Big Bill Broonzy’s recording career spanned from 1927 until his death in 1958. His repertoire was well recorded, from solo to duets to ensemble playing. He was rediscovered just as the "folk-revival" began in the early 1950s. Big Bill was a master of ragtime and country blues guitar. His playing was highlighted by a strong pulsating bass and melodic lead lines. Woody Mann carefully explains Big Bill’s techniques and style in this video lesson.
18 hits including Mighty Quinn, Ha Ha the Clown, the Vicar's Daughter, I Wanna Be Rich and more. This is the definitive compilation covering the Mike D'Abo era. This compilation is book-ended by two Bob Dylan songs (Mighty Quinn, Just like a woman), both of which were among the seven top ten UK hits that Manfred Mann clocked up with Mike D'Abo as lead singer between 1966 and 1969 following the departure of the original lead singer, Paul Jones.
During the 1960s and '70s, Herbie Mann continually searched for new playing contexts in which to place his flute. In December 1973, he traveled to London for five days of recording with a group of British rock musicians. The result was London Underground, an album tilted much more in a rock direction than the soul and R&B-drenched recordings he had been making for the previous five years. Highlights on this album include the Rolling Stones' "Bitch" (then-Stone Mick Taylor played guitar on this album), Thunderclap Newman's "Something in the Air," and "Paper Sun," from the Traffic canon. The real highlight, however, came about with the addition of Stephane Grappelli on the Donovan pop hit "Mellow Yellow."
A double-disc Manfred Mann hits set that adds a third disc for some DVD material, The Evolution of Manfred Mann surveys the entire career of one of British rock & roll's tightest and most energetic units. The first disc is '60s and early-'70s material, nearly all with classic Paul Jones vocals, while the second picks up the story with Manfred Mann's Earth Band and their series of, well, earthier recordings during the mid-to-late '70s (although the compilation extends well into the '90s). The emphasis, overwhelmingly, is on the hits, which finds "Do Wah Diddy Diddy" comfortably slotted near the beginning of disc one, and "Blinded by the Light" in the same position on the second…
Amidst their pop/rock, blues, and folk-rock, Manfred Mann peppered their early recordings with jazzy instrumentals that faintly suggested a jazz-rock direction. Soul of Mann, never issued in the U.S., is a compilation of most of these early instrumental efforts, which originally appeared on various singles, EPs, and LPs between 1963 and 1966 (though one song, "L.S.D.," and is actually a blues-rocker with a Paul Jones vocal). Instrumentals were not the band's forte, but this collection is more interesting than you might think. No one would put Manfred Mann on the level of a jazz artist like Oscar Peterson, but these cuts are executed with a surprising amount of style and wit…
Clapton has now been a solo performer for so long that it is easy to forget that his formative musical years were spent working with a variety of different blues bands, including John Mayall’s Bluesbreakers, Cream, Blind Faith, and not forgetting the legendary Yardbirds. The recordings featured here are an important part of British R&B music history, chronicling the earliest recordings by Eric Clapton, who is now an international rock superstar, and The Yardbirds, one of the UK’s most important blues bands of the era.
Features 24 bit remastering and comes with a mini-description. Quite possibly the best album to feature the talents of Chico Hamilton and Eric Dolphy – a set recorded at a time when Dolphy was an up-and-coming player on the west coast scene! Although Chico Hamilton had recorded with unusual reed players before, Dolphy brings a depth of soul and spirit to this album that's missing from a lot of Chico's earlier work at the time – a style that still holds onto some of the measured qualities of the Pacific Jazz work by the Hamilton group, yet which also opens up into some of the darker corners that Dolphy would explore more on his own recordings of the 60s.