suffer (1964) 3.33
04. This Is Hip (1963) 2.31
05. House Rent Boogie (1958) 4.05
06. I’m So Excited (1957) 2.56
07. I Love You Honey (1958) 2.35
08. Hobo Blues (1959) 2.50
09. Crawlin’ Kingsnake (1959) 2.46
10. Maudie (1959) 2.22
11. Dimples (1956) 2.16
12. Boom Boom (1961) 2.35
13. Louise (1951) 3.06
14. Ground Hog Blues (1951) 3.00
15. Ramblin’ By Myself (1951) 3.22
16. Walkin’ The Boogie (1952) 2.45
17. One Bourbon, One Scotch, One Beer (1966) 2.58
18. Sugar Mama (1952) 3:14
19. Peace Lovin’ Man (1960) 3.37
20. Leave My Wife Alone (1951) 2.49
21. Blues Before Sunrise (1961) 3.51
22. Time Is Marching (1955) 3.02

All songs written by John Lee Hooker

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More from John Lee Hooker:
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The official website:
Website

Various Artists – Psicofásicos de Bolivia (2003)

FrontCover1Bolivian youngsters knew how to do it, yes. If you’re searching for REAL garage and ’60s punk sound and attittude, this is for you.

Also, if you’re simply loving the typical South-American ’60s sounds, you’ll be pleased with this collection of rare, RARE tracks taken from impossible to find 45s from one of the hardest to follow ’60s scenes.

Loads of fuzz, organ and raw sounds here, all been professionally remastered again (some of these 45s are sooo bad sounding, we’ve done our best!). This CD release includes an 12-page full colour booklet with liner notes and photos. (Press release)

There has been much written elsewhere about the absolute coolness factor of this rare el go-gó & sicodelico from late 60s Bolivia. I’ll try to just give a bit of info about the various outstanding groups found here.

First an intro commercial for Inca Kola, then…

Inca-KolaFourteen songs from 1966-1969, mucho fuzz, primitive but great productions. Most tracks are covers: the Dhag Dhag’s take on “One Track Mind” by The Knickerbockers; Grupo 606’s takes on “Break On Through” by The Doors & “Gotta Get Away” by The Blues Magoos; Los Ecos do Rufus Thomas’ “Walk That Walk”; The Loving Darks cover The Rolling Stones’ “Complicated”; Los Burros fuzz out The Rascals’ “You Better Run”; while Los Bonny Boy’s Hot’s (???) cover Peruvian Andino hit of Jorge Bravo de la Rueda/Yma Sumac. The original songs are also impressive, like the punker “Pena” by The Blackstones or the somber “Tipo sicodélico” & the swinging “Bohemio” both by the Dhag Dhag’s.

It’s a wonder how records of any kind were made at all in a country where even in the big cities the power was regularly shut off at 11:00 pm every night & where farm carts still outnumbered cars on the roads. Groups like Grupo 606 had to make their own instruments before they could get to play anything. The Bolivian police in La Paz & other cities like Cochabamba were always on the look-out for local long-hairs & youthful rebels. They launched a campaign called ‘Operacion Tijeras’ (Operation Scissors). It consisted in shaving the head of any long haired rocker/rebel in these cities. Afterall, they might be revolutionaries.

Los Daltons – They came out of Santa Cruz de le Sierra around 1967. In 1968 they released a four-song instrumental EP. Due to the 11:00 pm electricity cut-off, they did without a singer who would need a microphone. These instrumentals, led by a crazed merry organ, didn’t need vocals. This album starts with their version of the Ventures “ High & Dry” only here they were referring to the high & dry plains of the Bolivian Altiplano.

DhagDhagsThe Dhag Dhags – Behind this untranslatable name hides a undeniable gem: one of the best 60s beat bands in the world. The Dhad Dhasgs were a trio of teenagers from La Paz led by the brilliant Javier Sandoval. In 1968 he released his first EP on the “Psicofásicos” division of the Discos Mendez label. “Trata de Comprender” (Try to Understand) is their version of “One Track Mind” by The Knickerbockers. “Type Sicodélico” is an original composition, written in English, probably the first recording of psychedelic music in Bolivia. Its spectral atmosphere is reminiscent of the Peruvian group Los Saicos. On “Bohemio” Sandoval mocks the local conservatives by creating a ‘groove’ that caused every El Go-Gó girl from La Paz to Santa Cruz to go crazy.

Los Ecos

Los Ecos – The crazy drum beats & shrill cries you hear coming out of this band come from Terso, the 11 year old girl on drums in this band. She & her three companions, revel in the infernal hully gully beat. They began performing in mid-1967. On this disc they do their version of “Walk That Walk” by Rufus Thomas. In 1968, the band had achieved national success with their magnificent song “Callaré Simplemente”.

The Blackstones – Here we have another trio originally from Santa Cruz, they moved to Cochabamba & recorded an EP on Psicofásicos in 1969. Here they do their version of “Pain” by the Walkers sung by JC Lugones “Pena” is a typical case of teenage frustrations brutally played in the best three-chord tradition on screaming electric guitar. Minimalist, crude, neurotic punk from Bolivia before there was punk.

Los Tennyson – There is not much information about these poets. They are kind of a mystery band. They are probably from Cochabamba or Oruro. They had a single in 1967, a version of The Twist. The song here was taken from their EP Psicodélico recorded on the Lyra label in 1969.

Grupo606Grupo 606 – In late 1966, three friends from school in Cochabamba formed this great band. At first they just played at local parties with instruments made by themselves. At one of their shows in 1967 they met Oswaldo, a radio announcer & singer. He joined the group & got them a recording contract with Lyra. At the beginning of 1969, these chavalitos (only 17-19 years old) released their second EP, demonstrating their best & angeriest garage style. They play their version of “Break on Through” by The Doors on the first side & open the B side with a sublime version of “Gotta Get Away” by The Blues Magoos.

Los Burros – Started in 1967, Los Burros was one of the most successful bands from Bolivia. Originally from Santa Cruz de la Sierra, this band was formed with members of Los Vandalos & Fire Hearts. Once they got a little notoriety, the moved to La Paz where the soon frightened the conservatives. They rode around in their Prado jeep painted Rolls-Royce yellow, wearing baggy pants & floral shirts. They sang in Spanish, Portuguese, & Italian. They recorded “El Pobre”, their version of the Spanish band Los Pasos’ tune, in September 1968. That same year they were arrested by the army as suspected guerillas supporting Ernesto ‘Che’ Guevara because they had beards & long hair. By the way, Los Burros are the guys on the cover. Their second song is their version of “You’d Better Run” by The Young Rascals.

Los Bonny Boy's HotsLos Bonny Boy’s Hots – They were the first well-known electronic band in Bolivia. They worked on a lot of records accompanying singers for Lyra, but their most interesting releases were their reworked & roomy recordings of various artists. On this album they do a version of the famous song composed by Jorge Bravo de la Rueda that was popularized by Yma Sumac, done to go-gó tempo. The song is about the mythical Incan Sun virgins of the sixteenth century. Recorded in 1966, this instrumental was a success in Bolivia. It ushered in a spate of traditional Incan songs set to the go-gó pace.

The Loving Dark – Here they are named The Loving Dark, but on their first EP they are called Amantes Oscuros (Dark Lovers). The group was formed in La Paz by Argentinean guitarist-singer Felix Chavez & Bolivian drummer Boris Rodriguez in the year 1969. Chavez was originally in the band Las Tortugas .Rodriguez in Los Black Byrds, one of the pioneers of rock groups in Bolivia. They recorded three EP’s for Lyra by 1972. This version of “Complicated” by the Rolling Stones comes from their second EP from late 1969. Their play sound has been described as ‘BIG’: great guitar fuzz, demonic drums, groovy organ & bass at least 10 years ahead of their time.

Los GrillosLos Grillos – Los Grillos are probably the most famous group of this compilation. Los Grillos began in 1967 under the name anglicized name The Crickets in Cochabamba. Shortly after forming, they changed their name to the Spanish Los Grillos. They played the current popular dance music & they achieved great successes. They regularly appeared on Bolivian & other South American television. They recorded at least 20 EP’s for Lyra & later their own label Grillo. In the 70s, they played their own unique style of folk-rock with Andean sounds & Moog synthesizers. The song here dates from 1968. It is one of their early recordings. It is a famous Spanish popular song with lyrics by Federico Garcia Lorca. However, the guitar solo make it worthy of inclusion here. (nathannothinsez.blogspot.com)

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Tracklist:
01. Los Dalton’s: Intro Inca Kola + Alto Y Seco 2.52
02. The Dhag Dhag’s: Trata De Comprender 2.43
03. Los Ecos: La Gran Pelea 2.14
04. The Blackstones: Pena 2.39
05. Los Tennyson: Un Mundo Para Mi 2.49
06. Grupo 606: Rompe, Cruza O Ayúdame 1.59
07. The Dhag Dhag’s: Tipo Sicodélico 3.17
08. Grupo 606: Busco Un Camino 2.38
09. The Donkeys: El Pobre 3.19
10. Los Burros: Es Mejor Que Corras 2.44
11. Los Bonny Boy’s Hot’s: Virgenes Del Sol 2.48
12. The Loving Darks: Complicado 2.24
13. Los Grillos: La Tarara 1.52
14. The Dhag Dhag’s: Bohemio 2.33

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I got this rare item from Mr. Sleeve … thank you very much !

Roberta Flack – Softly With These Songs – The Best Of Roberta Flack (1993)

FrontCover1Classy, urbane, reserved, smooth, and sophisticated — all of these terms have been used to describe the music of Roberta Flack, particularly her string of romantic, light jazz ballad hits in the 1970s, which continue to enjoy popularity on MOR-oriented adult contemporary stations. Flack was the daughter of a church organist and started playing piano early enough to get a music scholarship and eventually, a degree from Howard University. After a period of student teaching, Flack was discovered singing at a club by jazz musician Les McCann and signed to Atlantic.

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Her first two albums — 1969’s First Take and 1970’s Chapter Two — were well received but produced no hit singles; however, that all changed when a version of Ewan MacColl’s “The First Time Ever I Saw Your Face,” from her first LP, was included in the soundtrack of the 1971 film Play Misty for Me. The single zoomed to number one in 1972 and remained there for six weeks, becoming that year’s biggest hit. Flack followed it with the first of several duets with Howard classmate Donny Hathaway, “Where Is the Love.” “Killing Me Softly with His Song” became Flack’s second number one hit (five weeks) in 1973, and after topping the charts again in 1974 with “Feel Like Makin’ Love,” Flack took a break from performing to concentrate on recording and charitable causes.

Roberta Flack05She charted several more times over the next few years, as she did with the Top Ten 1977 album Blue Lights in the Basement — featuring “The Closer I Get to You,” a number two ballad with Hathaway. A major blow was struck in 1979 when her duet partner, one of the most creative voices in soul music, committed suicide. Devastated, Flack eventually found another creative partner in Peabo Bryson, with whom she toured in 1980. The two recorded together in 1983, scoring a hit duet with “Tonight, I Celebrate My Love.”

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Flack spent the remainder of the ’80s touring and performing, often with orchestras, and also several times with Miles Davis. She returned to the Top Ten once more in 1991 with “Set the Night to Music,” a duet with Maxi Priest that appeared that year on the album of the same name. Her Roberta full-length, featuring interpretations of jazz and popular standards, followed in 1994. As she continued into the 21st century, Flack recorded infrequently but released albums like 2012’s Let It Be Roberta: Roberta Flack Sings the Beatles, which showed that her poise and balanced singing had aged well. Varese Sarabande released a lovingly remixed version of Flack’s fine 1997 holiday album Christmas Songs (it had originally appeared from Capitol Records under the title The Christmas Album) that same year, adding in an additional track, “Cherry Tree Carol.” (by Steve Huey)

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And here´s a nice compilation album:

Roberta Flack was blessed with one of the loveliest, most soothing voices in the music industry. In the 1970s, she not only appealed to pop and R&B audiences, but also fit in with the era’s more serious, sensitive singer/songwriters. She scored some of the decade’s biggest hits with classics such as “The First Time Ever I Saw Your Face,” “Killing Me Softly with His Song,” and “Feel Like Making Love,” as well as her legendary duets with Donny Hathaway, all which have gone on to become standards in the pop pantheon. This single-disc set attempts to collect her best and most successful recordings from the 1970s to the 1990s, when she enjoyed the success of another Top Ten hit with Diane Warren’s “Set the Night to Music” (with Maxi Priest).

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However, this ambitious collection, even with such stellar material, proves a little frustrating due to the omission of several key tracks from Flack’s catalog, among those “Jesse,” “If I Ever See You Again,” “You’ve Got a Friend,” and several others. It does, however, manage to incorporate other Flack collectibles, including her soundtrack hit “Making Love,” her hit with Peabo Bryson, “Tonight I Celebrate My Love,” her lovely, breezy, chart-topping 1988 R&B hit “Oasis,” and a sleek 1990s house track, “Uh-Uh Ooh-Ooh Look Out (Here It Comes).” This ambitious yet frustrating collection not only highlights Flack’s long, illustrious career, but also brings to attention the fact that a multi-disc retrospective on this legendary singer would be a most welcome addition to her catalog. (by Jose F. Promis)

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Personnel:
Robert Flack (vocals)
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many, many studio musicians

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Tracklist:
01.The First Time Ever I Saw Your Face (from “First Take”;1969) (MacColl)  5.22
02. Will You Still Love Me Tomorrow (from “Quiet Fire”; 1971) (King/Goffin) 4.07
03. Where Is The Love (duet with Donny Hathaway) (from “Roberta Flack & Donny Hathaway”; 1972) (MacDonald/Salter) 2.44
04. Killing Me Softly With His Song (from “Killing Me Softly”;1973) (Fox/Gimbel) 4.48
05. Feel Like Makin’ Love (from “Feel Like Makin’ Love”;1975) (McDaniels)  2.54
06. The Closer I Get to You (duet with Donny Hathaway) (from “Blue Lights In The Basement”;1977) (Lucas/Mtume) 4.42
07. More Than Everything (duet with Peabo Bryson) (from “Live & More”;1980) (Bryson/ Flack) 4.03
08. Only Heaven Can Wait (For Love) (duet with Peabo Bryson) (from “Live & More”;1980) 5.47
09. Back Together Again (duet with Donny Hathaway) (from “Roberta Flack Featuring Donny Hathaway”;1980) 4.51
10. Making Love (from “I’m The One; 1982) (Bacharach/Sager/Roberts) 3.44
11. Tonight, I Celebrate My Love (duet with Peabo Bryson) (from “Born to Love”; 1983) (Goffin/Masser) 3.31
12. Oasis (from “Oasis”; 1988) (Miller/Stephens) 6.10
13. And So It Goes (from “Oasis”; 1988) (Flack/Miles/Angelou) 3.36
14. You Know What It’s Like (from “Oasis”; 1988) (Flack/Russell/Miles) 4.45
15. Set The Night To Music (duet with Maxi Priest) (from “Set The Night To Music”; 1991) (Warren) 5.24
16. My Foolish Heart (from “Set The Night To Music”; 1991) (Washington/Young) 4.41
17. Uh-Uh Ooh-Ooh Look Out (Here It Comes) (Steve Hurley’s House Mix) (single version; 1989) (Ashford/Simpson) 5.14

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More from Roberta Flack:
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The official website:
Website

Percy Sledge – When A Man Loves A Woman (1993)

FrontCover1Percy Tyrone Sledge (November 25, 1940 – April 14, 2015) was an American R&B, soul and gospel singer.

He is best known for the song “When a Man Loves a Woman”, a No. 1 hit on both the Billboard Hot 100 and R&B singles charts in 1966. It was awarded a million-selling, Gold-certified disc from the RIAA.

Having previously worked as a hospital orderly in the early 1960s, Sledge achieved his strongest success in the late 1960s and early 1970s with a series of emotional soul songs.

In later years, Sledge received the Rhythm and Blues Foundation’s Career Achievement Award. He was inducted into the Rock & Roll Hall of Fame in 2005. (wikipedia)

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And here´s a low budget sampler with some classic tunes by Percy Sledge.

I guess some tunes are not the original version, but re-recorded version 8like “Whan A Man Loves A Woman”).

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Personnel:
Percy Sledge (vocals)
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many, many studio musicians

Single

Tracklist:
01. When A Man Loves A Woman (Lewis/Wright) 3.58
02. Make It Good And Make It Last (Pickett/Carr) 3.20
03. Take Time To Know Her (Davis) 5.06
04. Walking In The Sun (Barry) 3.28
05. Warm And Tender Love (Robinson/Berger) 3.21
06. Out Of Left Field (Penn/Oldham) 3.20
07. Behind Closed Doors (O`Dell) 3.35
08. Just Out Of Reach (Stewart) 3.32
09. I Believe In You (Mitchell) 3.58
10. The Good Love (Waldman) 4.23
11. Bring It On Home To Me (Cooke) 3.32
12. It Tears Me Up (Pennington/Oldham) 2.50
13. I Don’t Want To Be Right (If Loving You Is Wrong) (Banks/Hamplon/Jackson) 3.56
14. I’ve Been Loving You To Long (To Stop Now) (Redding/Butler) 3.00
15. Cover Me (Green/Hilton) 2.52
16. (Sittin’ On) The Dock Of The Bay (Cropper/Redding) 2.34

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As a young man I was very impressed by this lyrics:

I found a woman
I felt a true in love
She was every thing
I’d ever been dreaming of
But she was bad, I didn’t know it
Her pretty smile never did show it
All I knew is what I could see
And I knew I wanted her for me
I took her home to Mama
Mama, wanna see my future bride
Well, she looked at us both

And then she called me to her side
She said, “Son, take time to know her
It’s not an overnight thing
Take time to know her
Please, don’t rush into this thing”
But I didn’t listen to Mama

I went straight to the church
I just couldn’t wait
To have a little girl of mine
When I got off from work
The preacher was there
So was my future bride
He looked at us both

And then he called me to his side
He said, “Son, take time to know her
It’s not an overnight fling
You better take time to know her
Please, please, don’t rush into this thing”

But it looked like every thing’s
Gonna turn out all right
And then I came home
A little early one night
And there she was
Kissing on another man
Now, I know what Mama meant

When she took me by the hand
And said, “Son, take time to know her
It’s not an overnight thing
Take time to know her
Please, don’t rush into this thing”
Take time to know her
It’s not an overnight thing

Percy Sledge02

Elvis Presley – Pure Gold (1975)

FrontCover1Elvis Aaron Presley (January 8, 1935 – August 16, 1977) was an American singer and actor. Dubbed the “King of Rock and Roll”, he is regarded as one of the most significant cultural icons of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues.

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In 1955, drummer D. J. Fontana joined to complete the lineup of Presley’s classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley’s first RCA Victor single, “Heartbreak Hotel”, was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll.

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours.

Presley meets U.S. President Richard Nixon in the White House Oval Office,
December 21, 1970
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In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

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Having sold over 500 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, R&B, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom by Donald Trump. (wikipedia)

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Pure Gold is a compilation album by American singer and musician Elvis Presley, issued in 1975 by RCA Records with catalog number ANL1-0971(e) as part of the RCA budget Pure Gold series of albums. At the time of this release, Presley was at the final stage of his career; he was focused more on the country music market, where he had a string of chart-topping records in recent years. This short and rather haphazard collection focused more on his earlier Rock and Roll material than later hits. Although considered a mediocre compilation at best, Pure Gold became an extremely popular seller in the wake of Elvis’ unexpected death in August, 1977.

“Fever”, “It’s Impossible”, and “In The Ghetto” are heard in true stereo; “Kentucky Rain” utilized the mono single version, with mild rechanneled or “fake stereo” effect. The other six tracks on the album are original 1950s monophonic recordings with “stereo effect reprocessed from monophonic”, or “fake stereo”. When RCA reissued the album on compact disc in 1992, the “fake stereo” tracks were restored to their original mono sound. The album was certified Gold on September 12, 1977, Platinum on March 20, 1988 and 2x Platinum on March 27, 1992 by the RIAA.

The front cover photo features Elvis from his Aloha from Hawaii concert in January, 1973. The original back cover featured a list of other albums available in the RCA Pure Gold series. The album was reissued in the early 1980s with the catalog number AYL1-3732(e) as part of the RCA budget ‘Best Buy’ series. (wikipedia)

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The precise motivation behind the release of Pure Gold is difficult to fathom, based on its content: ten songs spanning 16 years of Elvis Presley’s recorded history, from “I Got a Woman” in January 1956 through “It’s Impossible,” cut in February 1972. What’s more, three of the songs are title tracks to films: “Love Me Tender,” “Jailhouse Rock,” and “Loving You.” As the extensive notes by Patrick Snyder fail to give any particular motivation for choosing these ten songs, let’s just go with what’s here — the songs, which do represent a decent cross section of some of his most familiar material from a few prime moments in his career. The mature, more finely nuanced Elvis of “Kentucky Rain,” “It’s Impossible,” and “In the Ghetto” makes an interesting contrast with the younger, more threatening Elvis of “Jailhouse Rock,” etc. One marvels at how underrated he was by his critics, and also how much more he had to offer than just a few years of rock & roll excitement. As a crude statement of the man’s range and talent, Pure Gold is just fine — but there are a dozen other collections that do the job better. (by Bruce Eder)

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Personnel:
Elvis Presley (vocals)
+
many, many studio musicians

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Tracklist:
01.Kentucky Rain (Rabbitt/Heard) (1969) 3.25
02. Fever (from Elvis Is Back!) (Cooley/Blackwell) (1960) 3.34
03. It’s Impossible (from Elvis) (Manzanero/Wayne) (1972) 2.52
04. Jailhouse Rock (from Jailhouse Rock) (Leiber/Stoller) (1957) 2.28
05. Don’t Be Cruel (Blackwell/Presley) (1956) 2.05
06. I Got A Woman (from Elvis Presley) (Charles/Richard) (1956) 2.26
07. All Shook Up (Blackwell/Presley) (1957) 1.59
08. Loving You (from Loving You) (Leiber/Stoller) (1957) 2.14
09. In The Ghetto (from From Elvis in Memphis) (Davis) (1969) 2.49
10. Love Me Tender (from Love Me Tender) (Matson/Presley) (1956) 2.42

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