An incredible selection of 1967-1971 recordings from this top notch boogie and blues rock outfit! Includes Spoonful; Portable People; Boogie On; 50,000 Miles Beneath My Brain; Let the Sky Fall; Love Like A Man , and more 26 tracks in all!
Compared to the gargantuan Live/1975-85, 2001's Live in New York City seems like the very definition of restraint, but consider this – not only does it span two discs, it leaves out a considerable portion of the set list from the show and thereby the set list of Springsteen's celebrated 2000 reunion with the E Street Band. Some critics complained that this record was little more than a tie-in to the HBO special of the same name, but even if that's true, the record would have merit since it illustrates exactly why this group should never have parted ways. In a sense, even if this is the third live album in Springsteen's catalog, it's the first that attempts to replicate the feeling of an evening out with the E Street Band (the Live/1975-85 box tried too hard to be an ultimate experience; MTV Plugged captured a transitional phase).
The Wall was Roger Waters' crowning accomplishment in Pink Floyd. It documented the rise and fall of a rock star (named Pink Floyd), based on Waters' own experiences and the tendencies he'd observed in people around him. By then, the bassist had firm control of the group's direction, working mostly alongside David Gilmour and bringing in producer Bob Ezrin as an outside collaborator…
Intermission is a compilation album by power metal band Stratovarius, released on 26 June 2001 through Nuclear Blast. The album consists of covers, live and bonus tracks, as well as four new tracks. It charted in the top 100 in four countries.
Columbia has managed to squeeze an impressive, perhaps excessive, number of compilations out of Janis Joplin's relatively slim body of recordings. With this two-CD set, The Essential Janis Joplin, the label's at it again, though it's a good one to get if you don't want to collect all the Joplin releases, and certainly don't want to get the expensive Joplin boxes, but want more than what fits onto a single disc. Including both solo recordings and highlights of her stint with Big Brother & the Holding Company, it has all the songs fans and critics would consider milestones in her career: "Ball and Chain" (a version recorded live in 1967 at the Monterey Pop Festival, not the more familiar one from Cheap Thrills), "Piece of My Heart," "Down on Me," "Summertime," "Try (Just a Little Bit Harder)," "Tell Mama" (the live 1970 performance from the expanded edition of Pearl), "Get It While You Can," "Mercedes Benz," and "Me and Bobby McGee." And there are also good tracks that aren't as overly familiar, like "Coo Coo," "Misery'n," "Maybe," "Work Me, Lord," and "A Woman Left Lonely."
Gold by The Beautiful South is the third greatest hits album to be released by the band. It is similar in design to other "Gold" albums released by bands either currently or previously of various labels under the Universal Music Group. The album is a 2 disc collection of both single and album tracks taken from the first 8 of the bands back catalogue. It was released without the band's consent and had zero input from the band.
Columbia/Legacy's 2001 release The Essential Kenny Loggins lives up to its billing, and not just because it has all of Loggins' solo hits. No, this collection earns its title because it contains no less than seven Kenny-fronted Loggins & Messina tracks, along with all his big solo hits, plus a sharp selection of album tracks and latter-day material, for a grand total of 35 tracks over two CDs.
There hasn’t been a popular dance without an accordion, nor a dance-hall without a waltz, since the end of the Great War. You wonder if the genre was ever “modern” at all, so timeless does it seem… Yet it had to be born at some time, and its parents were a motley crowd indeed! First of all came the people from Auvergne, who began to settle in Paris at the beginning of the 19th century: they brought their “folk” instrument with them, and the “musette” tradition, turning their cafes and restaurants into dance-halls with an accordion band. Later, after 1870, it was the turn of the Italians, who crossed the Alps with an instrument of German origin, which they quickly adopted and began to manufacture themselves: the accordion. Then a third stream from Belgium and the North arrived in Paris to work in the factories, and, later still, the wandering gypsy communities of eastern Europe added their guitars to the sound of the accordion.