Elton John Live at the Hammersmith Odeon, a December 22nd 1973 gig across two CDs.
Elton’s in fine voice and the
performances are note-perfect. It’s charming to hear a freshly-minted Candle In The Wind
(“this is a song about Marilyn Monroe”) without the baggage, and the
‘greatest hits’ that would serve him well for the next four decades (Daniel, Rocket Man, Crocodile Rock etc.) are all present and correct.
It is an oft-bootlegged one that most fans will already have but it’s a
stormer – ‘Rocket Man’ is predictably gigantic and set closer ‘Your
Song’ undoubtedly iconic. It’s hard not to wish though, that when he
introduces his most famous song ‘Candle In The Wind’ as being “about Marilyn Monroe”
that it had stayed that way, a fragile, heartfelt song about a distant
legend, rather than suffering the indignity of worthless regurgitation
so many years later as a symptom of a country’s borderline perverted
obsessions.
This 2 Cds edition was included in the Goodbye Yellow Brick Road (40th Anniversary Deluxe Edition) Box Set
Disc 1
01. Intro/Funeral For A Friend/Love Lies Bleeding
02. Candle In The Wind
03. Hercules
04. Rocket Man
05. Bennie And The Jets
06. Daniel
07. This Song Has No Title
08. Honky Cat
Disc 2
01. Goodbye Yellow Brick Road
02. The Ballad Of Danny Bailey
03. Elderberry Wine (including Rudolph The Red-Nosed Reindeer)
04. I've Seen That Movie Too
05. All The Young Girls Love Alice
06. Crocodile Rock
07. Your Song
08. Saturday Night's Alright For Fighting
Released in January 1971, three months after her October 1970 death, Pearl
quickly became Janis Joplin’s definitive studio album, rising to #1 on
the Billboard charts and staying there for nine weeks. Joplin ditched
the horn section that somewhat muddied her Kozmic Blues project and,
along with her new Full Tilt Boogie Band, cranked out a batch of bluesy
rock nuggets that would ultimately define her distinctive vocal talents
as more substantial and dynamic than just the caricature of a hard
charging, heavy drinking, blues belting mama she had become. It has
rightly assumed iconic status in her slim catalog of studio recordings.
Review by American songwriter
When Pearl was first remastered on compact disc in 1991, the
package included four live recordings from her last tour in 1970 as
bonus tracks. In 2005, a two-disc edition was released that included
additional live tracks and a happy birthday to John Lennon tribute
recording of “Happy Trails” that she taped in the studio with the band
during the Pearl sessions. Now Sony Legacy is reissuing the album for the third time as The Pearl Sessions
with more bonus tracks and alternate takes as well as studio
conversations between Joplin, the band, and her producer during the
recording sessions.
Review by popMATTERS
By Steve Horowitz
But the treasures come on the second disc which includes fly on the wall
studio chatter and rawer takes of “Move Over,” “Get it While You Can,”
“My Baby” and “Cry Baby.” A demo and alternate version of “Me and Bobby
McGee” aren’t radically altered from what ended up as the final hit. Two
live songs and the “Pearl” instrumental—previously released– fill out
the rest of the disc’s 75 minutes. It’s all interesting, even
fascinating to hear…once. But Janis Joplin was not the Beatles, Dylan or
the Stones, artists whose creative process and outtakes would be of
immense historical value. While Pearl is a terrific album and
the height of Joplin’s studio career, it is not in a league with some of
rock’s most genre defining work. How often anyone but the hardest core
fanatic will return to this vault clearing ephemera is debatable.
Review by American songwriter
Suffice it to say that unless you simply need to own everything Janis
touched, this package is of negligible value. Newcomers will be better
served by the 2005 edition with its powerful concert material showing
how Joplin and the scrappy Full Tilt reinterpreted her earlier work.
It’s a far more essential, educational and enjoyable listening
experience.
Review by American songwriter
By Hal Horowitz CD1
01 - Move Over
02 - Cry Baby
03 - A Woman Left Lonely
04 - Half Moon
05 - Buried Alive In The Blues
06 - My Baby
07 - Me And Bobby McGee
08 - Mercedes Benz
09 - Trust Me
10 - Get It While You Can
11 - Me And Bobby McGee (Mono Single)
12 - Half Moon (Mono Single)
13 - Cry Baby (Mono Single)
14 - Get It While You Can (Mono Single)
15 - Move Over (Single Version)
16 - A Woman Left Lonely (Mono Single)
CD2
01 - Overheard In The Studio...
02 - Get It While You Can (Take 3)
03 - Overheard In The Studio...
04 - Get It While You Can (Take 5)
05 - Overheard In The Studio...
06 - Move Over (Take 6)
07 - Move Over (Take 13)
08 - Move Over (Take 17)
09 - Me And Bobby McGee (Demo Version)
10 - Me And Bobby McGee (Take 5 - Alternate)
11 - Cry Baby (Alternate Version)
12 - A Woman Left Lonely (Alternate Vocal)
13 - Overheard In The Studio...
14 - My Baby (Alternate Take)
15 - Overheard In The Studio...
16 - Get It While You Can (Take 3)
17 - My Baby (Alternate Version)
18 - Pearl (Instrumental)
19 - Tell Mama (Live 7-28-70)
20 - Half Moon (Live - 8-3-70) Flac
El fértil año que señaló el espectacular resurgimiento creativo de Eric Clapton será celebrado el 25 de Noviembre de este 2013 con la publicación de Super Lujo de Give Me Strength: The ‘74/’75 Recordings.
Esta colección ejemplar presenta no menos de 29 pistas extras (12 de ellas inéditas), del extraordinario periodo entre Abril de 1974 y Junio de 1975, en el cuál E.C. recuperó y mejoró su estatus como uno de los guitarristas y cantautores más legendarios del rock.
Give Me Strength alberga versiones ampliadas y remasterizadas de sus aclamados albumes de estudio de la época de: 461 Ocean BoulevardyThere’s One In Every Crowd, el subsiguiente set en vivoE.C. Was Here (ahora ambos remezclados y expandidos en un doble CD), y un disco que contiene la completa y legendaria sesión deFreddie King Criteria Studios Session.
Un sexto disco, Blu Ray agrega una nuevamente disponible mezcla 5.1 Surround Sound de
461 Ocean Boulevard y la mezcla cuadrafónica original de las dos realizaciones de estudio y del album en vivo.
461 Ocean Boulevard, lanzado en el verano de 1974 y nombrado así por la mansión frente a la playa de Miami donde la banda vivió durante las grabaciones, marcó el regreso de Clapton después de una ausencia de tres años, y enfáticamente anunció su rehabilitación personal y creativa. Precedido por su interpretación personalizada a la canción de Bob Marley I Shot The Sheriff, la cuál alcanzó el lugar número 1 en la lista Billboard Hot 100 el 14 de Septiembre de 1974, el album mantuvo su posición, lidereando la lista Billboard por catorce semanas, y continuando con la venta de cuatro millones de copias en los Estados Unidos solamente. La nueva edición contiene tomas descartadas de sesión y versiones no realizadas (inéditas) de Getting Acquainted y las importantes del album Please Be With Me and Give Me Strength.
Ampliar imagen: dar click derecho en ella y seleccionar "Abrir en una nueva ventana".
There’s One In Every Crowd, grabado en Kingston, Jamaica en el reconocido estudio de reggae Dynamic Sounds,
fué creado en un descanso de la gira triunfal que siguió al asombroso éxito de 461. Esta edición restaurada ofrece el sencillo "Knockin’ On Heaven’s Door" (original de Bob Dylan) en una versión que Clapton grabó en estilo reggae, realizada en 1975 y que no está incluída en ningún album y una selección de tomas de sesión descartadas y pistas inéditas.
Ampliar imagen: dar click derecho en ella y seleccionar "Abrir en una nueva ventana".
En 1975 la banda hizo una gira mundial, esa gira sería conmemorada por el album doble E.C. Was Here, el cuál fué grabado en: Long Beach Arena, California (Julio 20 de 1974), Hammersmith Odeon, Londres (Diciembre 4 de 1974), Nassau Coliseum, Uniondale Nueva York (Junio 28 de 1975) y Providence Civic Center, Rhode Island (Junio 25 de 1975), y ahora ampliado a través de dos CD´s con numerosos extras no pubicados tales como versiones de Layla, Crossroads y Little Wing.
Portada Frontal del album doble E.C. Was Here.
Portada Trasera del album doble E.C. Was Here.
Y el contenido de este boxset continúa con las históricas sesiones en Criteria Studios, donde 461 Ocean Boulevard fué hecho, en el verano del ´74 con el héroe de Clapton: Freddie King, para el album de King, Burglar. Cuatro canciones de estas sesiones aparecen aqui, incluyendo una gloriosa Gambling Woman Blues de 22 minutos. Rara vez en la historia del rock ha un artista redefinido y aumentado su obra creativa del mismo modo que Eric Clapton lo hizo durante la temporada 1974-75.
Give Me Strength: The ‘74/’75 Recordings .
A sugerencia de Eric, Freddie King firmó un contrato de un nuevo disco con Robert
Stigwood para su sello RSO. Este era un gran sello con Eric Clapton y los
Bee Gees siendo ellos los actos más éxitosos. Aunque el 99% de su primer album para el sello, "Burglar", fué grabado en los estudios Chipping
Norton de Mike Vernon en Oxforshire, RSO sugirió que una pista debería presentar a Eric, lo cuál ayudaría a las ventas. Como la parte principal del album fué grabada en Julio, Eric fué incapáz de participar ya que estaba de gira. Una sesión fué arreglada para el 5 de Agosto en Miami en un descanso del enorme tour estadounidense de Eric. Cuatro números fueron grabados, aunque solo "Sugar Sweet" fué realizado en el primer album de Freddie en RSO, "Burglar". Las tres restantes fueron eventualmente realizadas postumamente en Freddie King (1934 – 1976) en
1976 y el maravilloso box set de Bear Family Records, ‘Texas Flyer 1974 –
1976’ realizado en 2010. También cabe destacar que una versión alternativa de ‘Sugar Sweet’ también se encuentra en estos dos últimos lanzamientos.
.
Eric Clapton: “Freddie King taught me just about everything I
needed to know, when and when not to make a stand, when and when not to
show your hand, and most important of all, how to make love to a guitar.” ("Freddie King me enseñó casi todo lo que necesitaba saber, cuando y cuando no pararte, cuando y cuando no mostrar tu mano, y lo más importante de todo, como hacerle el amor a una guitarra."
Purple Chick discs are fan created and NEVER FOR SALE!!!
Seriously, if you pay money for them you were ripped off - someone somewhere sold what they obtained for free. Not cool.
DISC ONE - Stereo
Single
01. Hey Jude
02. Revolution
The Beatles - Record 1
03. Back In The U.S.S.R.
04. Dear Prudence
05. Glass Onion
06. Ob-La-Di, Ob-La-Da
07. Wild Honey Pie
08. The Continuing Story Of Bungalow Bill
09. While My Guitar Gently Weeps
10. Happiness Is A Warm Gun
11. Martha My Dear
12. I'm So Tired
13. Blackbird
14. Piggies
15. Rocky Raccoon
16. Don't Pass Me By
17. Why Don't We Do It In The Road?
18. I Will
19. Julia
Outtakes
20. Not Guilty
21. Whatís The New Mary Jane
22. Sour Milk Sea (outfake)
DISC TWO - Stereo
The Beatles - Record 2
01. Birthday
02. Yer Blues
03. Mother Nature's Son
04. Everybody's Got Something To Hide
Except Me And My Monkey
05. Sexy Sadie
06. Helter Skelter
07. Long, Long, Long
08. Revolution 1
09. Honey Pie
10. Savoy Truffle
11. Cry Baby Cry
12. Revolution 9
13. Good Night
Outtake
14. While My Guitar Gently Weeps
(demo)
Alternate Mixes
15. Revolution (Love - complete)
16. Back in the USSR (Love - complete)
17. Revolution (Past Masters)
18. Anthology Medley Flac
It
was in 2012 when drum legend Ian Paice arranged a concert in the Royal
Albert Hall in London. He called it the "Ian Paice's Sunflower
Superjam". It was actually meant to be a private charity event that the
iconic drummer organised together with his wife Jacky. The couple
managed to bring together a bunch of excellent and well-kown musicians
that supported them that night. The result was an outstanding evening
with some of the most important heores in rock.
Luckily
this event didn't stay just a private one. The concert was recorded and
filmed and we all can join in via CD or DVD/BluRay.
The
guys who performed the songs sound like the 'who is who' of rock. Names
like Bruce Dickinson, Alice Cooper, Uli Jon Roth, Brian May, John Paul
Jones and Ian Paice are a guarantee for excellent live music. Bruce
Dickinson sings "Black night" from Deep Purple and does a great
Gillan-like scream in the beginning - introduced by a "You now what
comes next". He does a great job and having Brian May on the six string
makes this version evem more special. Alice Cooper is performing
"Elected" and the Cooper-hit "School's out". The first track supported
by Uli Jon Roth on guitar while Brian May plays the axe on "School's
out". Very cool stuff.
With
"Pictued within" also Jon Lord (R.I.P.) was honored that night. The
soulful intepretation of Steve Balsamo is awesome and gets under your
skin. Uli Jon Roth added an old Scorpions song, "The sails of Charon"
from the "Taken by force" album, to the show and also "Since you've been
gone", with Brian May in the lead, is just a treat for your ears.
"Ian
Paice's Sunflower Jam" is an impressive document of an extraordinary
evening. Each rock fan should call this record his own. This is music
history in all meanings of the words. Review by Markus' Heavy Music Blog
Reasons Why
The Sunflower Jam is the brainchild of Jacky Paice, wife of Deep Purple
drummer Ian Paice. Founded in 2006, Jacky was inspired to help those
fighting cancer and other diseases after meeting a 16 year old boy named
Kevin. Kevin had leukaemia and a friend of Jacky's who headed the
complimentary therapy care team at the University College London called
her and asked for a favour. Kevin needed a boost to pull him through
and, as a Deep Purple fan, he asked Jacky if she would get Ian to sign
something and send it to him. Not only did she organise that, but Jacky
also called her brother-in-law Jon Lord (RIP) and asked them both to
deliver the signed merchandise. Needless to say the boy was over the
moon. Unfortunately, it turned out to be the ultimate going away present
as Kevin passed away two weeks after. Since then, Jacky has organised
high-profile, classic rock events which, after outgrowing their original
venue, have now moved to the Royal Albert Hall and other iconic London
venues.
All in all, documents like this should be in every rock aficionado's
collection, if not for the charity character then surely for the
uniqueness of it, Brian May seriously fucking up the end of the
aforementioned "Black Night" included. The biggest and best UK rock
artists on one stage, every year, and clearly having fun doing so.
Nothing wrong with that now, I say. (KVK)
Review by ROCKREPORT
If you are interested in a more explicit review about the Sunflower Superjam you can try this site RED HARD N HEAVY
01 Ain't No Telling feat. The Temperance Movement 04:59
02 This Wheel's On Fire feat. Sandi Thom & Brian Auger 05:21
03 The Sails of Charon feat. Uli Jon Roth 04:33
04 Rock And Roll feat. Uli Jon Roth & Alfie Boe 03:48
05 Pictured Within feat. Steve Balsamo & Brian Auger 05:23
06 Something About You feat. Mark King & Brian Auger 05:22
07 Lessons In Love feat. Mark King & Brian Auger 04:58
08 Emerald feat. Bruce Dickinson & Uli Jon Roth 04:14
09 Behind Blue Eyes feat. Bruce Dickinson 03:51
10 Black Night feat. Bruce Dickinson, Brian May, John Paul Jones, Ian Paice,... 07:05
11 Since You've Been Gone feat. Kerry Ellis, Brian May, John Paul Jones, Ian... 03:42
12 Elected feat. Alice Cooper, Uli Jon Roth, Ian Paice, Brian Auger 04:58
13 School's Out feat. Alice Cooper, Brian May, Ian Paice, Brian Auger 04:11
14 Smoke On The Water feat. Ian Paice’s Sunflower Superjam Ensemble 11:20 Flac Flac
The Beatles or "The White album" as it became better known was released
on 22nd November, 1968 on the fifth anniversary of their second album,
With The Beatles. A total of 34 new tracks were released in 1968 and 30
were contained on this one double-LP.
The White Album, is the ninth studio album by The Beatles. A double album, its plain white sleeve has no graphics or text other than the band's name embossed (and, on the early LP and CD releases, a serial number).
Following the recording of their single "Lady Madonna" in February, the
Beatles flew to Rishikesh, India for several weeks of meditation with
Maharishi Mahesh Yogi during which they enjoyed a prolific period of
song writing. Recording began at Abbey Road on 30th May and studio work
occupied most of their time until the final session in mid October.
The colourful artwork that had adorned Sgt. Pepper's Lonely Hearts Club
Band and Magical Mystery Tour albums was absent here. The double wallet
merely had words The BEATLES embossed on the front cover. Early copies
also had a individual number stamped on the front. Inside the package
along with the two discs wrapped in black inner sleeves were four
individual photographs of the guys and a folded poster containing a
photo-collage with the lyrics to the songs on the reverse.
The Beatles was the group's first album to appear on the Apple label.
The change from Parlophone to Apple had first taken place with the
release of the "Hey Jude" single in August, 1968.
Dubbed by Rolling Stones magazine as one of
the most influential albums in musical history, the Beatles’ “White
Album” embodies the band possibly at its finest. The album itself was
originally titled “The Beatles”. Nonetheless, it eventually became known
as the “White Album” due to its iconic white cover artwork of the album
along with the continual use of the term “The White Album” by media. In
contrast to its predecessor, “Sgt. Pepper”, and every other previous
album they had released the “White Album” was specially recorded for
stereo. The Beatles themselves were in the studio to approve the stereo
mixes causing the album to be considered a landmark in the band’s
history.
CD 1
1. Back In The U.S.S.R.
2. Dear Pudence
3. Glass Onion
4. Ob-La-Di Ob-La-Da
5. Wild Honey Pie
6. The Continuing Story Of Bungalow Bill
7. While My Guitar Gently Weeps
8. Happiness Is A Warm Gun
9. Martha My Dear
10. I’m So Tired
11. Blackbird
12. Piggies
13. Rocky Raccoon
14. Don’t Pass Me By
15. Why Don’t We Do It In The Road?
16. I Will
17. Julia
CD 2
1. Birthday
2. Yer Blues
3. Mother Nature’s Son
4. Everybody’s Got Something To Hide Except Me And My Monkey
5. Sexy Sadie
6. Helter Skelter
7. Long, Long, Long
8. Revolution 1
9. Honey Pie
10. Savoy Truffle
11. Cry Baby Cry
12. Revolution 9
13. Good Night
The pic from above is taken from the official website of H.R. Giger, as you can see it shows the covers, (front and back), from the Emerson Lake and Palmer (ELP) album: Brain Salad Surgery and the message: "Missing in Prague, $10,000 REDWARD"...
WHAT HAPPENED?:
"Giger originals for album cover arts after exhibition disappeared
Zurich. - On the way from Prague to Zurich, two pictures of the creator of
Alien, H.R. Giger, have been stolen. The two signed original covers for the
Emerson, Lake and Palmers album “Brain Salad Surgery” from 1973 have, according
to the Zurich police, a value of Swiss Francs 110,000. “The pictures were part
of a retrospective in Prague” says the artist, who lives in Oerlikon (comment: a
suburb of Zurich). About 40,000 people visited the exhibition. The works either
were not loaded in Prague or were stolen on the transport. Giger suffers first
of all the loss of the woman head. “This was a birthday present, which I made
for my girlfriend Carmen”. Giger points out, that he doesn’t want revenge and
nobody should be punished, “but I hope the thieves will give back the pictures”. Any information is welcomed by the police of Zurich (+41 44 247 22 11, comment:
this includes the country code for Switzerland)."
Well, now, who is H.R. Giger? according to Wikipedia Hans Ruedi Giger, also calledHansRudolfGigerwasa graphic artistandSwiss sculptor. Itis well known forhis contributions tothe film world, more specifically intheAlienfilm series. Although it is verylikely thatmost music loversrecognizeH.R. Giger by his work as a covers albums designer from many rock bands. One of the the most well known work is the cover of the album "Brain Salad Surgery" by ELP.
This is a live album taken from a Deep Purple performance originally broadcast on the King Biscuit Flower Hour, released in July 1995. It contains concert material featuring the Mark IV line-up with Tommy Bolin. The concert was recorded at the Long Beach Arena
on 27 February 1976. The album contains four bonus tracks recorded at a
Deep Purple concert in Springfield in January, 1976. This concert was
originally intended to be used for the King Biscuit broadcast, but
imperfections in the recording made the entire show unsuitable for
airing and forced the second taping in Long Beach one month later.
The album was released in the U.K. under the title On the Wings of a Russian Foxbat. In 2000, a partial set consisting of ten songs was published by BMG under the name Extended Versions. The album was remastered and re-released with new cover art as Live at Long Beach 1976 on 24 February 2009 by Purple Records.
Review by Wikipedia
This double-disc live album captures a complete show by Deep Purple Mark IV, featuring Tommy Bolin
on guitar, recorded at Long Beach Arena, with two bonus tracks from a
show in Springfield, MA. This lineup was not always good in concert --
Bolin, who had a drug problem, was erratic -- but they've got it
together here, though David Coverdale isn't in great voice. Bolin has a different canvas of sounds and ideas than his predecessor Ritchie Blackmore, but he's a very fine player, and he does a good job fitting into Purple classics like "Smoke on the Water." The band include several songs from this lineup's only studio album, Come Taste the Band, as well as one from Bolin's solo album, Teaser. Bassist Glenn Hughes' soul-influenced singing is more prominent than in the past, and Jon Lord plays clarinet and Keith Emerson-style
synthesizers in addition to his trusty Hammond organ. Hughes and Bolin
shine on "This Time Around," but Hughes' over-the-top "Georgia on My
Mind" is just grating. All of this makes for an album unlike any other
live Purple recording. This release later appeared in the U.S. as King Biscuit Flower Hour: In Concert.
Review by ALLMUSIC
CD 1: 01. Burn 02. Lady Luck 03. Getting Tighter 04. Love Child 05. Smoke On The Water (inc Georgia In My Mind) 06. Lazy 07. The Grind
CD 2: 01. This Time Around 02. Tommy Bolin solo 03. Stormbringer 04. Highway Star (inc Not Fade Away) 05. Smoke On The Water (inc Georgia In My Mind) (vsn 2) 06. Going Down 07. Highway Star (inc Not Fade Away) (vsn 2) Flac
Not My Upload! All Thanxs To The Original Uploader
Tales of Mystery and Imagination Edgar Allan Poe, is the debut album by the progressive rock group The Alan Parsons Project, released in 1976. The title of the album is taken from a popular title for a collection of Poe's macabre tales of the same name, Tales of Mystery & Imagination, first published in 1908 and reprinted many times since. -Review by Wikipedia
As it was said the concept of the album revolves around the work of Edgar Allan Poe through 7 songs, including two instrumentals "A Dream Within A Dream" and "The Fall of the House of Usher". Hisoriginal ideawas to makean albumin whichParsonsandWoolfsonwould provide theinstrumentalpart. Whilst a number of known guest singers would contribute with the vocals. Theinauguralpresentation of this workin 1976caused a big sensationwhen it was presented at the Planetarium Griffith Park Observatory in England, accompanied bya laser showlighting.
The guest vocalists for this show were Arthur Brown, John Miles and Terry Sylvester. What makes the album unique is that, unlike the later albums, even with all the technology used and the concept of progress that characterizes "Alan Parsons Project", the album sounds wonderfuly ancient and totally away from modernism. The cover is the work of "Hipgnosis". -Review by THE ALAN PARSON PROJECT
Release history
Originally simply called The Alan Parsons Project, the album
was successful enough to achieve gold status. The identity of The Alan
Parsons Project as a group was cemented on the second album, I Robot, in 1977.
The original version of the album was available for several years on vinyl and cassette, but was not immediately available on CD(the CD technology not being commercially available until 1982).
In 1987, Parsons completely remixed the album, including additional guitar passages and narration (by Orson Welles) as well as updating the production style to include heavy reverb and the gated reverb
snare drum sound, which was popular in the 1980s. The CD notes that
Welles never met Parsons or Eric Woolfson, but sent a tape to them of
the performance shortly after the album was manufactured in 1976.
The first passage narrated by Welles on the 1987 remix (which comes
before the first track, "A Dream Within a Dream") is sourced from an
obscure nonfiction piece by Poe – No XVI of his Marginalia (from
1845 to 1849 Edgar Allan Poe titled some of his reflections and
fragmentary material "Marginalia.") The second passage Welles reads
(which comes before "The Fall of the House of Usher" (Prelude), seems to
be a partial paraphrase or composite from nonfiction by Poe, chiefly
from a collection of poems titled "Poems of Youth" by Poe (contained in
"Introduction to Poems – 1831" in a section titled "Letter to Mr.
B-----------"; the "Shadows of shadows passing" part of the quote comes
from the Marginalia.
In 1994 Mobile Fidelity Sound Lab (MFSL) released the original 1976 version on CD (UDCD-606), making the original available digitally for the first time.
In 2007, a Deluxe Edition released by Universal Music included both the 1976 and the 1987 versions remastered by Alan Parsons during 2006 with eight additional bonus tracks. - Review by Wikipedia
CD 1: 01. A Dream Within A Dream (Instrumental) 02. The Raven 03. The Tell-Tale Heart 04. The Cask Of Amontillado 05. (The System Of) Doctor Tarr And Professor Fether 06. The Fall Of The House Of Usher (Instrumental): I Prelude 07. The Fall Of The House Of Usher (Instrumental): II Arrival 08. The Fall Of The House Of Usher (Instrumental): III Intermezzo 09. The Fall Of The House Of Usher (Instrumental): IV Pavane 10. The Fall Of The House Of Usher (Instrumental): V Fall 11. To One In Paradise 12. The Raven (Original Demo) 13. Edgar (Demo Of An Unreleased Track) 14. Orson Welles Radio Spot 15. Interview With Alan Parsons And Eric Woolfson (1976)
CD 2: 01. A Dream Within A Dream (1987 Remix) 02. The Raven (1987 Remix) 03. The Tell-Tale Heart (1987 Remix) 04. The Cask Of Amontillado (1987 Remix) 05. (The System Of) Dr. Tarr And Professor Fether (1987 Remix) 06. The Fall Of The House Of Usher - Prelude (1987 Remix) 07. The Fall Of The House Of Usher - Arrival (1987 Remix) 08. The Fall Of The House Of Usher - Intermezzo (1987 Remix) 09. The Fall Of The House Of Usher - Pavane (1987 Remix) 10. The Fall Of The House Of Usher - Fall (1987 Remix) 11. To One In Paradise (1987 Remix) 12. Eric's Guide Vocal Medley 13. Orson Wells Dialogue 14. Sea Lions In The Departure Lounge (Sound Effects And Experiments) 15. Gbh Mix (Unreleased Experiments) Flac Not My Upload! All Thanxs To The Original Uploader
In 2009, George Thorogood and his long-time band the Destroyers put together The Dirty Dozen,
an odd album that comprised of a handful of new recordings and never
before heard material from the band's archive. Among the new tracks that
Thorogood recorded for the album was a cover of Howlin' Wolf's "Tail
Dragger." The song must have captured the imagination of somebody in the
executive suites at Capitol Records, because they asked Thorogood for
an entire album of Chess Records covers.
The project turned out to be one that was very close to the blues-rock guitarist's heart. As a teen, Thorogood heard the Rolling Stones
instrumental "2120 South Michigan Avenue," named for the address of
Chess Records in Chicago, and wrote the label asking for a catalog. The
music that Thorogood would discover on Chess directly influenced his
choice to get into music, and had shaded and shaped his career ever
since. Naming his Chess Records tribute album 2120 South Michigan Avenue, Thorogood and band rip and roar through songs originally recorded by such reknown artists as Muddy Waters, Sonny Boy Williamson, Bo Diddley, Chuck Berry, and others.
Review by Reverend Keith A. Gordon
Taken From And All Thanxs To about.com blues.about.com
George Thorogood & the Destroyers have never made their debt to Chess Records a secret, so an album-length tribute to the home of Muddy Waters, Howlin’ Wolf, Willie Dixon, Chuck Berry, and Bo Diddley is a logical move for the rough and tumble blues-rockers. This is so firmly within Thorogood's wheelhouse that 2120 South Michigan Ave -- its name saluting the Chicago address of Chess Studios and the Rolling Stones instrumental saluting the hallowed location, the Stones' song turning a young Thorogood on to the wonders of Chicago blues -- feels like it could have been recorded at any stage in his career. Review
by Stephen Thomas Erlewine Taken From And All Thanxs To ALLMUSIC
01. Going Back
02. Hi-Heel Sneakers (Feat. Buddy Guy)
03. Seventh Son
04. Spoonful
05. Let It Rock
06. Two Trains Running (Still A Fool)
07. Bo Diddley
08. Mama Talk To Your Daughter
09. Help Me
10. My Babe (Feat. Charlie Musselwhite)
11. Willie Dixon's Gone
12. Chicago Bound
13. 2120 South Michigan Ave (Feat. Charlie Musselwhite) Flac
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