mixtapes for weathers and moods / music for good days and bad days


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2017. június 25., vasárnap

MUSiC iN YOUR EARS #17/20 - STRiNG GAME / TEN EXCiTiNG TRACKS




10 EXCiTiNG TRACKS
Guerilla Toss, Nilufer Yanya, Bedouine, Spectre Folk, The War On Drugs, Radiohead, Grizzly Bear, Jesse, Moor Mother feat. Mental Jewelry, Art School Jocks

Guerilla Toss - String Game 3:15
Last year, Guerilla Toss released their DFA Records debut, Eraser Stargazer, which saw the Brooklyn-via-Boston group streamlining their sound into something more accessible and poppier while still staying true to their avant-garde roots... It’s another big leap forward for the band, and the first track they’re sharing from it is “The String Game,” an oozing and characteristically busy song that sounds like it’s being pulled in six different directions at once and snaps like a rubber band. Kassie Carlson’s voice floats above the rest of the track: “I’m driving the car but I’m not the owner/ I’m moving the car ever so slowly,” she sing-speaks at the beginning. “It hums the engine, like science fiction/ Crossing the fields in staccato.” Those same words are then pitch-shifted and twisted, and then the whole song swells and morphs into a commanding ticking time bomb about feeling powerless over your own narrative. “The end is near,” she portents at one point.

Nilufer Yanya - Golden Cage 3:40
London-based newcomer Nilüfer Yanya’s “Golden Cage” alternately pulses and floats on air. This is new music, post-post-punk, with some new wave guitar shimmer, the lazy vocal cadence of snotty young rappers, and hints of jazz wafting. The song is not a mess, though, it’s bright and abstract, with Yanya’s charmingly heavy British accent peaking out at points to weight the tune. Other times, she’s singing like she’s jumping through puddles. Most of the lyrics repeat many times, and she tries them each out in different cadences and pitches, like a drummer moving from tom to tom, cymbal to cymbal...

Bedouine - Solitary Daughter 4:20
‘Solitary Daughter’ paints a picture of an artist completely in control, and firmly at the wheel... With recent single ‘Dusty Eyes’, Azniv Korkejian, aka Bedouine, provided a gorgeous slice of folk to usher in upcoming self-titled debut album.
Softly spoken stories woven over plucked acoustic guitars, ‘Solitary Daughter’ is a track that threatens to waft off into the distance, but the singer’s ambiguous, fascinating tales are ones that it’s impossible not to follow into the distance.
A whole verse is dedicated to things Bedouine doesn’t need and/or want, and so rarely has a new voice emerged that’s so content with being alone and answerable only to themselves...

Spectre Folk - Blowing Tornadoes 5:16
Spectre Folk, the band headed by Pete Nolan that also counts Sonic Youth drummer Steve Shelley and Pavement bassist Mark Ibold among its members, are releasing their first album since 2012 on Friday... “Blowing Tornadoes” explores a different corner of the vast psychedelic cosmos, gradually expanding from a surfy dirge to a psych-rock freakout...





The War On Drugs - Holding On 5:47
Across three albums, The War on Drugs have become increasingly adept at reflecting the sound of classic rock through a fog, with songs that grow and fade like living memories. But on their new single, “Holding On,” the band sounds like they’re ready to start over. “When we talk about the past, what are we talking of?” singer Adam Granduciel asks, and the music attempts to answer. There’s a newfound sense of clarity here, from the magnificent production to the ornate instrumentation: They’re not just hinting at influences like Springsteen anymore, but downright summoning them—borrowing the glockenspiels from Born to Run and the stadium synths from Born in the U.S.A. While “Thinking of a Place”—our first taste from the band’s upcoming album, A Deeper Understanding—spent its 11-plus minutes patiently building toward a zen denouement, “Holding On” is decidedly action-packed. Buoyed by Meg Duffy’s winding slide guitar and a bouncing synth line, it shifts from hook to hook—dazzling with its intricacy or washing over you with its smoothness, depending on how closely you’re listening. It ends with a glimmering descending melody and pitch-shifted vocal motif, maybe the first moment in a War on Drugs song that could be described as “whimsical.” It still sounds like the past, but it feels like moving on.

Radiohead - Man of War 4:29
Radiohead are releasing OKNOTOK 1997-2017, a new 20th anniversary reissue of OK Computer. Along with the album’s original 12 tracks and eight B-sides, OKNOTOK will come bundled with three previously unreleased songs. We’ve already heard one of them, “I Promise,” and now Radiohead have shared another one. “Man Of War,” alternately known as “Big Boots,” was originally written around the time of The Bends, but despite several attempts, the band were never able to record it to their satisfaction...

Grizzly Bear - Three Rings 4:48
Grizzly Bear has never downplayed how complicated their music is. Each of their albums has been markedly denser and showier than the last, demanding more of both the listener and band alike. “Three Rings,” the group’s first new song since 2012, briefly teases the possibility that they might have broken that pattern. A blunt introductory drumbeat and gnarly bassline imagines a leaner, meaner Grizzly Bear, one that’s ready to rip off the white gloves and get its hands dirty—a band prepared to live up to its name. The suggestion is only fleeting, though. Moments later, the compositional acrobatics begin.
Even for a Grizzly Bear song, “Three Rings” is a lot to unpack. Its sequence of starts and reversals, intricate symphonics, and untidy free jazz fit together like a Rube Goldberg machine. Only after three minutes of circuitous mood setting does the song hits its emotional core, finally revealing itself for what it is: a plea to a waffling lover. “Don’t you know that I could make it better?” Ed Droste sings, his voice flush with desperation, “Don’t you ever leave me.” A more direct songwriter would have put that sentiment front and center, and it’s never clear whether all the song’s sonic gymnastics are meant to underscore his point or delay it. At the end, at least, all the song’s disconnected ideas seem to resolve themselves in one final sweep. The closure couldn’t feel any more hard-earned. Despite its long journey, credit the band this: they know how to land a track.

Jesse - De-Pression 3:10
Jesse Jenkins of the beloved (dearly departed?) TX band Pure X shares another stellar single from his solo debut Hard Sky, due next month on Uniform Group. According to the label, the new record is the sound of Jesse “simultaneously laughing at life’s inevitable struggles while accepting that he is barely hanging on”, and that sentiment is beautifully expressed on “De-pression“, a tender, woozy gem that confronts bleak realities — “what happens when you lost the time, that you had before?” — while at least making a valiant attempt to find beauty and maybe even a faint glimmer of hope in the darkness.

Moor Mother feat. Mental Jewelry - Hardware 4:16
Last year, Moor Mother — the project of Philadelphia-based musician Camae Ayewa — released her breakout LP, Fetish Bones, and she’s following that up with an EP called Crime Waves, a collaboration with fellow Philly producer Mental Jewelry. The first song we’re hearing from it, “Hardware,” was originally intended for Fetish Bones, but ended up here after the two of them started to work together. “I really loved Mental Jewelry’s production, though, so I suggested that we make an EP,” Ayewa explains in a press release. “We had bonded over free jazz, drum and bass, and heavy dub — we just spent hours talking about music before we even recorded a track.” “Hardware” is a subtly imposing squelch featuring some swallowed verses and existential musings from Ayewa.

Art School Jocks - Catdog 2:45
“Catdog” is a ticking, hooky chunk of garage pop, sounding simultaneously swelling and as though it’s always settling down. The group broke down the song’s thematic content to the Fader:
“Catdog” is about coded and subconscious body language. It’s about seeing the duality in any given moment and understanding that what can seem inviting and coolly communicated may in another realm be understood as an act of aggression or transgression. It’s about understanding that any one thing is painted in a multitude of ways depending on who’s seeing it and what their influence casts.





2017. június 24., szombat

MUSiC iN YOUR EARS #17/19 - LOOKiNG FOR THE RAiN / TEN EXCiTiNG TRACKS




10 EXCiTiNG TRACKS
UNKLE feat. Mark Lanegan & Eska, Queens of the Stone Age, Ex Eye, Jaga Jazzist with Reine Fiske, Grizzly Bear, Tobacco, Guerilla Toss, Jen Cloher feat. Courtney Barnett, Waxahatchee, Radiohead


UNKLE feat. Mark Lanegan & Eska - Looking for the Rain 5:56
UNKLE, the long-running trip-hop collective led by Mo’ Wax label founder James Lavelle, are coming back with their first new album since 2010’s Where Did The Night Fall. After being announced almost a year ago, The Road: Part 1 is finally coming out in August... “The video for ‘Looking For The Rain’ was created by filming a variety of subjects from nature, such as water, crystals and plants. The footage was composited in several stages to eventually form a moving tunnel of light that features synchronised repetition and bilateral symmetry.”

Queens of the Stone Age - The Way You Used To Do  4:34
Although the pair differ significantly on stylistic specifics—Homme’s a rugged, desert-dwelling rock star, Ronson a globetrotting disco impresario—their shared penchant for full-bodied mixes and carefully-calculated grooves suggests that this ostensible odd couple are more compatible than one might think, especially on Villains' first single, “The Way You Used To Do.” Queens diehards anxious over the prospect of Bruno Mars cameos or anodyne arrangements needn’t fret. Between the bristling, speaker-bursting blues chords and sinister lyrics—“Gave birth to monsters who will terrorize normalcy,” Homme, croons coyly—the scrappy cut proves far more reminiscent of 2007’s similarly unkempt Era Vulgaris than the polished “Uptown Funk.” In a stark departure from his usual lush maximalism, Ronson tests the limits of Queens’ plug-and-play approach with a searing mix that clatters and hisses like a beaten-up Harley barreling down the highway to hell.


Ex Eye - Xenolith; The Anvil 3:55
Colin Stetson has his hand in a bunch of different projects at any given time, and the latest that the saxophonist is involved in is Ex Eye, an instrumental four-piece that pull from metal but seem to prefer the term “post-everything.” They’re releasing their self-titled album later this month... Album opener “Xenolith; The Anvil” is a cacophonous and satisfying smash of noise...





Jaga Jazzist with Reine Fiske - Prokrastinopel 6:13
Norwegian experimental jazz collective Jaga Jazzist recently released a new song, “Prokrastinopel,” that features Swedish guitarist Reine Fiske. It’s the group’s first new music since 2015’s Starfire.






Reine Fiske


Grizzly Bear - Four Cypresses 4:48
Grizzly Bear has shared a new song called “Four Cypresses.” In a recent interview with Pitchfork, Grizzly Bear’s Daniel Rossen explained that he wrote the song from the “perspective of a homeless person sleeping in the driveway of a place he was staying in L.A., but broadened to encompass his thoughts about the refugee experience and life during wartime.”

Tobacco - Got Wet in the Bomb Shelter 3:05
Tobacco's "Got Wet In The Bomb Shelter" is an apocalyptic dream. "Got Wet In The Bomb Shelter" is an incredibly well suited title for Tobacco's new standalone track. Tobacco is Thomas Fec's (elusive frontman for Black Moth Super Rainbow) side project, under which Sweatbox Dynasty was released last year. The song proves its likeness to its title by snapping you to attention with hard hitting beats and buzzing-yet-not-overwhelmingly-so synths. It's delightfully manic, however, once your ears acclimate to the alchemy of its elements, it takes on a calming drone-like quality. It's like having one of those apocalyptic dreams where you're somehow gliding through the whole thing, unconcerned that you're trying to fight off your previously trusted friends for survival, or watching the arrival of potentially hostile invaders like you'd watch a meteor shower. The track lives firmly within Tobacco's alternate universe, yet the high synth line that comes in toward the end is almost reminiscent of Air...

Guerilla Toss - Skull Pop 5:01
Next week, Guerilla Toss’ new album, GT Ultra, will make its way online — it’s out physically now — and we’ve already named it one of the best albums of the year so far... We also talked to the band’s Kassie Carlson about it. Suffice to say, we’re stoked about this album! Today, the band has put another track from the album online: “Skull Pop” is a kaleidoscopic, energetic one that retains some of the epic sprawl that was present on earlier G-Toss material, but it’s just as hard-hitting as their first two singles. “Will there be a warning? When the clock stops moving?” Carlson asks on it, and the track’s careening groove sounds like the persistent doomsday countdown that hangs over our everyday existence. Fun stuff to think about!

Jen Cloher feat. Courtney Barnett - Forgot Myself 4:23
Jen Cloher has been making music for more than two decades, and later this year she’ll release her latest, a self-titled album that’s being introduced with a video for lead single and opening track “Forgot Myself.” Cloher’s wife Courtney Barnett plays guitar on the song and is featured in the Annelise Hickey-directed video, which takes place at a diner as Cloher continually observes situations that double over on themselves, creating for a disorienting effect. It fits the mood of the song, which is a disassociating slacker anthem whose lyrics nod to Patti Smith and the Rolling Stones. “You want to be with your partner celebrating big moments in their life but at the same time, you have your own life to live thousands of miles away,” Cloher explained to NPR. “It’s easy to stop taking care of yourself. Easy to forget yourself.”

Waxahatchee - Never Been Wrong 3:12
Katie Crutchfield admits in ugly detail to blowing things out of proportion, to savoring being right, to twisting the story in her favor, and to pitying herself when the game’s outcome doesn’t go her way. Most importantly, she mirrors all that interpersonal tension in music that doesn’t resolve cleanly. The drums pummel forward and the riffs flair up with bright flashes of feedback, but they cool down at the end of each verse, like a rage blackout that lasts just a minute before it’s back to business as usual. Instead of totally flying off the handle, Crutchfield pauses for lovely vocal harmony breaks that bring pop levity to one of her most straightforwardly rock songs to date. For a songwriter known for her deep well of vulnerable introspection, Crutchfield really ought to get pissed more often.

Radiohead - I Promise 3:59
The best music can seem to stop time. With “I Promise,” Radiohead keep up their recent habit of traveling through time... The OK Computer reissue recording of “I Promise,” which debuted on streaming services last night and has received an eerily gorgeous video, is no contemporary reimagining like “True Love Waits.” It’s the familiar rendition from Radiohead’s 1996 tour, immaculately capturing a young band that was standing on the edge. It doesn’t much reinvent the group’s The Bends-era iteration, as the technological lyrical themes and gloomy production of OK Computer would. But it’s stunning all the same, and it arrives to us miraculously free of all the cultural baggage it could have accrued over the past 20 years if it had been released. Instead of being in dialogue with Coldplay or the other dorm-room hits of its era, “I Promise” belongs to the ages, with Orbison and Joy Division, now. The song has finally lived up to its early promise.




2017. június 17., szombat

POWERHOUSE FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1959-1965 2h 51m



POWERHOUSE FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1959-1965 2h 51m >>Buddy Cole, Nina Simone, Jimmy Rushing, The Beatles, Tony Sheridan, Dave 'Baby' Cortez, Milt Jackson & Wes Montgomery, Tom Dissevelt, Kid Baltan, Martin Denny, Alexis Korner's Blues Incorporated, Jimmy McGriff, Jerry Lee Lewis, The Hollies, Koerner Ray and Glover, John Fahey, Wynton Kelly Trio / Wes Montgomery<<


 
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.   

LISTEN THE PLAYLIST ON DEEZER.COM
http://www.deezer.com/playlist/1681171971



1959-1965

Although primarily known as a pianist, he had an abiding love for the organ, both Hammond and theatre pipe. In his capacity as a studio musician, he worked extensively with Henry Mancini, who used his distinctive Hammond organ sound for the sound track to the TV series "Mr. Lucky." He also recorded several albums for Warner Brothers records on piano, Hammond organ and theatre pipe organ.
The Lady is a Tramp 1:58
Georgia on My Mind 3:44
Powerhouse 1:54
from Powerhouse! 1959

Eunice Kathleen Waymon (21 February 1933 – 21 April 2003), better known by her stage name Nina Simone, was an American singer-songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, soul, folk, rhythm and blues, gospel, and pop.
Nina Simone 
Blue Prelude (Joe Bishop, Gordon Jenkins) 3:15
That's Him Over There (Lew Spence, Marilyn Keith) 2:28
Can't Get Out of This Mood (Frank Loesser, Jimmy McHugh) 2:30
from The Amazing Nina Simone 1959
There is a remarkable amount of variety on this disc, Nina Simone's second recording... She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented.

Highly popular blues and jazz vocalist of the 1930s & '40s who fronted the Count Basie band... He was known as "Mister Five-By-Five" -- an affectionate reference to his height and girth -- a blues shouter who defined and then transcended the form. The owner of a booming voice that radiated sheer joy in whatever material he sang, 
Jimmy Rushing
You Can't Run Around (Count Basie / Jimmy Rushing) 3:16
Did You Ever (Jimmy Rushing) 3:32
Good Rockin' Tonight (Roy Brown) 3:16
from Rushing Lullabies 1960
Jimmy Rushing recorded several albums for Columbia during 1959-60; although in his mid-50s, he was still in peak form. This CD reissue (which has a previously unissued "The Road of Love") finds Rushing joined by both pianist Ray Bryant and organist Sir Charles Thompson, Buddy Tate on tenor, guitarist Skeeter Best, bassist Gene Ramey and drummer Jo Jones. The combination works quite well...






The most popular and influential rock act of all time, a band that blazed several new trails for popular music.
The Beatles, Tony Sheridan
With his 1961 recording of "My Bonnie," Tony Sheridan forever secured rock & roll immortality; while the song was certainly a respectable hit during its heyday, its place in music history is instead assured as the first studio session to feature the Beatles. 
Ain't She Sweet (Milton Ager / Jack Yellen) 2:14
My Bonnie (Charles Pratt / Traditional) 2:43
Let's Dance (Jim Lee / Tony Sheridan) 2:36
Ya Ya, Pts. 1-2 (Lee Dorsey / Morris Levy / Clarence Lewis / Morgan Robinson) 5:10
from In The Beginning 1960
Before beginning their recording career, the Beatles recorded a few tracks in Hamburg in 1961 as the backing group for British singer Tony Sheridan. Reissued in countless different packages around the globe after the Beatles became famous, this should in no way be considered their first album; not only were their skills rudimentary, but Sheridan takes all but one of the lead vocals on this set of fairly tame covers of popular and early rock standards. Several tracks are of interest: "Ain't She Sweet," with a lead vocal by John Lennon, was a small American hit single in 1964... and "My Bonnie," with Paul McCartney's shouts clearly audible in the background, was responsible for bringing the group to the attention of Brian Epstein.
Tony Sheridan and original Hamburg Beatles

Though hardly a soulful, bluesy master like Jimmy Smith or dashing experimentalist like Larry Young, organist Dave "Baby" Cortez made his mark in the '50s,'60s, and '70s as a capable, often clever soloist and pop instrumentalist.
Dave 'Baby' Cortez
Movin’ and Groovin’ 2:15
Honey Baby 2:41
Summertime 2:59
September Song 3:29
from The Happy Organ and Other Great Recordings 1956 - 1961
Dave 'Baby' Cortez hasn't received much attention as far as reissues are concerned so Jasmine has decided to put together what is the best and most comprehensive collection of hits and rarities.
Although light on charting hits, Dave 'Baby' Cortez was able to craft many catchy melodies, riffs and hooks that fans of organ music and a soulful, bluesy sound will enjoy greatly. Oh, and just for good measure we have thrown in his biggest hit 'The Happy Organ' to really get your feet tapping.
Fully detailed liner notes with a biography of his career achievements and a selection of early album tracks that can really be given the moniker of 'ultra-rare', this is another must have release! (JASMINE Records)

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Milt Jackson & Wes Montgomery
Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely. / The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic. 
S.K.J. (Milt Jackson) 5:15
Stairway to the Stars (Matty Malneck / Frank Signorelli) 3:38
Jingles (Wes Montgomery) 5:34
from Bags Meets Wes 1961
Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones)...


Tom Dissevelt (1921 - 1989) was a Dutch jazz musician and electronic music pioneer. His mixture of jazz and experimental electronics is most widely-known in the soundtrack for the Oscar-winning short film "Glas" (1958).
Composed By Tom Dissevelt and Produced by Tom Dissevelt and Kid Baltan
Kid Baltan is an early pseudonym of Dutch electro-acoustic composer Dick Raaijmakers, "Kid" being simply a reversal of his first name and "Baltan" being a reversal for the NatLab studios of Philips where he worked.
Syncopation 3:03
Whirling 3:32
from Electronic Movements 1962



Pianist, composer, arranger, and conductor who invented the exotica style, combining easy listening, Latin, and Hawaiian. 
Martin Denny
A Taste of Honey 3:13
Black Orchid (Cal Tjader) 2:56
Route 66 (Nelson Riddle) 2:18
from A Taste of Honey 1962
Taking a tip from George Shearing, Martin Denny cruised through most of the '60s with a slew of bossa nova and jazz cocktail albums. Denny's late-'50s exotica records had established him as a name to reckon with in bachelor pad circles, but were only good for a limited stretch. Denny didn't forsake this period completely, though, when he turned to jazz; on this release at least, one hears bits of his earlier South Seas and Hawaiian backdrops in the bongo accompaniment and occasional leftfield percussion accent...

An inspirational figure in British R&B music, responsible for bringing together many British blues legends and furthering the genre.  / Without Alexis Korner, there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience.
Alexis Korner's Blues Incorporated
Gotta Move (Alexis Korner) 2:28
Rain Is Such a Lonesome Sound (Jimmy Witherspoon) 3:46
I Got My Brand on You (Willie Dixon) 3:46
Spooky But Nice (Cyril Davies) 2:57
from R&B From The Marquee 1962
Its title notwithstanding, R&B from the Marquee was not a live album, nor was it cut at the Marquee: it was actually done at Decca Records' London studio, albeit in one long day's work and effectively live-in-the-studio. It was also the place where British blues began, at least as a recording proposition. Blues played by Britons had been part of the underground music scene since the mid-'50s, and Blues Incorporated had been a going concern in one form or another, initially guitarist Alexis Korner and harpist/singer Cyril Davies (actually, maybe the first two Britons to play blues); but by this time, the group also included Dick Heckstall-Smith (tenor sax, backing vocals), Keith Scott (piano), Spike Heatley (upright bass), and Graham Burbridge (drums), with Long John Baldry handling some lead vocals. For this record, Big Jim Sullivan also sang backup, and Teddy Wadmore provides a key cameo appearance for the electric bass guitar (then a new and alien instrument in this music)...

Another successful practitioner of the funky-blues and soul-jazz sound to which the Hammond B-3 is so suited  / One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification.
Jimmy McGriff
Kiko (Jimmy McGriff) 3:24
All Day Long (Kenny Burrell) 3:47
Hello Betty 4:53
from Jimmy McGriff At The Organ 1963
McGriff with Rudolph Johnson on soprano and tenor sax, Larry Frazier on guitar and Jimmie Smith on drums...

A child prodigy on the boogie-woogie piano who became one of the greatest names in '50s rock & roll and '60s country music.  / Is there an early rock & roller who has a crazier reputation than the Killer, Jerry Lee Lewis? His exploits as a piano-thumping, egocentric wild man with an unquenchable thirst for living have become the fodder for numerous biographies, film documentaries, and a full-length Hollywood movie. Certainly few other artists came to the party with more ego and talent than he and lived to tell the tale.
Jerry Lee Lewis
End Of The Road 1:49
It'll Be Me 2:44
Great Balls Of Fire 1:54
Sweet Little Sixteen 2:32
from Up Through The Years 1956-1963 (1987)

One of the leading lights of the '60s British Invasion, distinguished by their high harmonies and ringing guitars. / When the Hollies -- one of the best and most commercially successful pop/rock acts of the British Invasion -- began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time...
The Hollies
Nitty Gritty/Something's Got a Hold on Me (Lincoln Chase) 4:07
To You My Love (Allan Clarke / Tony Hicks / Graham Nash) 2:04
Too Much Monkey Business (Chuck Berry) 2:22
from In The Hollies Style 1964
Released only ten months after their debut album, Stay With the Hollies, their second album was a huge leap forward in every respect. Their famous airtight harmonies were now in place, and the sloppiness of the instrumental attack gone. Most important, the group developed enormously as songwriters. Eight of the 12 tracks were Hollies originals and quite skillful in their mastery of the British Invasion essentials of driving, catchy melodies and shining harmonies...

In today's climate of a blues band seemingly on every corner with "the next Stevie Ray Vaughan" being touted every other minute, it's hard to imagine a time when being a white blues singer was considered kind of a novelty. But in those heady times of the early '60s and the folk and blues revival, that's exactly how it was. But into this milieu came three young men who knew it, understood it, and could play and sing it; their names were Koerner, Ray & Glover. They were folkies, to be sure, but the three of them did a lot -- both together and separately -- to bring the blues to a white audience and in many ways, set certain things in place that have become standards of the Caucasian presentation of the music over the years.
Koerner, Ray and Glover
Black Dog (Traditional) 2:08
Black Betty (Lead Belly) 0:59
Crazy Fool ("Spider" John Koerner) 3:40
Fannin Street (Lead Belly / Huddie Ledbetter) 5:05
from Lots More Blues, Rags and Hollers 1964
John Koerner, Dave Ray and Tony Glover, who emerged from the same University of Minneapolis music scene that produced Bob Dylan, were the best white folk blues group of their day. This reissue of one of their influential mid '60s albums -- which sounds at times like a cross between the Kingston Trio and Sonny Boy Williamson -- provides ample evidence of that. Koerner and Ray were first-rate guitarists, Glover could play harmonica like nobody's business and they all sang with style, enthusiasm, and a dash of humor. Plus, they had great material, some from blues giants like Lead Belly and Memphis Minnie, but much of it original...

One of acoustic guitar's prime innovators (and eccentrics), he mixed traditionalist forms (folk, blues, country) with a decidedly modernist sensibility. 
John Fahey
Beautiful Linda Getchell (John Fahey) 1:54
Orinda-Moraga (John Fahey) 3:55
I Am the Resurrection (John Fahey) 2:53
On the Sunny Side of the Ocean (John Fahey) 3:13
from The Transfiguration Of Blind Joe Death 1965
A strange man, John Fahey, with an unusual set of guitar styles. This album, originally released on Riverboat Records and later reissued by Fahey's own Takoma label, has a lot of rough edges in terms of the recording but a tremendous amount of power when it comes to the music. Fahey was at the top of his game, alternately playful and dark, so there's never a dull moment. There is always something new to be heard on each playing.

The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic. / Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely.
Wynton Kelly Trio / Wes Montgomery
A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. 
No Blues  (Miles Davis) 12:56
Unit 7 (Sam Jones) 6:43
What's New? (Johnny Burke / Bob Haggart / Robert Haggart) 6:11
from Smokin' At the Half Note 1965
Smokin' at the Half Note is essential listening for anyone who wants to hear why Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this "the absolute greatest jazz guitar album ever made," and with performances of this caliber ("Unit 7" boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio...