Robert Johnson - Complete Recordings CD

Complete Recordings buy CD music With Birth of the Cool, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Davis reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). Kind of Blue was the ultimate fulfillment of this approach, with Davis providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, Kind of Blue precipitated a major stylistic development: modal jazz. Charles Mingus had experimented with pedal points throughout the '50s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But Kind of Blue was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions -- Davis' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of John Coltrane, and Cannonball Adderley --that some 50-plus years after its initial release, Kind of Blue is still recognized as Davis' point of departure toward jazz's less-explored regions. Bill Evans' translucent chords and Paul Chambers' famous bassline herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Jimmy Cobb rhythm team is an oasis of calm throughout the childish blues of "Freddie Freeloader." Often credited to Davis, "Blue in Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Davis' fascination with the earthy melodies and brooding metaphors of the Iberian peninsula; a harbinger of his next masterpiece, Sketches of Spain. Kind of Blue remains Miles Davis' most evocative piece of musical haiku. Liner Note Authors: Bill Evans ; Robert Palmer; Nat Hentoff; Robert Palmer . Recording information: Columbia 30th Street Studio, New York, NY (03/02/1959-04/22/1959); Columbia Street Studio, New York, NY (03/02/1959-04/22/1959). Photographers: Don Hunstein; Jay Maisel. Unknown Contributor Roles: Cannonball Adderley; John Coltrane; Bill Evans ; Wynton Kelly; Paul Chambers; Jimmy Cobb . Personnel: Miles Davis (trumpet); Miles Davis; Paul Chambers (double bass); Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly, Bill Evans (piano); Jimmy Cobb (drums). Audio Remixer: Mark Wilder.

Complete Recordings CD music Initial pressings of this first edition contain a bonus disc. Recorded between 1970 & 2002. Includes liner notes by Paul Gambaccini. Greatest Hits 1970-2002 is a nearly flawless double-disc set commemorating Elton John's three-decade career. Disc one features what may arguably be John's most essential work: Seeing songs such as "Saturday Night's Alright for Fighting," "Goodbye Yellow Brick Road," "Candle in the Wind," and "Bennie and the Jets" -- not to mention "Your Song," "Rocket Man," and "Tiny Dancer" -- lined up back to back reaffirms just how diverse, and yet universal, his songwriting talent is. Disc two finds this talent maturing gracefully into the '80s, '90s, and beyond, touching on pop gems like "Don't Go Breaking My Heart," "I'm Still Standing," and "I Guess That's Why They Call It the Blues" as well as his Lion King classic "Can You Feel the Love Tonight?" and the Aida duet "Written in the Stars" with LeAnn Rimes. The collection also finds room for the highlights of his most recent albums, including Made in England's "Believe" and "Blessed," The Big Picture's "Something About the Way You Look Tonight," and Songs from the West Coast's "This Train Don't Stop Here Anymore." For most casual fans, Greatest Hits 1970-2002 will replace the need for collections such as Greatest Hits, Greatest Hits, Vol. 2, and Greatest Hits, Vol. 3, although these collections are still worthwhile as of-their-time retrospectives of John's work. ~ Heather Phares All tracks have been digitally remastered.

Complete Recordings songs By 1973, Led Zeppelin was getting used to being the biggest band on the planet (both financially and sonically). Letting their guard down and their spirits wander, they came up with the most widely varied album in their discography. Stylistically, HOUSES OF THE HOLY is all over the map, but it coheres in a grand manner befitting the '70s rock royalty Zeppelin had become. Stepping back a little from the epic scale of ZEPPELIN IV, the group slips into a funky James Brown homage ("The Crunge"), offers one of the first-ever attempts at reggae-rock ("D'yer Ma'ker"), and ventures into Pink Floyd-like prog rock ("No Quarter"). Jimmy Page's guitar work is at its most exquisitely beautiful on "The Rain Song," but the heavy-rock punch of yore is still present and accounted for on "Dancing Days" and "The Ocean." From here, it seemed like Led Zeppelin was capable of anything. Audio Mixers: Eddie Kramer; Keith Harwood; Andy Johns. Recording information: Electric Lady Studios, New York, NY (1972); Headly Garage (1972); Island Studios, London, England (1972); Olympic London (1972); Olympic Studios, London, England (1972); Stargroves, Hampshire, England (1972). Photographer: Hipgnosis. Led Zeppelin: John Paul Jones (bass instrument); Jimmy Page, John Bonham, Robert Plant. Personnel: Robert Plant (vocals, harmonica, background vocals); Jimmy Page (guitar, acoustic guitar, electric guitar); John Paul Jones (piano, grand piano, organ, Mellotron, keyboards, synthesizer, bass synthesizer, background vocals); John Bonham (drums, background vocals).

Complete Recordings album for sale The Rolling Stones' first set of all-original material--a full two years after the Beatles had passed that milestone with A HARD DAY'S NIGHT--1966's AFTERMATH is arguably the Stones' first truly great album, as opposed to a selection of killer singles padded out with some forgettable filler. Not that the singles aren't killers; "Paint It Black" and "Under My Thumb" are two of the Stones' most inventive chart successes, their sitar and marimba touches showing that at least through 1966, the Stones were just as likely as the Beatles, Kinks or Who to release a single that sounded like nothing else on the radio. Of the album tracks, "Lady Jane" and "Stupid Girl" are standouts, the former another of the boys' Elizabethan oddities and the latter a stomping, snotty garage rocker. Even better, though, are formal experiments like "I Am Waiting," a spooky acoustic tune that sounds like the boys had been listening to George Harrison's Indian excursions. Several of the more blues-based tracks press the five-minute barrier, culminating in the nearly 12-minute blues-rock rave-up "Goin' Home," one of the few extended jams that's actually worth the extra minutes. Remastered reissue of 1966 album, suitable for standard & 'Super Audio' CD players. Abkco. Digipak. 2002. Recorded at RCA Studios, Hollywood, California. Includes liner notes by Dave Hassinger. The Rolling Stones: Ian Stewart (harpsichord); Bill Wyman (bass guitar); Jack Nitzsche, Keith Richards, Mick Jagger, Brian Jones , Charlie Watts . Personnel: Keith Richards (vocals, guitar); Mick Jagger (vocals, percussion); Brian Jones (guitar, dulcimer, sitar, piano, harpsichord, organ, marimba, bells); Bill Wyman (piano, harpsichord, organ, marimba, bells); Jack Nitzsche (piano, harpsichord, organ, percussion); Charlie Watts (marimba, drums, percussion, bells). Liner Note Authors: David Hassinger ; Mike M. Koshitani. Recording information: RCA Studios Hollywood; RCA Studios, Hollywood, CA. Photographers: Guy Webster; Jerry Schatzberg. Arranger: The Rolling Stones. The Rolling Stones: Mick Jagger (vocals, percussion); Keith Richards (vocals, guitar); Brian Jones (guitar, dulcimer, sitar, marimba, bells); Bill Wyman (marimba, bass, bells); Charlie Watts (marimba, drums, percussion). Additional personnel: Jack Nitzsche, Ian Stewart (piano, organ, harpsichord).

Complete Recordings CD music This deluxe edition of WHAT'S GOING ON includes a 20-page booklet with complete lyrics, never-before-published photos from personal family collections and an essay by David Ritz. Recorded live at The Kennedy Center, Washington, D.C. on May 1, 1972. Originally released in 1971, WHAT'S GOING ON remains a landmark album, one that redefined music with powerful, anthemic songs that remain pertinent to this day. Before WHAT'S GOING ON, R&B albums were collections of singles, with secondary "filler" material rounding out the LPs. Marvin Gaye changed all this by releasing a concept album that went beyond the usual boy-meets-girl scenario, weaving together an aural collage of societal ills. "Crime is increasing/Trig All tracks have been digitally remastered. Additional Tracks Recorded at Hitsville, Golden World and United Sound Studios, Detroit, Michican. Originally released on Tamla (310). Recorded at Hitsville, Golden World and United Sound Studios, Detroit, Michican. Originally released on Tamla (310). Includes liner notes by Smokey Robinson, Ben Edmonds and Harry Weinger. Personnel includes: Marvin Gaye (vocals, piano); David Van Depitte (arranger, conductor); Robert White, Joe Messina (guitar); Johnny Griffith (celeste, keyboards); Earl Van Dyke (keyboards); Eli Fountain (alto saxophone); Wild Bill Moore (tenor saxophone); Jack Brokensha (vibraphone, percussion); Bob Babbit, James Jamerson (bass); Chet Forest (drums); Eddie Brown, Earl DeRouen (bongos, conga); Jack Ashford (tambourine, percussion). WHAT'S GOING ON: DELUXE EDITION features the original album, plus an unreleased Detroit mix, a live version from Kennedy Center, and unreleased single versions and instrumentals. WHAT'S GOING ON: LIVE AT THE KENNEDY CENTER: Personnel includes: Marvin Gaye (vocals, piano); Robert White (guitar); Jack Ashford (glockenspiel, percussion, kazoo); Uriel Jones (drums); Eddie "Bongo" Brown (bongos); The Andantes, Freddie Gorman, Walter Gaines, Hank Dixon, C.P. Spencer (background vocals). Personnel: Marvin Gaye (piano, drums, background vocals); Marvin Gaye (vocals, percussion); Carole Crosby (harp); Zinovi Bistritzky, Virginia Halfmann, Gordon Staples, Lillian Downs, Beatriz Budinszky, James Waring, Alvin Score, Rick Margitza (violin); Edouard Kesner, Meyer Shapiro, Nathan Gordon (viola); Thaddeus Markiewicz (cello); William Perich (flute); Angelo Carlisi (alto saxophone); Wild Bill Moore (tenor saxophone); Tate Houston (baritone saxophone); Bob Babbitt, James Jamerson (bass instrument); Max Janowsky (12-string bass); Lem Barney, Elgie Stover, Hank Dixon, Freddie Gorman, Marlene Barrow, Jackie Hicks, Walter Gaines, Bobby Rogers, Ken Stover, Louvain Demps, The Andantes, C.P. Spencer (background vocals); Robert White , Joe Messina (guitar); Felix Resnick (violin); David Ireland (viola); Italo Babini (cello); Danya Hartwick (flute); Larry Nozero (soprano saxophone); Eli Fountain (alto saxophone); George Benson (tenor saxophone); John Trudell, Maurice Davis (trumpet); Carl Raetz (trombone); Johnny Griffith (celesta, keyboards); Earl Van Dyke (keyboards); Jack Brokensha (vibraphone, percussion); Chet Forest (drums); Eddie Brown, Earl DeRouen (congas, bongos); Jack Ashford (tambourine, percussion). Audio Mixers: Ken Sands; Larry Miles; Steve Smith . Liner Note Authors: Marvin Gaye; Ben Edmonds. Recording information: Golden World (Studio B), Detroit, MI; Hitsville (Studio A), Detroit, MI; Sound Factory, Los Angeles, CA; United Sound Studios, Detroit, MI. Photographer: Jim Hendin. Arrangers: Paul Riser; David Van De Pitte.

Complete Recordings buy CD music Alongside Pink Floyd, art rock stalwarts Jethro Tull typify the bands of the "album rock" era. But while Tull's individual platters are plentiful and distinguished (especially 1970s classics such as AQUALUNG and THICK AS A BRICK), one would have to plunk down a considerable amount of cash to own all of Tull's best tracks. With 36 tracks, THE BEST OF JETHRO TULL offers up standouts such as "A Song for Jeffery," "Locomotive Breath," "Pussy Willow," and everything in between, making it a fine catch-all for anyone seeking a Tull overview. The 2008 reissue boasts beautifully remastered sound. This comprehensive compendium will likely satisfy serious fans of the group. One would be hard-pressed to find a landmark Jethro Tull song that isn't included among the 36 offerings here. The two CDs offer an overview of the first 20 years of the band's existence, with the most important songs included from each era. EMI. 2003. All tracks have been digitally remastered. Personnel: Ian Anderson, Mick Abrahams, Glen Cornick, Clive Bunker, Martin Barre, John Evan, Jeffrey Hammond-Hammond, Barriemore Barlow, John Glascock, David Palmer, Dave Pegg, Mark Craney, Gerry Conway, Peter Vettese, Doane Perry, Andy Giddings. Producers: Jethro Tull, Ian Anderson, Terry Ellis, Robin Black, Paul Samwell-Smith.