Joe Walsh - Smoker You Drink, the Player You Get CD

Smoker You Drink, the Player You Get CD music Today the most recognition the Animals get is "House of the Rising Sun" being played on oldies radio, but in the mid-1960s they were a powerful part of the British Invasion, often reckoned on a par with the Beatles, the Stones, and the Who. Like those bands, the Animals had strong roots in blues and R&B, but, in their original incarnation, they stayed closer to those roots than their peers did. This definitive compilation, masterfully assembled by the ABKCO think tank of Teri Landi and Jody Klein, shows the tough, uncompromising use to which the Animals put their American influences. John Lee Hooker's "Boom Boom" is recast as a raw garage rocker glazed with Alan Price's sinister organ riffs, and the aforementioned "House of the Rising Sun" is transformed from a traditional folk lament to an urgent, ominous piece of churning tumult. Of course, the group skillfully expanded those roots (with the help of some great writers), and turned out some classic working-class-rebel anthems ("We Gotta Get Out of This Place," "It's My Life"). By '67, the original lineup disbanded, and Eric Burdon led a new batch of Animals into a psychedelic West Coast sound ("San Franciscan Nights," "Monterey"). The Animals may not be given pride of place in the rock history books, but RETROSPECTIVE shows that they fully deserve it. Audio Remixers: Eddie Kramer; Gary Kellgren; Vic Briggs. Liner Note Author: Jim Bessman. Recording information: Kingsway Recording Studio, London, England (01/22/1964-??/??/1970); Mayfair Recording Studio, New York, NY (01/22/1964-??/??/1970); RCA Studios, Hollywood, CA (01/22/1964-??/??/1970); Sunset-Highland Recording Studios, Hollywood, CA (01/22/1964-??/??/1970); Wally Heider Recording Studio, San Francisco, CA (01/22/1964-??/??/1970). Arrangers: Vic Briggs; Horace Ott; Dave Rowberry. The Animals: Alan Price (keyboards); Chas Chandler (bass instrument); Eric Burdon, John Steel , Hilton Valentine. Personnel: Eric Burdon (vocals); John Weider (guitar, violin); Vic Briggs (guitar, piano, vibraphone); Howard H. Scott, Hilton Valentine (guitar); Charles Miller (flute); Royal Scots Guard Pipe And Drum Marching Band (bagpipe, percussion); Lee Oskar (harmonica); Alan Price (piano, organ); Lonnie Jordan, Dave Rowberry (organ); Barry Jenkins (drums, percussion); Harold Brown, John Steel (drums); Thomas R. Allen, Jr. (percussion). Additional personnel: War.

Smoker You Drink, the Player You Get album for sale Recorded live at the Fillmore East, New York, New York on March 12-13, 1971. Originally released on Capricorn. Ultradiscs are mastered from the original master tapes using Mobile Fidelity's proprietary mastering technique, then plated with 24-karat gold and housed in a stress-resistant lift-lock jewel box. The original Fillmore East album is one of the finest live documents of the rock era, capturing the original line-up of one of the '70s' tightest outfits before they were cruelly robbed of Duane Allman and Berry Oakley. Taken from five 1971 performances at New York's fabled Fillmore East, the extended and effortlessly melodic workouts of "In Memory Of Elizabeth Reed" and "Whipping Post" still have the power to rivet and move. On display here is the Allmans' fabled chemistry at its finest. The band not only rocks, it rolls, swings, and stretches out in exploratory, jazzy passages. The dual guitar interplay of Duane Allman and Dickey Betts glides effortlessly over the propulsive rhythm section of Oakley and twin drummers Jaimoe and Butch Trucks, while Greg Allman's powerful blues voice and melodic keyboard work provides the icing on the cake. Though the later-released THE FILLMORE CONCERTS presents these songs in their original entirety, AT FILLMORE EAST, with its seamless edits of multiple performances, may be the superior recording. It highlights all the glint and sparkle of what still ranks among the best jamming committed to record. The Allman Brothers Band: Gregg Allman (vocals, piano, organ); Duane Allman (guitar, slide guitar); Dickey Betts (guitar); Berry Oakley (bass instrument); Jai Johanny Johanson (drums, congas, timbales); Butch Trucks (drums, timpani). Personnel: Berry Oakley (bass guitar); Jaimoe Johnson (drums, congas, timbales). Recording information: The Fillmore East (03/12/1971/03/13/1971). Photographer: Jim Marshall . Arranger: The Allman Brothers Band. The Allman Brothers Band: Gregg Allman (vocals, piano, organ); Dickey Betts (guitar); Duane Allman (guitar, slide guitar); Berry Oakley (bass); Jai Johanny Johanson (drums, congas, timbales); Butch Trucks (drums, timpani). Additional personnel: Thom Doucette (harmonica).

Smoker You Drink, the Player You Get buy CD music The opening number was by J.J. Cale, whose "After Midnight" had been one of the real joys of the guitarist's first solo excursion, ERIC CLAPTON. "Cocaine," with its slow grinding beat, menacing melodic vamp and one-step from perdition lyrics, was the toughest, most rocking number on SLOWHAND, and a major radio hit from the outset. A couple of vocal duets with countryish harmonies set the tone for the rest of SLOWHAND. "Lay Down Sally" was a funky, chicken-fried bit of boogie with a taut, melodic aside from Clapton's twangy Stratocaster, while Don Williams' sweet, soulful "We're All The Way" provided a low-key vehicle for Clapton's tender vocal exchanges with Marcy Levy, as his understated arpeggios toll away in the background. SLOWHAND was the album which defined the new cool of Eric Clapton, a sultry, laid-back mix of rock and blues, with a heavy dose of country and southwestern regional sounds to leaven the blend. After LAYLA, SLOWHAND was probably Clapton's most popular, fully realized solo disc. Personnel: Eric Clapton (vocals, guitar); Marcy Levy, Yvonne Elliman (vocals); George Terry (guitar); Mel Collins (saxophone); Dick Sims (keyboards); Carl Radle (bass guitar); Jamie Oldaker (drums, percussion).

Smoker You Drink, the Player You Get songs "Melissa" plays squarely to Betts's strengths, while "Les Brers in A Minor" recalls the extended jams of the AT THE FILLMORE EAST album. The next three tracks on EAT A PEACH are taken from the Fillmore shows. Each selection represents the Duane-era Allmans at their best, especially the blistering "Trouble No More." The sound quality on these tracks, however, does not compare well to the analogous tracks on THE FILLMORE CONCERTS, an expanded reissue of the classic live album. The final three tracks, studio sessions featuring Duane, hint at what PEACH might have been had Duane lived. Released shortly after the death of guitar legend Duane Allman, EAT A PEACH occupies an important transitional spot in the Allman Brothers' discography. The leading three tracks, recorded after Duane's death, point the way toward the band's future. While still rooted in the group's blues-jam roots, these songs show the Allmans angling closer to the melodic country style that was guitarist Dicky Betts's forte. Betts acquits himself well on the opening "Ain't Wastin' Time No More," deftly handling a slide-guitar part that cannot help but evoke the group's departed member. The Allman Brothers Band: Gregg Allman (vocals, acoustic guitar, piano, organ); Dickey Betts, Duane Allman (guitar); Berry Oakley (bass guitar); Jai Johanny Johanson (drums, congas); Butch Trucks (drums, percussion).

Smoker You Drink, the Player You Get album for sale Also available in a 3-pack with A NEW WORLD RECORD and DISCOVERY. Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's revolutionary "Super Bit Mapping" system. ELO was big enough by 1974 that some people actually suggested that ELDORADO featured Satanic backward-masking. Of course, the idea was ludicrous; but the band playfully responded by adding a backward message to "Fire on High," the opening instrumental on 1975's FACE THE MUSIC. Besides "Fire on High," which was used as background music for countless television programs in the '70s, this album's eight lengthy tracks include two enormous hits, "Evil Woman" and the McCartneyesque ballad "Strange Magic." Decades later, these two tracks are still in constant rotation on classic-rock radio around the world. Those three songs defined the new sound of ELO. Gone were the elaborate, classically styled overtures, in favor of concise, ultra-melodic pop songs given lush, romantic orchestral arrangements with endlessly overdubbed harmony vocals. The next three ELO albums refine this aesthetic to commercial perfection, but this is where it starts. FACE THE MUSIC is the album that put ELO over the top. Here's where they really took off. This 1975 LP cracked the Top 10 as the band perfected their orchestral-rock sound with the hits Evil Woman; Strange Magic , and the rest of this classic album. Includes four bonus alternate mixes and versions! Electric Light Orchestra: Jeff Lynne (vocals, guitar); Kelly Groucutt (vocals, bass); Richard Tandy (guitar, piano, Clavinet, Moog synthesizer); Mik Kaminsky (violin); Hugh McDowall, Melvyn Gale (cello); Bev Bevan (drums, percussion). Electric Light Orchestra: Melvyn Gale (cello); Kelly Groucutt (bass guitar); Mik Kaminski, Hugh McDowell, Jeff Lynne, Richard Tandy, Bev Bevan. Personnel: Jeff Lynne (vocals, guitar, background vocals); Kelly Groucutt (vocals, background vocals); Richard Tandy (guitar, piano, Clavinet, Moog synthesizer); Mik Kaminski (violin); Hugh McDowell (cello); Bev Bevan (drums, percussion, background vocals). Liner Note Author: Rob Caiger. Recording information: De Lane Lea Studios, Wembley, Middlesex, England; Musicland Studios, Munich, Germany. Photographers: Robert Ellis ; Michael Putland; Norman Seeff; Gary Merrin; Barry Plummer.

Smoker You Drink, the Player You Get CD music Atlantic's Gold Standard Audiophile Compact Discs are gold-plated CDs that boast 20-bit digital reproduction technology for improved dynamics. Each reissue comes in a mini-box that includes the CD jewel box plus a 24-page color booklet featuring new liner notes, photographs and the complete original album artwork. FACE VALUE contains videos, live performances and home movies principally centered on the making of the 1981 album of the same name. The risk that Phil Collins took in displaying painful lyrics at an obviously harrowing time could have been taken as self-indulgence, but 18 years on this album is still seen as his best and most assured. The Genesis drummer displayed dynamic arrangements ('In The Air Tonight'), melancholy piano ('You Know What I Mean') and Philadelphia soul ('I Missed Again'), and wrapped up with a cover of 'Tomorrow Never Knows' at which even John Lennon would have tipped his hat. After this album Collins embarked on an extraordinarily busy career that included a rejuvenated Genesis, film roles and huge solo success. This will always be the album closest to his heart, with the paint pot on the piano. Personnel: Liz Edwards, Bill Benham, David Woodcock, Bruce Dukor, Ken Sillitoe, Garyn Wright, Peter Oxen, Irvine Arditti, Richard Studt (violin); Simon Whistler, Roger Best, Brian Hawkins (viola); Tony Pleeth, Clive Anstee, Nigel Warren-Green (cello); Martyn Ford (strings); Earth, Wind & Fire (horns); Chris Lawrence (double bass). Recording information: Old Croft; The Townhouse; Village Recorder, LA. Photographer: Trevor Key. Arranger: Tom Tom 84. Personnel includes: Phil Collins, Eric Clapton, Stephen Bishop, Shankar, Daryl Steurmer, Earth Wind & Fire Horns. Personnel includes: Phil Collins (vocals, drums); Daryl Steurmer, Stephen Bishop, Shankar.