Following an unsatisfying three-year stint at Mercury Records, Chuck Berry returned home to Chess in 1969, just like Phil Chess predicted. Heading home didn’t necessarily mean retreating, as the four-disc Have Mercy: His Complete Chess Recordings 1969-1974 illustrates. During his time at Mercury, Chuck followed the kids wherever they went, aligning himself with the psychedelic ‘60s in a way none of his peers did. This shift is immediately apparent on “Tulane,” the very first song he cut upon his return to Chess. An ode to a couple of kids who dealt dope underneath the counter of a novelty shop, “Tulane” puts Chuck on the side of the counterculture, and over the next five years, he never strayed back to the other side of the fence, often singing about getting stoned, dabbling with a wah-wah pedal, rhapsodizing about rock festivals, cheerfully telling smutty jokes.
On this 1977 album, Nazareth makes a full-blooded return to the hard rock sound they had neglected since their success with Hair of the Dog. The result is a potent, driving slab of hard rock that will please Nazareth fans and devotees of 1970s hard rock alike. The album sets its frenzied tone right off the bat with its title track, a blistering rocker that features Dan McCafferty spitting out a sharp-edged vocal about life's cruelty over a series of fast and relentless guitar riffs. The remainder of the album prominently features a similarly brutal string of rockers: standouts include "Revenge Is Sweet," a paean to getting even that combines chugging guitar riffs…
If the 60's ever had a "hit" jazz record, it was probably this one! The album's a sparkling live session featuring the trademark soul jazz sounds of the Cannonball Adderley group with Joe Zawinul on acoustic and electric piano, and brother Nat Adderley on cornet. The tracks have a long soulful groove, with gutbucket solos from the 3 above-mentioned players, and tight live production by a young David Axelrod. Titles include "Sticks", "Hippodelphia", "Sack O Woe", and the classic "Mercy, Mercy, Mercy" – a jazz theme that you'll recognize instantly!
In the early years of Los Angeles punk, one of the premiere hardcore bands was T.S.O.L., which stood for True Sounds of Liberty. Offering poppier music than many of their contemporaries and featuring an image that appealed to punks who wanted to dive deeper into the gothic subgenre already being offered by many British punk bands, T.S.O.L. became hugely popular on the local scene but never translated that success to national exposure because of their ever-shifting lineup and sound.
There is something subtly and imperceptibly attractive even in the trash, but in those horror movies already shot is an amateur , almost without money, without quite famous actors with special effects and deliberately idiotic fight outright stories created explicitly in the atmosphere of narcotic intoxication .