Music

Verity ( May 20, 1997 ), Genre: Gospel

Sony BMG

Suburban Home

Supergroups can be a tricky proposition -- the more baggage a well-known artist brings along to a project, the more there is to live up to, and the less likely it is that a vital new band dynamic can be created. On their debut album, Command V have neatly sidestepped this problem. While the group brings together two leading lights of the late-'70s/early-'80s New York underground post-punk/No Wave scene, the members' backgrounds are as virtually unknown in the mainstream world as they are influential to the cognoscenti. Bush Tetras singer Cynthia Sley and Raybeats/8-Eyed Spy guitarist Pat Irwin are the old-school No Wavers in question who came together to create music in a new era along with keyboardist Rachel Dengiz. While Irwin and Sley's past isn't entirely inaudible on the band's self-titled debut album, Command V seems to be about doing something fresh rather than rehashing old glories. If anything, there's a bit more of a Bush Tetras tinge to a few of the tracks here than traces of 8-Eyed Spy's punk-jazz

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The Vanilla Fudge/Cactus/Jeff Beck/Rod Stewart drummer made his solo debut with 1981's Rockers . Back in '77 he recorded the much jazzier V8 , but that LP confused his label and went unreleased; now, both LPs come to CD for the first time! Carmine's spin on Paint It Black joins Blue Cafe; Energy; Neptune; Be My Baby; Am I Losing You , and more on two low-priced CDs.

The Vanilla Fudge/Cactus/Jeff Beck/Rod Stewart drummer made his solo debut with 1981's Rockers . Back in '77 he recorded the much jazzier V8 , but that LP confused his label and went unreleased; now, both LPs come to CD for the first time! Carmine's spin on Paint It Black joins Blue Cafe; Energy; Neptune; Be My Baby; Am I Losing You , and more on two low-priced CDs.

Ace Records (UK) ( October 23, 2007 ), Genre: R&B

Release Date: 2010-10-12, Audio CD, Invisible Light Records

Though it may not have been clear at the time, Chicago's fifth album marked something of a turning point for the most successful American rock act of the 1970s. V was not only the band's first single-disc release, but, incredibly, its 11th LP worth of music in just three years. That Herculean workload may have watered down their previous studio album (III), but it also seemed to teach them a few important lessons as well. Here they manage not only one of their biggest hits (the joyous "Saturday in the Park"), but a stubborn, focused retrenchment of their most adventurous musical instincts in the bargain. That notion is clear from the intentionally ironic opening of "A Hit by Varese, " through cuts like "While the City Sleeps, " "State of the Union, " and the autobiographical "Alma Mater, " which bristle with the band's jazzy instincts and avant-garde influences. Even the album's other Top 30 hit, "Dialogue (Part I & II), " remains one of its more unusual chart entries. This digitally remastered new edition contains three bonus tracks (a Terry Kath noise-guitar-powered, previously unreleased studio take of "A Song for Richard and His Friends, " the gritty outtake "Mississippi Delta City Blues, " and the original single edit of "Dialogue") as well as Don Heckman's new liner notes, which feature insightful comments from several band members. --Jerry McCulley

London/Decca Nu View ( April 01, 1990 ), Genre: Classical

As Lab customers, you know that when major label compilations advertise themselves as "rare grooves, " it's not always true. That is most definitely not the case here. I don't even know where to start with this one. Here's the story: Rhino recently released a 4CD box set with an insane number of rare soul and funk tracks from the vaults of the Atlantic, Atco, Josie & Warner labels. What we have here is the companion set: a super limited edition (5, 000 copies worldwide!) custom boxed set featuring 25 of the rarest tracks from the compilation, remastered and pressed in their original 7" formats, complete with their original B-sides. This thing is done proper, with reproduction sleeves and stickers just like the originals, but without the ridiculous price tags. At record shows or on eBay, you could expect to pay anywhere from $10 to $100 for mint copies of these 45s (with the majority here landing in the $20-$40 range), so while the price tag may look intimidating at first, it's actually a true bargain. Not to mention the music itself! Though you may know some of the names here already (The Commodores, Wilson Pickett, Little Richard, The Meters), the tracks selected for the big name artists are certainly not the most obvious or popular in their catalogs. This ain't no best-of. To dissect this thing further would take a very, very long time, but some of the highlights include: Funkadelic axeman Eddie Hazel with a stunning cover of The Mamas & The Papas' "California Dreamin'(1), " The Gaturs' sunny "Cold Bear(2), " Tony Alvon & The Belairs' blaxploitation soundtrack joint "Sexy Coffee Pot(3), " Titus Turner's "His Funeral, My Trial(4)" and The Beginning of the End's classic "Funky Nassau, " parts 1(5) and 2(6). Comes in a custom-made 45 box with a handle and locking metal hinge.

This interesting compilation assembles 28 country hits that also crossed over to the pop charts between 1953 and 1963 -- albeit usually charting far lower on the pop side and stopping well short of the Top 40. It should be clarified at the outset that despite the somewhat similar titles and concept, this is an entirely different CD than another anthology on the Ace label, The Golden Age of American Rock 'n' Roll: Special Country Edition. That disc had plenty of country hits that were really big pop hits (à la Marty Robbins' "El Paso"), some of which are still played on oldies radio. The Golden Age of American Popular Music: The Country Hits, in contrast, has very few such items, with exceptions here and there like Patsy Cline's "She's Got You" and Johnny Cash's "Don't Take Your Guns to Town." What this collection does do is give you a pretty good cross section of country music as it moved away from hillbilly roots to more commercial, poppier, and more slickly produced sounds, though these particular cuts hard

Johnny Cash s fifth album-length collaboration with producer Rick Rubin was released in 2006 as Cash s first posthumous album. Debuting at #1 on both the Billboard Top 200 and the Country Albums chart, American V: A Hundred Highways showed the enduring appeal of Johnny Cash and his collaborations with Rubin for American Recordings. As with the other American series albums, A Hundred Highways includes covers and originals, including "Like the 309" which was the last song Cash ever wrote before passing away.

Lost Highway Records ( July 04, 2006 ), Genre: Country

Audio Remasterer: Rob Shread.Liner Note Author: Brian Nevill.Photographer: Brian Nevill.Jack and Bill Wenzel were brothers who owned a music shop in Downey, CA, and between selling gear to up-and-coming bands and records to teenagers digging the latest sounds, they were in a position to know what the kids wanted to hear, and in 1962 they founded the Downey Records label to put promising acts on wax. It Came from the Garage! Nuggets from Southern California is Big Beat's third collection of goodies from the Downey archives, featuring 24 tunes from West Coast rock bands, and while the title might lead some to expect a nonstop blast of paisley and fuzz, this set is more diverse than that. The horn-fueled blast of the Barracudas suggests the influence of R&B-leaning instrumental rockers, Pat & the Californians were a surf act that took a left turn into the same place where the Surfaris ended up on "Be Billy, " Johnny MacRae's "Penicillin" could have come from pen of Nervous Norvus' VD-infected brother, and "The Fr

Performers include: The Robins, Willy & Ruth, Honey Bears, Gene & Billy, Big Boy Groves, The Sly Fox, Ray Agee, Garland The Great, Gil Bernal, Mister Ruffin, Ernie Andrews.Contains 30 tracks.Before becoming fully established as national hit songwriters and producers with the Coasters, Elvis Presley, and others in the late '50s, Jerry Leiber and Mike Stoller were two of the five partners in Los Angeles R&B indie label Spark. This collects 30 of the mid-'50s sides issued by the company, many of which were written and produced by Leiber and Stoller. In fact, this comprises the majority of Spark's output; it put out only 22 singles in all. Only three of these songs will be well-known: the Robins' classic comic R&B/rock numbers "Riot in Cell Block #9" and "Smokey Joe's Cafe, " and Willy & Ruth's "Love Me, " the original version of a song covered with considerable success by Presley in 1956. Just because the rest is damned obscure, however, doesn't mean it isn't worth checking out. Indeed, although Leiber and Stoller

Though it may not have been clear at the time, Chicago's fifth album marked something of a turning point for the most successful American rock act of the 1970s. V was not only the band's first single-disc release, but, incredibly, its 11th LP worth of music in just three years. That Herculean workload may have watered down their previous studio album (III), but it also seemed to teach them a few important lessons as well. Here they manage not only one of their biggest hits (the joyous "Saturday in the Park"), but a stubborn, focused retrenchment of their most adventurous musical instincts in the bargain. That notion is clear from the intentionally ironic opening of "A Hit by Varese, " through cuts like "While the City Sleeps, " "State of the Union, " and the autobiographical "Alma Mater, " which bristle with the band's jazzy instincts and avant-garde influences. Even the album's other Top 30 hit, "Dialogue (Part I & II), " remains one of its more unusual chart entries. This digitally remastered new edition contains three bonus tracks (a Terry Kath noise-guitar-powered, previously unreleased studio take of "A Song for Richard and His Friends, " the gritty outtake "Mississippi Delta City Blues, " and the original single edit of "Dialogue") as well as Don Heckman's new liner notes, which feature insightful comments from several band members. --Jerry McCulley

Traffic (England)

Universal Motown

Though it may not have been clear at the time, Chicago's fifth album marked something of a turning point for the most successful American rock act of the 1970s. V was not only the band's first single-disc release, but, incredibly, its 11th LP worth of music in just three years. That Herculean workload may have watered down their previous studio album (III), but it also seemed to teach them a few important lessons as well. Here they manage not only one of their biggest hits (the joyous "Saturday in the Park"), but a stubborn, focused retrenchment of their most adventurous musical instincts in the bargain. That notion is clear from the intentionally ironic opening of "A Hit by Varese, " through cuts like "While the City Sleeps, " "State of the Union, " and the autobiographical "Alma Mater, " which bristle with the band's jazzy instincts and avant-garde influences. Even the album's other Top 30 hit, "Dialogue (Part I & II), " remains one of its more unusual chart entries. This digitally remastered new edition contains three bonus tracks (a Terry Kath noise-guitar-powered, previously unreleased studio take of "A Song for Richard and His Friends, " the gritty outtake "Mississippi Delta City Blues, " and the original single edit of "Dialogue") as well as Don Heckman's new liner notes, which feature insightful comments from several band members. --Jerry McCulley

Veteran West Coast horn man Walter "Dootsie" Williams founded Blue Records in 1949, originally to release the raunchy "blue" songs of comedian Billy Mitchell (the first of these, "Song of the Woodpecker, " was fairly representative), and over the next two years Williams released some 34 singles on Blue, roughly half of them blues or R&B. Williams folded Blue in 1951, then changed the name of his label to Dootone and began to pursue a more pop direction, although he continued to issue blues and R&B-related material. By 1955, when he changed the name of the label to Dooto for legal reasons, Williams was dealing almost exclusively with doo wop performers. In 1956 he set up Authentic Records to handle his blues issues, but by 1958 he was all but done with the music business, settling back into comedy production, releasing albums by comedian Redd Foxx and others. This generous 30-track, 75-minute collection gathers up some of the more notable blues and R&B sides that Williams released on his Blue and Dootone imprin

Classic Records

Liner Note Author: Tony Rounce.Sunshine pop is one of those generic designations that came into use long after the music in question had fallen out of popularity. Featuring sweet, upbeat melodies topped with polished harmonies and frothy arrangements, sunshine pop described the sort of tunes that were a frequent presence on AM radio in the mid- to late '60s, and like the girl group era earlier in the decade, it was a medium dominated by songwriters and producers rather than artists, many of whom seemed anonymous and interchangeable (only the most obsessed music fan could tell the Lemon Pipers, the Peppermint Rainbow, and the Sunshine Company apart in dim light). But if sunshine pop was a medium for lightweight pop hits rather than contemplative musical statements, the best singles of the era are delightful stuff that still resonate today, and this collection from Ace Records' Chartbusters USA series (celebrating American pop singles of the 60s) is as good a primer on the subject as you're likely to find. Open

Out of print in the U.S. Originally released in 2006, American V: A Hundred Highways was the first of his successful American Recordings series to be released after his 2003 death. The album is a continuation of the highly popular and critically acclaimed series of American recordings produced by Rick Rubin. The series began with 1994's acclaimed American Recordings, followed by Unchained (1996), American III: Solitary Man (2000) and American IV: The Man Comes Around (2002). Recording for this album began in 2002 and continued through 2003 until shortly before his death. American V contains 12 tracks and includes one Johnny original, 'Like The 309' (the last song that Johnny wrote and recorded before he died).

Out of print in the U.S. Originally released in 2006, American V: A Hundred Highways was the first of his successful American Recordings series to be released after his 2003 death. The album is a continuation of the highly popular and critically acclaimed series of American recordings produced by Rick Rubin. The series began with 1994's acclaimed American Recordings, followed by Unchained (1996), American III: Solitary Man (2000) and American IV: The Man Comes Around (2002). Recording for this album began in 2002 and continued through 2003 until shortly before his death. American V contains 12 tracks and includes one Johnny original, 'Like The 309' (the last song that Johnny wrote and recorded before he died).

1.Arnie's Theme - The Three D's 2.Ginger - Wayne Parker 3.Squeeze - The Three D's 4.Pal Mal Rock - The Three D's/Pal Mal/Arnie Ginsberg 5.Roses Are Blooming - Bob Silva & The Silvatones 6.Weepin' And Wailin' - Bob Silva & The Silvatones 7.I Ain't Gonna Be Around - Joe Therrien Jr. 8.Rollin' Pin Mim - Ricky Coyne & The Guitar Rockers 9.Movin' To Slow - Leigh Howell & The Uniques 10.Don't Go Away - Bobby Kent & The Kentones 11.Rattle Shakin' Mama - Mel McGonnigle 12.Long Tall Sally - Frankie Rose & The Imperials 13.Linda Lee - Johnny Lee & The Eldorados 14.I Love My Baby - The Phaetons 15.Wild Little Willy - Ricky Vance & The Ramrods 16.Sweet Little Jane - The Downbeats 17.Sarah Lee - Lou & The Monarchs 18.Chopsticks Rock - The Monarchs 19.I Don't Need You No More - Miles Connor 20.Linda Jean - The Satellites 21.Rockateen - The Satellites 22.Savage - Alan Barnicoat 23.Rockin' Hall - Howie & The Chrystals 24.Flip Flop & Fly - Johnny Balboni 25.Pretty Baby - Bobby Taylor & Viscount Four 26.Pretty Girl, A - Bobby Mansfield & His Dusters 27.Marada Rock - El Maradas 28.Frantic - El Maradas 29.Boppers Boogie - Bob Madden & The Boppers 30.Tough Mama - Ralph Madden & The Boppers 31.Rock 'N' Roll Mama - Bob Riley & The Atoms 32.Four Button Suit - Bob Riley & The Atoms 33.Arnie's Theme - Freddie Cannon 34.Cha Cha Doo - The Spindrifts

Command V's self-titled electro-tinged dance album is the rare debut that sounds equally fresh and familiar, conjuring images of its founders' past while presenting a stark and introspective view of today's New York. A decade after the dissolution of The Bush Tetras, vocalist Cynthia Sley was compelled by the isolation, over-stimulation, and economic confusion of today to develop a new set of songs. Linking with friend, musician, and filmmaker, Rachel Dengiz, and utilizing technology to drive the songwriting process in a completely new way for her, a batch of raw demos quickly took shape. While attending a Lydia Lunch book reading, Cynthia ran into Pat Irwin, a pivotal member of the No Wave Movement as part of The Raybeats and Eight-Eyed Spy before joining The B-52s. Pat was intrigued and quickly became the completing member of the trio. The entire album was very much recorded in the moment. Cynthia and Rachel laying bare tracks of keyboards and vocals in Cynthia s apartment, and Pat working odd hours as inspiration struck to develop the tracks using a mix of modern techniques and tried and true post-punk sonics. While sounding completely modern, Command V s debut never loses the dance and tonal reference points from the No Wave era work that inspired acts ranging from Optimo to LCD Soundsystem. Command V connects the dots between the NYC of today and of its No Wave Renaissance. Comprised of Cynthia Sley (vocalist for Bush Tetras), Pat Irwin (of The Raybeats, Eight-Eyed Spy, B-52s) and Rachel Dengiz (musician and fillmaker who has worked closely with Jim Jarmusch) the band has developed a sounds and visuals using production techniques that didn t exist in the 80s, but which nonetheless retain the cut-and-paste aesthetic that drove their earlier work. Command V s members were not peripheral members of the No Wave movement - they were at its epicenter. Cynthia Sley s enigmatic act, The Bush Tetras perfectly captured the primal energy being generated on the Lower East Side, prompting Sonic Youth s Thurston Moore to write ''they were, to me, the greatest band in the world.'' In both The Raybeats and with Lydia Lunch's 8-Eyed Spy, Pat Irwin's playing included elements of surf, free jazz, and punk. With the inclusion of keyboardist, vocalist, and songwriting partner Rachel Dengiz, video has become another medium for Command V to translate their art. Inspired and liberated by the digital tools at their disposal, Command V craft music and video that is reminiscent of No Wave while being noticeably more introspective, eerie, and modern. 30 years after its members and their friends rebuilt New York s art scene, Command V epitomizes the new DIY.

What a wonderful story: FOCUS is reuniting against all odds, at the beginning of the Third Millenium ! We haven't heard of this Dutch band since the end of the Seventies and the departure of its famous guitarist Jan AKKERMAN. The only thing we can add is the reunion of the latter and the incredible flautist-keyboardist Thijs Van LEER in 1985. Since, the numerous fans of this international legend of Seventies Progressive Rock could hear nothing else than a deep silence... At the beginning of the year 2002, three young musicians decide to pay tribute to their idol in creating HOCUS POCUS. Such an evocative name ! After having learned their repertoire made of cover versions, drummer Ruben Van ROON (Later replaced by Bert SMAAK), guitarist Jan DUMEE and bassist Bobby JACOBS were courageous enough to invite Thijs Van LEER to a jam session. This one came without any preconceived ideas to spend a good time with some friends, and wasn't prepared for such a devoted attitude towards the original group's spirit. He didn't expect a level of quality this high, either ! The whole was so good that he jumped on the occasion of reforming FOCUS with fresh blood ! And that's exactly what "8" (2002) is about: the opening title "Rock And Rio" brings us thirty years back with "Moving Waves", and its international crazy hit "Hocus Pocus". A versatile Hammond Organ, hard-blues guitar riffs, a voluntary basic rhythm section, a good sense of humour... Without forgetting the famous yodels displayed by the Master of Ceremony ! The rest of the album is pretty much of the same vein, for our great pleasure. No doubt about it, we'll have to count on FOCUS in the future !... Let's just remind you that the group was founded by Jan AKKERMAN (BRAINBOX) and Thijs Van LEER in 1970, with the future TRACE drummer Pierre Van Der LINDEN also participating duiring some time. This line-up was, with KAYAK and TRACE, the most famous in its own land as far as Progressive rock is concerned. "Focus Con Proby" was recorded in 1977 with Belgian guitarist Philipp CATHERINE and singer P.J. PROBY. FOCUS' complete discography is from now on available in a 20-bit remastered version as a Japanese import with cardboard covers. Some splendid collectors ! "Masters From The Vaults" is the definitive DVD for FOCUS fans ! Thijs Van LEER is your host and guide in a wonderful journey featuring rare material from 1971 with the band improvising, rehearsing and refining material for the album which would become "Moving Waves". Also included are extended extracts from the "Old Grey Whistle Tests" in 1972 and 1973 which helped break the Dutch band into Great-Britain. From 1974, there is a rare concert film of the "Hamburger Concerto" era. The short lived Philip CATHERINE line-up is also featured before we close with the band in action today during the triumphal come back tour of the United States of America in 2002. A beautifully filmed tour on the DVD appropriately called "Live In America". What else can we ask for ?!? 2002 was the year of the comeback of FOCUS, a true legend of Seventies Progressive rock. Publishing "8" on the Musea label created a huge sensation ! And if some thought this was nothing else than a one-shot, Thijs Van LEER and his young musicians did everything to prove them untrue.. In order to promote the album, they went on the road, their world tour noticeably including the United States and South-America. That's precisely what "Live In Southamerica" (2002) is all about. That Sol E Deneb label release plays the greatest hits from FOCUS, like "Eruption", "Sylvia" and "Focus III". Of course, the hilarating "Hocus Pocus" is there as well ! That's what one calls a winning return...

26 TRACKS: SECOND CHANCE, STEEL GUITAR, SAMPLE MY KISSIN', I'M BEGINNING TO FEEL MISTREATED, FOOTSTEPS, NEW NAMES NEW FACES, TILL I SAID IT TO YOU, A WASTED LOVE AFFAIR, IT'S ONLY A MATTER OF TIME, YANKEE GO HOME (Duet with Red Sovine) , WHAT'S HAPPENED TO US, HONKY TONK MUSIC, IT'S HERE TO STAY, DON'T JUST STAND THERE, DRIFTWOOD ON THE RIVER, I SLIPPED OFF MY WEDDING RING, IT'S A LOVELY, LOVELY WORLD, IT'S SO LONELY ON MY SIDE OF THE SEA, LIVING ALONE, MISSING LOVING, MISSING LIVING, MISSING YOU, TWICE AS BLUE, YOU'RE LOOKING FOR AN ANGEL, CLEANIN' HOUSE, WATERLOO (Duet with Justin Tubb), RECKLESSLY, ANOTHER MAN'S WOMAN.