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Randy & The Rockets Blast From The Past CD

 Randy & The Rockets Discography of CDs

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Blast From The Past Music


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List Price $16.98 (You save $3.19)
Category Rock/Pop Albums, Rock CDs, Pop, Blues, Oldies, Swamp, Cajun
Label Jin
Orig Year 1998
All Time Sales Rank   309384  
CD Universe Part number 1098875
Catalog number 9059
Discs 1
Release Date Jul 28, 1998
Studio/Live Studio
Mono/Stereo Stereo
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Despite his statement in the liner notes that "In an era where it is best to play it safe, I chose to take a risk...," there isn't much surprising or risky about young guitarist Joe Bonamassa's fifth studio album. Most of his previous releases have mixed blues covers with his own originals, all played with a rocker's attitude, volume and less-than-subtle approach. This one follows suit and even though he goes on to say that he "wanted to make a blues album, not a rock album that has blues on it," as in the past; it's impossible to claim that he has succeeded with You & Me. That doesn't make this a bad or disappointing disc; quite the contrary, it's a solid blues-rock release and arguably his best work to date. But as early as the second track, an original rocker titled "Bridge to Better Days," Bonamassa takes off on an early Free/Savoy Brown-styled stomper. Things settle down and get more rootsy on the following two slow blues tracks, although a lovely Bonamassa original, ...
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J.J. Cale is perhaps best known for penning hits for Eric Clapton, including "Cocaine" and "Midnight Hour," yet he's also an accomplished and extremely talented songwriter and guitarist. While no one ever declared, "Cale is God," Clapton clearly has always thought highly of him, and in 2006, the Clapton/Cale mutual admiration society finally made its way into the studio. The result is 14 songs' worth of the relaxed blues hybrid that Cale built his career around and that earned Clapton the nickname '"Slowhand." The duo produced all the tracks and wrote the majority of them, with some help from guests such as Taj Mahal, Derek Trucks, the late Billy Preston, and John Mayer, who wrote the song "Hard to Thrill" for the album. THE ROAD TO ESCONDIDO is a mellow musical good time between friends, ...
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Contains remixes of material previously available on a Fan Club only LP. Recorded between June 4, 1982 and September 1, 1984. Includes liner notes by Dave Travis. After emerging in the late 1950s as one of the most dynamic and original performers in rock and roll, Jerry Lee Lewis was almost sunk by scandal. In subsequent years he battled the bottle and other personal demons. But by 1991, the year he released HONKY TONK ROCK 'N' ROLL PIANO MAN, rock's original wild man was enjoying something of a comeback. He had reemerged into the public consciousness in 1989, when "Great Balls of Fire," a movie based on his tumultuous career, was released. It didn't do well at the box office, but reminded many people of his iconoclastic career. He hadn't changed his formula that much since the days of "Whole Lotta Shakin' Goin' On" and "Great Balls of Fire." The 14 songs here were recorded in the 1980s and reassembled and remixed for this release, but they sound timeless, with the percussive piano style, the offhand, Southern-style vocal delivery, and the wild keyboard solos that make up his signature style. "Teenage Queen," especially, sounds like a hit from his golden era. ...
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In 1994, Document's Memphis Sanctified Jug Bands 1928-1930 brought into general availability 21 recordings made in one of the South's largest African-American communities by four ensembles that combined exuberant Christian worship with the kind of instrumentation made famous by the Memphis Jug Band and Gus Cannon's Jug Stompers. That means kazoo, harmonica, banjo, mandolin, guitar, piano, washboard, and at least one person blowing bass tones across the mouth of a big ceramic whiskey jug, with rhythmic handclapping and maybe a brass cornet or trumpet to help establish and define the melody. Even those who have no interest in or inclination toward organized religion may enjoy these exercises in holy rolling, especially the explosive "Come Over Here," "How Much I Owe for Love Divine," "Lord, Lord, He Sure Is Good to Me," and "Watch Ye, Therefore, You Know Not The Day." These constitute the complete Okeh recordings of Elder Richard Bryant's Sanctified Singers. Bryant's Victor recordings, (tracks 1-2 and 7-13, which include three previously unreleased alternate takes) are emphatically ground-out sermons followed by musical post-ludes. "Everybody Was There," which was harvested from a very scratchy phonograph record, closes with a melody that shows up in early 20th century North American music with worldly titles like "Keep A-Knockin' But You Can't Come In" and "Bucket's Got a Hole in It (Won't Hold No Beer)." For some people, the audio distortion on a record like this adds to rather than detracts from the thrill and wonderment of the historic playback experience. During the two Victor recordings by the impassioned Rev. E.S. (Shy) Moore, the gentle singing of the congregation behind him is an especially beautiful example of traditional African-American group ritual. Both the Brother Williams Memphis Sanctified Singers and the Holy Ghost Sanctified Singers (originally on Vocalion and Brunswick 78s, reproduced here as tracks 16-21) make use of extroverted female voices that deliver each song with stirring ...
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