The Stylistics were one of the best-known Philadelphia soul groups of the 1970s. They formed in 1968, and were composed of lead Russell Thompkins, Jr., Herbie Murrell, Airrion Love, James Smith, and James Dunn. All of their US hits were ballads, graced by the soaring falsetto of Russell Thompkins, Jr. and the lush yet graceful productions of Thom Bell, which helped make the Stylistics one of the most successful soul groups of the first half of the 1970s." During the early 1970s, the band had twelve straight U.S. R&B top ten hits, including "Stop, Look, Listen (To Your Heart)", "You Are Everything", "Betcha by Golly, Wow", "I'm Stone in Love with You", "Break Up to Make Up", and "You Make Me Feel Brand New".
This double CD brings together two divergent strands from Moondog's career: early recordings from the 1950s, and big band sessions from the mid-1990s. Moondog, aka Louis Hardin, left the streets of New York City for Germany in 1974 (as the useful timeline in this package makes clear), but the image that sticks is of the blind Manhattan "street musician" with his Viking robes and home-made instruments.
Part of a series of live recordings unearthed after 40 years, this album presents one night of a three-night stand Quicksilver Messenger Service played as opening act for Jefferson Airplane at the Fillmore Auditorium in San Francisco on February 4, 1967. The recordings are especially valuable since Quicksilver played for years, usually in and around San Francisco, before releasing its first album, Quicksilver Messenger Service, in May 1968. As this performance shows, the band was ready to record more than a year earlier.
2-CD set of the complete and unedited concert recorded from the soundboard and mixed by the Peter Gabriel engineering team. These professionally mastered and manufactured CDs (NOT CD-Rs) are packaged in cardboard mini (LP-style) gatefold sleeves that add to the bootleg look and feel.
One of England's prime jazz-rock - or, more accurately, rock-jazz - outfits, most of the members of Colosseum had apprenticed in blues bands, and it shows very strongly on some of the material here. Both "The Kettle" and "Butty's Blues" are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. "Elegy" is a fast-paced, minor-key blues that stretches guitarist James Litherland's vocal abilities. Things do get far more interesting with "The Machine Demands a Sacrifice," which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion…