A San Francisco nightclub launched one of the most exciting bands to come out the Northwest. Tommy Chong and Bobby Taylor formed Four Niggers & a Chink from Little Daddie & the Bachelors, who originated from the Shades, a Calgary/Edmonton based group. Little Daddie & the Bachelor's recorded a couple singles, including "Too Much Monkey Business" out of Vancouver, British Columbia.
Just before becoming a paragon of "outlaw country" with the release of 1975's iconic RED-HEADED STRANGER on Columbia Records, Willie Nelson spent a brief and largely overlooked time at Atlantic, releasing only two albums. However, longtime fans now consider 1973's rock-&-roll-influenced SHOTGUN WILLIE and 1974's autobiographical concept album, PHASES AND STAGES, to be two of the Texas singer-songwriter's finest albums. THE COMPLETE ATLANTIC SESSIONS is an outstanding overview of Nelson's time with Atlantic, presenting both albums in full along with a complete 1974 show recorded at Austin's Texas Opry House for a planned live album that was scrapped when Nelson changed labels. Along with remastered sound and extensive liner notes, this three-disc set adds a total of 27 outtakes, demos, and alternate versions.
There's been considerable discussion about whether Bobby Darin should be classified as a rock & roll singer, a Vegas hipster cat, an interpreter of popular standards, or even a folk-rocker. He was all of these and none of these. Throughout his career he made a point of not becoming committed to any one style at the exclusion of others; at the height of his nightclub fame he incorporated a folk set into his act.
Master Stroke’s sixth (and presumed final) volume of Queen’s Rare Cuts series focuses upon tracks from the final two LPs, 1991’s Innuendo and 1995’s Made In Heaven. Like the other titles, it presents both rarities that have been out before and brand new tracks making their silver debut. Many can be found on the prior release Secret Fantasy (Queen Digital Archives Q-007)…
BALLS TO THE WALL is the fifth album by German heavy metal band Accept. European label Lark Records released the album in December 1983, but its US release was delayed until a month later in January 1984 as to not compete with the band's then-current album Restless and Wild, which had arrived in the US in early 1983. It is Accept's only record to attain Gold certification in America. The album's title track became Accept's signature tune and remains a metal anthem and trademark in the genre.
An amazing collection of music – some of the hippest jazz to ever come out of the west coast scene, and a legendary pairing of trumpeter Bobby Bradford and saxophonist John Carter! Both players have really gone onto leave their mark in later years – but honestly, they almost reached the peak of their powers with these incredible early recordings – beautifully bracing modern jazz, of a sort that somewhat follows an Ornette Coleman lineage, but which also opens up into the new spirituality that was hitting the LA scene in the post-Coltrane years – almost a bridge between the Coleman/Dolphy generation, and the later Nimbus scene that would rise in the west! The music here is stark, simple, and quite organic – yet has an energy that's all its own – an amazing progression of rhythms and horn sounds, wrapped together beautifully through a killer set of original compositions.