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| Bob Dylan |
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Iconic singer/songwriter and musical wanderer who rose to prominence during the '60s folk revival and changed the world of music.
Bob Dylan
Motorpsycho Nitemare (Bob Dylan) 4:33
All I Really Want To Do (Bob Dylan) 4:05
Spanish Harlem Incident (Bob Dylan) 2:25
from Another Side of Bob Dylan 1964
The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike... The result is one of his very best records, a lovely intimate affair.
The giant of postwar blues, who eloquently defined Chicago's swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar.
Muddy Waters
My Home Is in the Delta (McKinley Morganfield) 4:00
My Captain (Willie Dixon) 5:12
from Folk Singer 1964
Muddy's "unplugged" album was cut in September of 1963 and still sounds fresh and vital today. It was Muddy simply returning to his original style on a plain acoustic guitar in a well-tuned room with Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on second acoustic guitar. The nine tracks are divvied up between full rhythm section treatments with Buddy and Muddy as a duo...
A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time.
Jimmy Smith
Prayer Meeting (Jimmy Smith) 5:44
Stone Cold Dead in the Market (Wilmoth Houdini) 3:43
Red Top (Gene Ammons) 7:36
from Prayer Meetin' 1963
Playing piano-style single-note lines on his Hammond B-3 organ, Jimmy Smith revolutionized the use of the instrument in a jazz combo setting in the mid-'50s and early '60s, and arguably his best albums for Blue Note during this period were the ones he did with tenor sax player Stanley Turrentine. Recorded on February 8, 1963, at Van Gelder Studio in New Jersey, and featuring Quentin Warren on guitar and Donald Bailey on drums in addition to Smith and Turrentine, Prayer Meetin' is a delight from start to finish. Forming a perfect closure to Smith's trio of albums with Turrentine (Midnight Special and Back at the Chicken Shack were both released in 1960), Prayer Meetin' was the last of four albums Smith recorded in a week to finish off his Blue Note contract before leaving for Verve...
The ultimate instrumental rock band, boasting a dual-guitar lineup and tight rhythms that earned them several big hits during the '60s.
The Ventures
Pipeline (Bob Spickard) 2:20
Diamonds (Jerry Lordan) 2:15
Windy and Warm (John D. Loudermilk) 2:25
from Surfing 1963
The Ventures were not a surf band. Well-established before surf music's brief heyday in the mid-'60s, they have nonetheless been easily lumped in with the likes Dick Dale and the Challengers due mostly to the Ventures' theme for Hawaii Five-0 and a penchant for Hawaiian shirts late in their career. However, their Surfing album is not hindered by a lack of authentication. Perhaps because they were older, or were more professional musicians, Surfing sounds less like an actual surfer's attempt at re-creating the feeling on their boards and more like a cloudy, early-morning walk on the beach, evoked by languid...
Part rockabilly rebel, part campfire storyteller, part outlaw in black, his hearty baritone has remained the essence of country music.
Johnny Cash
Blue Train (Billy Smith) 2:01
Folsom Prison Blues (Johnny Cash) 2:48
So Doggone Lonesome (Johnny Cash) 2:35
from All Aboard The Blue Train 1962
Johnny Cash has always been in his best element when singing songs about people, places and trains. Therefore, he comes across as the great storyteller and singer he is with All Aboard the Blue Train. Included here are the now-classic "Folsom Prison Blues,"... Johnny Cash, years before he adopted the infamous "Man in Black" persona, had a firm grip on the handle of traditional country-folk. The song selections are prime, and the performances flawless.
From gospel and early R&B to soul and jazz to blues and straight-up pop, Lou Rawls was a consummate master of vocal music whose versatility helped him adapt to the changing musical times over and over again while always remaining unmistakably himself.
Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
...Hamburg was the Beatles' baptism by fire. Playing grueling sessions for hours on end in one of the most notorious red-light districts in the world, the group was forced to expand its repertoire, tighten up its chops, and invest its show with enough manic energy to keep the rowdy crowds satisfied. When they returned to Liverpool at the end of 1960, the band -- formerly also-rans on the exploding Liverpudlian "beat" scene -- were suddenly the most exciting act on the local circuit. They consolidated their following in 1961 with constant gigging in the Merseyside area, most often at the legendary Cavern Club, the incubator of the Merseybeat sound...
Rock & roll's prime innovator, thanks to his detailed songwriting, dazzling lyrics, and clear, economical guitar licks.
The best showman and one of the most influential singers of the 20th century, who transformed R&B into funk with his tight, driving style.
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1964-1960
Bob Dylan
Motorpsycho Nitemare (Bob Dylan) 4:33
All I Really Want To Do (Bob Dylan) 4:05
Spanish Harlem Incident (Bob Dylan) 2:25
from Another Side of Bob Dylan 1964
The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike... The result is one of his very best records, a lovely intimate affair.
Muddy Waters
My Home Is in the Delta (McKinley Morganfield) 4:00
My Captain (Willie Dixon) 5:12
from Folk Singer 1964
Muddy's "unplugged" album was cut in September of 1963 and still sounds fresh and vital today. It was Muddy simply returning to his original style on a plain acoustic guitar in a well-tuned room with Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on second acoustic guitar. The nine tracks are divvied up between full rhythm section treatments with Buddy and Muddy as a duo...
Jimmy Smith
Prayer Meeting (Jimmy Smith) 5:44
Stone Cold Dead in the Market (Wilmoth Houdini) 3:43
Red Top (Gene Ammons) 7:36
from Prayer Meetin' 1963
Playing piano-style single-note lines on his Hammond B-3 organ, Jimmy Smith revolutionized the use of the instrument in a jazz combo setting in the mid-'50s and early '60s, and arguably his best albums for Blue Note during this period were the ones he did with tenor sax player Stanley Turrentine. Recorded on February 8, 1963, at Van Gelder Studio in New Jersey, and featuring Quentin Warren on guitar and Donald Bailey on drums in addition to Smith and Turrentine, Prayer Meetin' is a delight from start to finish. Forming a perfect closure to Smith's trio of albums with Turrentine (Midnight Special and Back at the Chicken Shack were both released in 1960), Prayer Meetin' was the last of four albums Smith recorded in a week to finish off his Blue Note contract before leaving for Verve...
The Ventures
Pipeline (Bob Spickard) 2:20
Diamonds (Jerry Lordan) 2:15
Windy and Warm (John D. Loudermilk) 2:25
from Surfing 1963
The Ventures were not a surf band. Well-established before surf music's brief heyday in the mid-'60s, they have nonetheless been easily lumped in with the likes Dick Dale and the Challengers due mostly to the Ventures' theme for Hawaii Five-0 and a penchant for Hawaiian shirts late in their career. However, their Surfing album is not hindered by a lack of authentication. Perhaps because they were older, or were more professional musicians, Surfing sounds less like an actual surfer's attempt at re-creating the feeling on their boards and more like a cloudy, early-morning walk on the beach, evoked by languid...
Johnny Cash
Blue Train (Billy Smith) 2:01
Folsom Prison Blues (Johnny Cash) 2:48
So Doggone Lonesome (Johnny Cash) 2:35
from All Aboard The Blue Train 1962
Johnny Cash has always been in his best element when singing songs about people, places and trains. Therefore, he comes across as the great storyteller and singer he is with All Aboard the Blue Train. Included here are the now-classic "Folsom Prison Blues,"... Johnny Cash, years before he adopted the infamous "Man in Black" persona, had a firm grip on the handle of traditional country-folk. The song selections are prime, and the performances flawless.
Les McCann is an innovative jazz pianist with a preference for the dance-based rhythms of jazz, gospel and funk.
Lou Rawls & Les McCann Ltd.
(They Call It) Stormy Monday (T-Bone Walker) 3:45
See See Rider (Ma Rainey) 3:11
I'd Rather Drink Muddy Water (Eddie Miller) 3:55
from Stormy Monday 1962
Lou Rawls has had a long and commercially successful career mostly singing soul, R&B, and pop music. Originally a gospel singer, Rawls' first album as a leader features him performing soulful standards backed by the Les McCann Trio. Few of the songs have been under-recorded through the years, but they sound fresh and lively when sung by Rawls; highlights include "Stormy Monday," "In the Evening," and "I'd Rather Drink Muddy Water." Pianist McCann gets a generous amount of solo space, and the reissue has three bonus tracks. This is still Rawls' definitive recording in the jazz idiom, cut before he went on to more lucrative areas.
Minor Groove 7:36
Old Honkie Tonk Piano Roll Blues 4:45
Blues for Tomorrow 13:32
Starting his career as a practitioner of cool jazz and bop, Herbie Mann was one of the first musicians to embrace world influences into his sound. Incorporating the rhythms and melodies of Cuba, Africa, and South America, as well as the Middle and Far East, into his work, Mann was also known for his high-profile collaborations, appearing alongside the likes of Art Blakey, Chet Baker, Sarah Vaughan and numerous others...
Ain't She Sweet [U.S. Version] 2:15
Cry for a Shadow (George Harrison / John Lennon) 2:23
The Beatles entered a recording studio for the first time 50 years ago, in 1961. It wasn’t actually the group’s gig, since they were essentially the backing band for singer Tony Sheridan, but the way recording was done at the session and at a second session in 1962, with instrumental parts laid down first and vocals added later, it’s possible to catch a faint, nascent glimpse of the international pop phenomenon the Beatles would become a couple years down the road. Orchestral big-band leader Bert Kaempfert had discovered the group playing in a German nightclub, signed them to a recording contract, paired them with Sheridan in the studio, and then released the songs through Polydor Records in Germany in 1961 and 1962. These early tracks have been released multiple times over the years in both mono and stereo mixes (with reverb added), and this set from Time Life Music includes both versions. Everything’s here, really, kind of frozen in time, since the original tapes were lost in a fire at Kaempfert's warehouse in the early '70s. Sheridan handles almost all of the vocals, and there are only two tracks without him, a version of John Lennon singing “Ain’t She Sweet” and an early George Harrison instrumental called “Cry for a Shadow,” both of which are featured here in mono, stereo, and medley versions.... Everything has a beginning. This two-disc set collects the earliest recordings of perhaps the most important recording act in pop music history. That’s the story, and the rest is history.
I'm Talking About You (Chuck Berry) 1:48
Thirteen Question Method (Chuck Berry) 2:13
Don't You Lie to Me (Chuck Berry) 2:08
Sweet Sixteen (Joe Josea / B.B. King) 2:45
from New Juke Box Hits 1961
Chuck Berry's fifth Chess Records album, New Juke Box Hits, was recorded and released in the midst of the legal difficulties that would put him in jail the following year. That distraction seems to have kept him from composing top-flight material, while the attendant publicity adversely affected his record sales, such that the album contained no hits. The included single was "I'm Talking About You," later successfully recorded by the Rolling Stones, and the album also contained "The Thirteen Question Method" and "Don't You Lie to Me," worthy minor entries in the Berry canon. Elsewhere, Berry filled out the record covering others' hits -- Nat "King" Cole's "Route 66," B.B. King's "Sweet Sixteen," Little Richard's "Rip It Up." The result is a good rock & roll set, but not in the same league with Berry's earlier albums.
James Brown and the Famous Flame
Think (Lowman Pauling) 2:48
Good Good Lovin' (James Brown / Albert Shubert) 2:19
Wonder When You're Coming Home (James Brown) 2:35
from Think! 1960
James' third album (his first for King) features 1960-era James Brown, moving from King's Federal subsidiary to the parent label with the hits "Bewildered," "If You Want Me," "You've Got the Power," "I'll Go Crazy," "Baby You're Right" (co-written with Joe Tex), and "I'll Never, Never Let You Go." Although Brown's albums would soon be interchangeable, the same cuts reappearing again and again, this is one of his better efforts as well as a pivotal point in his career.
Britain’s premier record producer of the early 1960s, renowned for his pioneering recording techniques using reverb and echo. A truly visionary figure within the recording industry, Joe Meek helped shape the sound of pop music in the '60s and for decades to come. A short list of the techniques he pioneered explains why he's considered one of the most influential engineers ever to work in a studio...
Joe Meek & the Blue Men
I Hear a New World (Robert Duke / Joe Meek) 2:44
March of the Bribcots 2:07
Dribcots Space Boat 2:15
Disc Dance of the Globbots 2:15
"Yes! This is a strange record, I meant it to be," Joe Meek wrote in his liner notes for I Hear a New World: An Outer Space Music Fantasy. As far as introductions to his 1960 cult classic album go, it's hard to top. Meek's musical trip to the moon was a singular album when he recorded it in his home studio with Rod Freeman and the Blue Men (aka the skiffle group Rod Freeman and the West Five); decades later, it's still a singular album. Its mix of exotica, surf, novelty pop, experimental electronics, and innovative production techniques -- which ranged from compression and reverb to sounds created from blowing bubbles with a straw -- doesn't sound like anything else, though it shaped music for years to come...
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