Cutting away all of Marty Robbins' rock & roll, Hawaiian and cowboy recordings, Bear Family's four-disc box set, Country 1960-1966, contains nothing but his straight country and country-pop recordings of the early '60s. During that era, Robbins was one of the most popular performers in country music, scoring an impressive series of Top 10 hits and pop crossovers like Don't Worry and Devil Woman, which are all included on this set.
John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of Detroit blues. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. This quintessential release includes two albums from the beginning of his career: Sings the Blues (Crown 1961) and Sings Blues (King 1960). Although the two records share nearly identical titles, each contains a different and excellent track list. The former LP features great electric numbers such as “Hug and Squeeze (You),” “Good Rockin' Mama,” and “The Syndicate,” while the latter contains Hooker's solo recordings originally issued on the Modern label. Both albums have been remastered and packaged together in this very special collector's edition, which also includes 5 bonus tracks from the same period.
Although Orrin Keepnews' Riverside Records was primarily a jazz label, the company dabbled in blues in the 1960s – and one of the bluesmen who recorded for Riverside was John Lee Hooker. Recorded in 1960, this Keepnews-produced session came at a time when Hooker was signed to Vee-Jay. The last thing Keepnews wanted to do was emulate Hooker's electric-oriented, very amplified Vee-Jay output, which fared well among rock and R&B audiences. Keepnews had an acoustic country blues vision for the bluesman, and That's My Story favors a raw, stripped-down, bare-bones approach – no electric guitar, no distortion, no singles aimed at rock & rollers.
The brilliant Leon Rosselson is underrated only because his ideological leanings don't conform with the mainstream. He has been recording since the early 1960s, and this 4CD overview offers a superlative selection of his oeuvre, including material from vinyl albums that, unfortunately, are ever likely to be reissued in any other format. As a British songwriter, Rosselson is unequalled in the past half century. Much of his oeuvre is in the French chanson mould of Brassens, although he is invariably categorised, not surprisingly, as a folk singer. He surfaced in the early 1960s as Britain's answer to Tom Lehrer – but with a great deal more gravitas.
Si tratta di una collezione di record in cui le grandi canzoni e grandi cantanti che andavano di moda 1960-1969 in Italia e poi invaso il spettro musicale internazionale, che sarebbe stato sviluppato e l'accettazione del pubblico sono raccolti.
At Newport 1960 is a live album by Muddy Waters performed at Newport Jazz Festival in Newport, Rhode Island, with his backing band, consisting of Otis Spann (piano, vocals), Pat Hare (guitar), James Cotton (harmonica), Andrew Stevens (bass) and Francis Clay (drums), on July 3. Waters's performances across Europe in the 1950s and at Newport helped popularize blues to a broader audience, especially to whites. The album is said to be one of the first live blues albums.