| | Alexis Korner Kornerstoned: Anthology 1958-1983 CD - Import Alexis Korner Discography of CDs
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While MUSICALLY RICH...AND FAMOUS documents the second half of British blues godfather Alexis Korner's career, KORNERSTONED adopts a more comprehensive approach, following the pioneering singer/guitarist from the very beginning of his musical life, all the way through every subsequent phase of his development. So we get not only his mid-1960s work with burgeoning blues-rock giants like Paul Rodgers and Steve Marriott, but also his `50s skiffle recordings (basically the British version of jug-band music) with the Ken Colyer band and his own skiffle group, and even an early acoustic guitar duel with famed fingerpicker Davey Graham on "3/4 A.D." Over the course of its two discs, this collection examines pretty much every aspect of this seminal bandleader's historic career.
Gravel-voiced Alexis Korner is arguably the most important figure in the history of British blues - the inspiration for several generations of star musicians, from The Rolling Stones to Led Zeppelin & beyond. This first-ever full-career retrospective spans everything from mid-50s skiffle to his final blues outings, via groundbreaking 60s R&B & his pop hits with CCs in the 70s. Two CD set. Castle. 2005. Kornerstoned: Anthology 1958-1983 Music Alexis Korner Kornerstoned: Anthology 1958-1983 Songs | 1. | A Musa Da Praia |
| 2. | Brilho De Cristal |
| 3. | Escondida |
| 4. | Bons Momentos |
| 5. | Que Situação |
| 6. | TCaça E Caçador |
| 7. | Quer Dizer |
| 8. | Louca Vontade |
| 9. | Morena Da Praia |
| 10. | Eu Quero Me Casar |
| 11. | Pout Porri Do Funk |
| 12. | Ê Saudade |
| 13. | 1 Noite E Meia |
| 14. | Maibê Danda |
| 15. | Pra Te Ter Aqui |
| 16. | Com Amor |
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Kornerstoned: Anthology 1958-1983 Music Kornerstoned: Anthology 1958-1983 Review
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Purchase Kornerstoned: Anthology 1958-1983 CD To buy, Click on price to add to cart | Johnny Otis 1945-1947 CD (2002)
Kornerstoned: Anthology 1958-1983 album
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Growing up among Afro-Americans in Berkeley, CA, Greek-American Johnny Otis (born John Veliotes) always identified strongly with people of color. Before he had attained the age of 20 he was gigging with black jazz bands throughout the Southwest, and eventually organized an ensemble deliberately patterned after Count Basie's orchestra. This highly charged album of historical musical artifacts documents the very beginning of Johnny Otis' recording career. With one apparently unobtainable exception, the Classics Blues & Rhythm Series has assembled all of Otis' Excelsior recordings, made in Los Angeles between 1945 and 1947. This provides background and context for his more well-known Savoy material, and indeed for everything this amazing person accomplished during the second half of the 20th century. Otis' first act as a recording bandleader was to borrow Jimmy Rushing from Count Basie! Rushing sounds right at home with this group, which included tenor saxophonist Paul Quinichette, pianist Bill Doggett, and bassist Curtis Counce. During "Preston's Love Mansion," as Doggett quotes the famous riff from Dizzy Gillespie's "Salt Peanuts," the band hollers "Johnny Otis!" instead. And well ...
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Jamie/Guyden Dist. Co. celebrates its 50th anniversary by celebrating the artists and musicians of its past with contemporary remixes by Paul Simpson and Tom Moulton of the labels' classic hits like "Yes, I'm Ready" by Barbara Mason and "Waitin for the Rain" by the Fantastic Johnny C. Paul Simpson, whose remix of Marvin Gaye’s "Lets Get It On" Slate Magazine considered better than the original, has used the original multi-track tapes to provide new takes on such hits as, "Yes, I’m Ready" by Barbara Mason; "I Likes To Do It" by the People’s Choice; and "Love is All Right" and "The Horse" by Cliff Nobles. Tom Moulton adds his magic touch to "Waitin for the Rain" and "Yes, I'm Ready." The album also celebrates the great session musicians of Philadelphia - Ronnie Baker on bass, ...
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This two-fer from Beat Goes On features a pair of out-of-print Jan & Dean Liberty LP's: Surf City and Dead Man's Curve/The New Girl in School originally released in 1963 and 1964, respectively. Included among the 24 songs are the hits "Surf City," "Honolulu Lulu," "Dead Man's Curve" and "Linda," along with top-notch hot rod tracks like "3-Window Coupe," "Mighty G.T.O.," and "Bucket "T." This is an enjoyable, fun reissue recommended to both collectors and casual listeners. ~ Al Campbell
Digitally remastered collation of two original albums on a single CD of the surf duo's first two releases as they appeared in the U.K. Both were released in 1963 and 1964 respectively and includes the hits "Surf City", "Dead Man's Curve", "The New Girl In School", "It's As Easy As 1,2,3", "Honolulu Lulu" and many more.
2 LPs on 1 CD: SURF CITY (1963)/DEAD MAN'S CURVE (1964).
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Soul belter J.J. Jackson is best known for his 1967 smash, "But It's Alright," but he has some fine singles and a couple of excellent albums as well, and 1967's But It's Alright on the Calla label is one of them. Kicking off with the infectious title track, the record alternates between flat-out rockers like "I Dig Girls," "Come See Me (I'm Your Man)" (which was written by Jackson, covered by the Pretty Things, and then reclaimed powerfully here), and "Boogaloo Baby," midtempo groovers like "You've Got Me Dizzy" and "The Stones That I Throw," and ballads like "Try Me" and a righteous "A Change Is Gonna Come." Jackson's live-wire voice and boundless energy put the songs across and the band kicks up quite a storm as well. The only times Jackson stumbles are when he takes on Lou Rawls' "Love Is a Hurting Thing" and loses the battle and on the Temptations' "Ain't Too Proud to Beg," which is a boring instrumental version. Otherwise, the record is a bit of a lost gem and Collectables deserves ...
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This CD contains B.B. King's first ABC-Paramount studio efforts -- Mr. Blues (1962) and Confessin' the Blues (1965), respectively. While there are inevitable similarities between the projects, offering them back-to-back allows listeners an acute sense of King's rapid maturation and development during what was by all accounts the nexus of the guitarist/vocalist's career. The dozen-song Mr. Blues was a haphazard start for King with the contents taken from three different recording sessions in a 13-month period (March 1, 1962 through April 11, 1963). Based on the results, the artist was being presented as a blues shouter, supported by an antiquated big band and/or orchestra. Arguably the best of the lot comes from the Maxwell Davis led ensemble on the first of several Big Joe Turner tunes, the Ahmet Ertegun penned "Chains of Love." The upgrade of Ivory Joe Hunter's "Blues at Midnight" is closer to the spirit of modern era King as he aptly demonstrates his singular testifyin' style. The fun and frolic of both "I'm Gonna Sit in 'Til You Give In" and "My Baby's Comin' Home" are the least dated of the bunch, indicating the direction that King would ultimately take. The landmark Live at the Regal (1964) is a critical link to the albums featured on Mr. Blues/Confessin' the Blues (2005). It essentially redefined B.B. King's presence in the (then) modern blues revival. He retained his ...
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