Cartoone's sole, self-titled album is more known as a footnote in the late-'60s career of Jimmy Page. Page contributed guitar to the record as a session man - though his work is neither too prominent nor too similar to what he was getting ready to do in Led Zeppelin - and Cartoone opened for Led Zeppelin at some shows in the U.S. in early 1969, probably because of the Page association and a shared label (Atlantic Records).
The four piece band consisted of lead vocalist/bassist Derek Creigan, Charlie Coffils on drums, lead guitarist Mike Allison, and guitarist Mo Trowers. Creigan's voice is impeccable throughout like those written by more established bands of that era. Sadly, the album has been out of print for over four decades, as the band more or less faded into obscurity after a nice run up the charts worldwide…

Play It All Night Long: Warren Zevon Explores Contrasts and Classical Flourishes on Bad Luck Streak in Dancing School, Which Includes Collaborations with Members of the Eagles, Linda Ronstadt, and Other Luminaries.

A double-disc set that draws from all of the phases of Joe Walsh's career, with the notable exception of The Eagles, Look What I Did! features almost every worthwhile song the guitarist ever recorded, even though it does contain pure dreck like "I.L.B.T.s," which is also known as "I Like Big Tits".

Bruce Springsteen Among rock music's most iconic figures, Bruce Springsteen often feels like the one who loves and believes in rock & roll the most, eager to re-create the breathless emotions it brings out in him. Embracing the pleasures of the sounds of AM radio in the 1950s and '60s (garage rock, British Invasion, R&B, blue-eyed soul, emotional teen pop) with the literacy of the singer/songwriter movement and a fierce desire to document the lives of the blue-collar world in which he grew up, Springsteen's music was always a grand, ambitious amalgam. (He once said he dreamed of making an album with words like Bob Dylan, sounding like Phil Spector, and with vocals like Roy Orbison.) His sound found full flower on 1973's eclectic The Wild, The Innocent & The E Street Shuffle (which introduced his most important backing group, the E Street Band), and he rose to stardom with 1975's streetwise, sweeping Born to Run. 1978's Darkness on the Edge of Town and 1980's The River marked a thematic shift, as his songs addressed the malaise of the working class, whose dreams had begun slipping out of reach.

Opening with Queen’s beautiful ‘Who Wants To Live Forever’ ahead of Pet Shop Boys’ debut hit, the #1 ‘West End Girls’ – and Eurythmics with elegant synth-pop on ‘It’s Alright (Baby’s Coming Back)’. A run of gems come next including from a-ha, Go West and Bananarama. Taylor Dayne and Gloria Estefan provide huge pop-dance anthems while remixes of ‘70s classics proved very popular for Chaka Khan, Bill Withers and Michael Jackson & Jackson 5. Hits from Bobby Brown, De La Soul, Five Star and Sananda Maitreya lead toward the first disc’s closing trio of sophisticated pop from Level 42, Bryan Ferry and Sade with 1985’s stunning ‘Is It A Crime’.

Formed by Aliki Ashman and Harry Reynolds in 1971 Ashman Reynolds has released their only album "Stop Off" in 1972. A hidden gem of British rock scene of heydays. It has been demanded by British rock enthusiasts around the world. First release on CD!

The Collection is a comprehensive 18-track retrospective released in 1991 by Castle Communications, showcasing the groundbreaking West Coast sound of American rock pioneers Spirit. Founded in Los Angeles in 1967 by Randy California, Ed Cassidy, John Locke, Mark Andes, and Jay Ferguson, Spirit seamlessly blended psychedelic rock, jazz fusion, progressive rock, and folk. This compilation gathers key highlights from their defining era and acclaimed studio albums—including their self-titled debut, The Family That Plays Together, Clear, and the masterpiece Twelve Dreams of Dr. Sardonicus. Featuring essential classics like I Got A Line On You, Nature's Way, Mr. Skin, Fresh Garbage, and 1984, this collection stands as a fantastic overview of one of late-60s/early-70s rock's most versatile and inventive bands.

The Wild Life box set is three CDs and includes a remarkably generous selection of audio - 25 bonus tracks including rough mixes of the album, original single edits, B-sides, home recordings and other previously unreleased material. The packaging looks consistent with the last few, so what you have is a slipcase into which slot a few books. The "main" book is a 128-page tome written by David Fricke which tells the story of the album etc., but there is also a 48-page scrapbook of tour diaries (from the 1972 tour), lyrics, setlists, unpublished polaroids and the like.
The irony of the first Wings album is that it seems more domesticated than Ram, feeling more like a Paul McCartney 'n' Linda effort than that record. Perhaps it's because this album is filled with music that's defiantly lightweight - not just the cloying cover of "Love Is Strange" but two versions apiece of songs called "Mumbo" and "Bip Bop"…

One of rock music’s most distinctive and revered acts, the Swedish band GRAVEYARD, has announced October 9, 2026, as the release date for their highly anticipated seventh studio album, *Fever*. Three years after the dreamlike veil of their highly acclaimed previous album, *Six*, the band returns with a harder, more direct sound—while still carrying the blues-infused soul that defined their breakthrough album, *Hisingen Blues*.

Bobby Day An important cog in Los Angeles' doo wop community during the '50s, Bobby Day wrote three often-covered early rock classics in 1957-1958. Day was part of the Hollywood Flames, one of the area's top R&B vocal groups, and briefly part of Bob & Earl, later to hit without Day on "Harlem Shuffle." Day formed his own group, the Satellites, in 1957, cutting the original "Little Bitty Pretty One" for Class Records. A nearly identical cover by Thurston Harris beat the original out, so Day countered with the driving "Rockin' Robin" in 1958, an R&B chart-topper. Its flip, "Over and Over," was a hit in its own right, although the Dave Clark Five's 1965 revival is better remembered today. Day waxed a few more hits for Class in 1959, including "That's All I Want" and a derivative "The Bluebird, the Buzzard & the Oriole," flitting from label to label during the '60s.

George Harrison went quiet not long after the second Traveling Wilburys album, surfacing only for the Beatles' Anthology in the mid-'90s. He was recording all the while, yet he died before completing the album that would have been the follow-up to 1987's Cloud Nine. His son, Dhani, and his longtime friend/collaborator Jeff Lynne completed the recordings, released late in 2002, nearly a year after George's death, as Brainwashed. Given its baggage it's easy to be suspicious about the merits of Brainwashed prior to hearing it. Posthumous efforts often feel incomplete, Harrison's albums were frequently inconsistent, and Lynne favors ornate, cinematic productions that run contrary to George's desire for this project to be simple and low key - nothing that would suggest that Brainwashed would be a success. Defying all odds, Brainwashed isn't just a success, it's one of the finest records Harrison ever made…

Live at Earls Court, London, UK 20th October 1994 FM Radio Broadcast.

This two-CD, 50-track compilation assembles the Everly Brothers' most memorable recordings of the 1960s. Although their work from this period has sometimes been criticized as inferior to their classic '50s recordings for Cadence, the best of these songs are a match for anything the duo recorded. As it happens, the strongest of these tunes are drawn from their first two albums for Warners in the 1960s, including the hits "Cathy's Clown" and "So Sad." In the following years, their material suffered from increasing inconsistency and ill-suited production. Yet the Brothers continued to intermittently hit the mark squarely – not only with early-'60s hits like "Crying in the Rain" and "Temptation," but neglected flop singles like "Nancy's Minuet" and "You're the One I Love," as well as the hard-rocking minor 1964 hit "Gone Gone Gone" (their last Top 40 single). They also showed a willingness to incorporate the hard-rocking beat of the British Invasion into their work that was not shared by any of the other major stars of the '50s. This compilation misses a number of fine B-sides and non-hit singles from the early and mid-'60s (check the Ace import collection Hidden Gems for those) and perhaps leans too heavily on their tepid late-'60s country-rock. But it's a good overview of a body of work that is often unfairly overlooked.

The 90 minute recording has twenty-one minutes from the November 27th, 1970 show in Hannover, thirty minutes from the November 14th show in Hamburg, and forty-one minutes from the Münster concert on February 24th, 1971.

Bruce Springsteen Among rock music's most iconic figures, Bruce Springsteen often feels like the one who loves and believes in rock & roll the most, eager to re-create the breathless emotions it brings out in him. Embracing the pleasures of the sounds of AM radio in the 1950s and '60s (garage rock, British Invasion, R&B, blue-eyed soul, emotional teen pop) with the literacy of the singer/songwriter movement and a fierce desire to document the lives of the blue-collar world in which he grew up, Springsteen's music was always a grand, ambitious amalgam. (He once said he dreamed of making an album with words like Bob Dylan, sounding like Phil Spector, and with vocals like Roy Orbison.) His sound found full flower on 1973's eclectic The Wild, The Innocent & The E Street Shuffle (which introduced his most important backing group, the E Street Band), and he rose to stardom with 1975's streetwise, sweeping Born to Run. 1978's Darkness on the Edge of Town and 1980's The River marked a thematic shift, as his songs addressed the malaise of the working class, whose dreams had begun slipping out of reach.