Back to the Egg is Paul McCartney's attempt to get back to rock & roll after the soft rock of London Town. Assembling a new lineup of Wings, McCartney leads the group through a set of his most undistinguished songs, ranging from the forced arena rock of "Old Siam, Sir" to the formulaic adult contemporary pap of "Arrow Through Me" – and those are two of the more memorable cuts on the record…

The most beautiful country & western songs by Johnny Cash, Kenny Rogers, Dolly Parton, Lynn Anderson, Willie Nelson, Wanda Jackson and many more on one compilation!

Enjoy this Compilation with the most successful The Nashville Sound singers like Eddy Arnold, Marty Robbins, Bobby Helms and many more!

Named after a joint-rolling technique, the British band Toploader evokes the hazy, feel-good vibe of the '70s with their keyboard-driven white soul anthems. Keyboardist and vocalist Joseph Washbourne, guitarist Dan Hipgrave, bassist Matt Knight, and drummer Rob Green were friends who, while hanging out night after night in their local pub, decided to form a band. In 1997, after the addition of second guitarist Julian Deane to the lineup, Toploader was born; the following year, the band was signed to Sony's U.K. division. In 1999, with a style reminiscent of the Faces, the Rolling Stones, Stevie Wonder, and Goodbye Yellow Brick Road-era Elton John, Toploader found themselves supporting former Jam frontman Paul Weller on his European tour. In May of that same year, the driving single "Achilles Heel" was released to favorable responses, and Toploader secured spots performing at both the Glastonbury and Reading festivals. Late 1999 saw the release of the second single, "Let the People Know," a joyous, dance-heavy tune which garnered the band comparisons to Jamiroquai. In February 2000, the band would release their most successful single yet, the George Drakoulias-produced "Dancing in the Moonlight," which would remain on the British charts well into 2001. In May 2000, Toploader's first full-length album, Onka's Big Monka, debuted at number five on the British charts and shortly thereafter, the band appeared on the popular television show Top of the Pops alongside Oasis and the Charlatans UK. Their fourth single, "Just Hold On," was released in August 2000

In aid of the Nordoff-Robbins Music Therapy Center and the BRIT School for Performing Arts, 120,000 fans gather for a historic event featuring a legendary combination of British rock artists: Tears for Fears, Eric Clapton, Phil Collins, Genesis, Dire Straits, Status Quo, Cliff Richard & the Shadows, Paul McCartney, Pink Floyd, Robert Plant, Jimmy Page, Elton John.

• Following the success of the first two volumes of the series I’m A Freak Baby, Grapefruit returns with a third instalment of pioneering hard rock sounds from the nascent British underground.
• As with its predecessors, I’m A Freak Baby 3 includes many of the acts who were synonymous with the stoner, free festival element of the English counterculture, with key tracks from such seminal underground stalwarts as Mick Farren and The Deviants, Edgar Broughton Band, Pink Fairies and Hawkwind.
• We also include musicians and bands who were honing their sound before finding huge success: the embryonic Deep Purple, the teenage Free, first album Thin Lizzy, Lemmy (fronting Sam Gopal) and a pre-fame Mott The Hoople are joined by old-stagers The Yardbirds, represented by an incendiary 1968 live version of “Dazed And Confused”, a song that Jimmy Page would take with him to his next band.

Digitally remastered and expanded two CD edition. Carly's classic comeback album celebrates turning 30 with a deluxe edition curated by the lady herself… Carly Simon first burst on to the pop scene in 1971. By the mid-'80s, Simon's album sales had declined and she felt less relevant in the marketplace. That all changed when Clive Davis signed her to Arista Records, which had already restored the commercial fortunes of both Dionne Warwick and Aretha Franklin. Simon's first release on the label was her 1986 single "Coming Around Again" which was the theme song from the movie Heartburn starring Meryl Streep and Jack Nicholson. The single made #18, returning Simon to the Billboard top 20 for the first time in six years. The song also made #5 on the AC chart, and went on to make the top ten in the UK and Ireland. Coming Around Again followed in April 1987 with production from the likes of Paul Samwell-Smith, Frank Filipetti, John Boylan and Richard Perry and made #25 in both the US and UK. Hot Shot Records' deluxe edition of Coming Around Again features 17 bonus tracks and an in-depth interview with Carly.

Not released until 1996, this was an unusual gig for the band, which was breaking in a new rhythm section (this may have been this lineup's first show) without much or any rehearsal. You can't tell from this 77-minute disc, which offers a typically amorphous, free-floating set of black rock - which is to say, judged by most standards, it's not typical music at all. Seguing from spaced-out jams to occasional numbers with vocals by George Clinton, and throwing in imaginative improvisations by guitarist Eddie Hazel and keyboardist Bernie Worrell, it sounds something like a combination of Jimi Hendrix, James Brown, and Sun Ra. The 14-minute "Maggot Brain" verges on prog rock/psychedelia (in the good sense), with its almost mystical guitar lines; earthier pleasures are offered with cuts like "I Call My Baby Pussycat" (two versions)…

John Mayall’s The First Generation 1965-1974 is an enormous 35CD box set that documents the early career of ‘The Godfather of British Blues’, with remastered studio albums, unreleased BBC recordings, previously unheard live gigs and more.Featuring Eric Clapton, Peter Green, Mick Taylor, Harvey Mandel, Blue Mitchell, Jon Mark and many more outstanding musicians, the 35 discs in this mammoth package include three CD singles and eight previously unreleased discs, alongside newly remastered versions of the original Decca & Polydor albums.
For a short but compelling time in the ’60s and ’70s, John Mayall recognised raw talent, took it in, nurtured it, and everyone thrived and benefitted as a result. Many of the best musicians of the period passed through the ranks of John Mayall’s Bluesbreakers. All are on show here in this set with an abundance of musical highlights.
The unreleased concerts include Windsor 1967, Gothenburg 1968, Berlin 1969 and San Francisco 1970 and the 28 unreleased BBC tracks feature none other than Eric Clapton, Peter Green and Mick Taylor!

Sony Music Presents Country 100 album 100 original hits and the original artists genre Country.

Abkco's 2005 compilation The Best of ? & the Mysterians: Cameo Parkway 1966-1967 is the first official CD release of the Michigan garage rocker's classic Cameo Parkway recordings, but for hardcore garage rock collectors, it might look a little bit similar to a 1995 unofficial release called Original Recordings. The discs not only share 25 tracks but they're presented in the same sequencing. Then again, that shouldn't be a surprise since both discs contain the entirety of the quintet's two full-length LPs – the 1966 96 Tears and its 1967 follow-up Action – plus the "Do Something to Me"/"Love Me Baby (Cherry July)" single. The '95 release contains five tracks that didn't make it to this release, but this has two previously unreleased versions of "Midnight Hour" and "96 Tears," neither of which were as a good as the released versions (the alternate "96 Tears" is surprisingly limp, actually).

Since Crazy Horse first came to public attention as the backing band for Neil Young in concert and on his albums Everybody Knows This Is Nowhere and After the Gold Rush, it makes sense to expect that the band on its own would play something similar to the hard guitar rock and country-rock heard on those albums, albeit without Young's distinctively quirky singing and songwriting, and that is what one hears to a large extent on the debut album Crazy Horse. (Although this is their first recording under that name, core members Danny Whitten, Billy Talbot, and Ralph Molina have appeared previously on record as part of the doo wop group Danny & the Memories and the rock band the Rockets.) But there is more going on than that. Also joining in, as singers and songwriters as well as sidemen, are veteran arranger/producer Jack Nitzsche and guitarist Nils Lofgren, while Ry Cooder adds slide guitar to a number of tracks. The result is a varied group of songs that range in style from rock and country to blues and folk.

As compilations go this is up there with the best. 28 tracks of the Beach Boys at the top of their form (or close to the top, anyway). And at the price this is great value. It's easy to forget just how important the Beach Boys were to the progression of popular music in the 1960s. Brian Wilson used to watch what the Beatles were doing and try to match them on the artistic level. The Beach Boys 'Pet Sounds' was born of this rivalry and Paul McCartney regarded it as one of the greatest popular-music albums ever made. It spurred the Beatles to complete 'Revolver' and then make 'Sgt Pepper'. Brian Wilson was the Beach Boys' creative genius and when he broke down they lost their leadership position. However they left a huge repertoire of major hits, many of which are captured on this compilation. Some of the most finely crafted pop-music recordings ever made are here. Pete Doggett has written a paragraph in the accompanying booklet giving a little background to each of the tracks, which makes for interesting reading.

Though there are still some traces of the confessionals that underpinned Beautiful Loser through Stranger in Town, Against the Wind finds Bob Seger turning toward craft. Perhaps he had to, since Against the Wind arrived after three blockbuster albums and never-ending tours…

London's Stray followed up an eclectic eponymous debut with more of the same on their 1971 sophomore effort, "Suicide", which of course was just dandy since "more of the same" on this occasion essentially entailed another imaginative melding of different musical genres under the broad, forgiving definition afforded by the progressive rock tag. As to the album's rather negative title, it didn't foreshadow a radical shift toward the quartet's pre-existing heavy rock tendencies (actually, more keyboards were the hot novelty here) so much as a reflection of these songs' darker overall mood when it came to their lyrics…