Consisting of just three tracks and less than 20 minutes of music, the Easy Chair’s one-sided demo LP is a legendary westcoast artefact. Few people have actually heard it, but among those some have expressed surprise at how good it is, apart from the collector wet-dream perspective.
Hip Hip Hooray is actually a retitled and slightly resequenced reissue of the Troggs' 1968 U.K. album Mixed Bag (which never came out in the United States), tacking on 11 CD bonus cuts from 1970 and 1973 singles. The original title Mixed Bag was an appropriate description of this rather scrapheap assembly, as it wasn't really a regular album. Instead, it was a budget-priced compilation matching eight songs that appeared on British and American singles in 1968 with four others that made their first appearance on the LP. Although all but one of the tracks was a Troggs original ("Hip Hip Hooray" being the lone exception)…
The Dubliners released three albums on the Transatlantic label between 1964 and 1966, but it wasn't until they moved to Philip Solomon's new Major Minor label in 1967 that they had their first real success. A Drop of the Hard Stuff was released in the spring of 1967 followed by the rather unimaginatively titled More of the Hard Stuff later that year - both albums heavily promoted by Radio Caroline. Drinkin' & Courtin' was released in 1968, the year the original Radio Caroline went off the air, so had to rely more on the BBC for airplay.
Roberto Sánchez-Ocampo (August 19, 1945 – January 4, 2010), better known by his artist names Sandro/Sandro de América ("Sandro of America"), Gitano (gypsy), and the Argentine Elvis, was a notable Argentine singer and actor. He is considered one of the first rock artists to sing in Spanish in Latin America. He edited 52 official records and sold 50 million copies although other sources state that he sold over 75 million.
Doug Sahm once sang, "You just can't live in Texas if you don't have a lot of soul," and, as a proud son of the Lone Star state, he seemed bent on proving that every time he stepped in front of a microphone. Whether he was playing roots rock, garage punk, blues, country, norteño, or (as was often the case) something that mixed up several of the above-mentioned ingredients, Doug Sahm always sounded like Doug Sahm – a little wild, a little loose, but always good company, and a guy with a whole lot of soul who knew a lot of musicians upon whom the same praise could be bestowed. Pulling together a single disc compilation that would make sense of the length and breadth of the artist's recording career (which spanned five decades) would be just about impossible (the licensing hassles involved with the many labels involved would probably scotch such a project anyway), but this disc, which boasts 22 songs recorded over the course of eight years, is a pretty good starter for anyone wanting to get to know Sahm's music.