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And now the trio have released their self titled debut album ‘Sir Rosevelt’.“Sir Rosevelt is a new chapter in addition to Zac Brown Band," Brown said in a statement. Get ready.” Brown further explained, “To me, that’s what makes a real artist -- it’s natural to want to create music that’s similar to what we like to listen to. Among the many rare tracks originally issued as singles, this set presents the complete contents of the original LPs I Like Men!

Rather, Sir Rosevelt serves as Brown's progression as an artist as he moves more into a mix of pop, dance and acoustics -- an exploration that began with Zac Brown Band's fourth major-label studio album ‘Jekyll Hyde’ in 2015. In addition, this set contains a wonderful 1958 all-star small group session on which Lee is backed by Carter on alto sax along with such masters as Jack Sheldon, Pete Candoli, Frank Rosolino, Jimmy Rowles, and Barney Kessel.

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One of his best loved LPs, Howlin’ Wolf is widely recognized as one of the all-time cornerstones of Chicago Blues (it was also named the third greatest guitar album of all time by Mojo magazine in 2004). Harry Edison had recorded with Holiday on just one session during the thirties (on December 14, 1939, which also featured Lester Young and Buck Clayton). The name Serpent Power originally belonged to Skelly's backing band during his solo tour; they chose to adopt the name for this particular project.

The first side features iconic singles like “The Red Rooster”, and “Wang-Dang- Doodle”. However, he would back her on three sessions during the singer’s time with Granz, in 19 (issued on the albums Lady Sings the Blues , Music for Torching and Velvet Moods ). Their self-titled debut saw release in May 2015, on the Skelly family label Skeleton Key Records.

This collector’s edition contains Howlin’ Wolf ’s eponymous second album for Chess Records, Howlin’ Wolf (released in January 1962). Their paths would then diverge, and with the exception of a single 1944 radio broadcast in which both were captured on two tunes (“Fine and Mellow” and “All of Me”), no further collaborations between Billie and Ben exist until the first of the many sessions included on this set, which took place on August 14, 1956. 12 JIM 13 BILL 14 WHEN A WOMAN LOVES A MAN 15 GOOD FOR NOTHIN’ JOE 16 STORMY WEATHER (*)17 I CAN'T GIVE YOU ANYTHING BUT LOVE (*)18 HAPPINESS IS A THING CALLED JOE (*)19 TALKIN’ TO MYSELF ABOUT YOU (*)20 THEM THERE EYES (*)21 BABY DON'T BE MAD AT ME (*)22 EVERYBODY LOVES SOMEBODY (*)23 FOOLIN' NOBODY BUT ME (*)24 JOHNNY GUITAR (*)25 AUTUMN IN ROME (*)26 IT MUST BE SO (*)27 STRAIGHT AHEAD (*)28 LET ME GO, LOVER!

The long play, which has come to be known as “The Rockin’ Chair Album”, was originally released as a collection of singles (totalling nine tracks) taped and released individually between 19 (with the exception of the songs “Who’s Been Talkin’” and “Tell Me”, cut in 1957). With the exception of the two December 1957 versions of “Fine and Mellow” recorded for the TV broadcast “The Sound of Jazz” (one is a studio recording and the other the actual live performance during the show) – in which Billie was also reunited with Lester Young – all of Webster and Holiday’s late collaborations are limited to their 1956-57 recordings for Norman Granz, some of which were issued on the album All or Nothing at All . (*)29 HOW BITTER, MY SWEET (*) ‘Electric Looneyland’ is the new album from the Liverpool-based psychedelic band Serpent Power.

The album also contained three previously unreleased songs, recorded between May and December 1961. 1956- 57 proved a busy period for Billie Holiday, who after overcoming many breakdowns had just published her memoirs, titled Lady Sings the Blues (in collaboration with William Dufty). The band is a collaboration between Ian Skelly (the Coral) and Paul Molloy (the Zutons), whose previous groups were widely recognized in the U. around the turn of the century, notably for their catchy combination of pop and psychedelia.

The music presented here is a testament to Wolf’s unearthly, mighty force. She performed a concert at Carnegie Hall on December 10, 1956 to promote her book. The pair met in 2014 at one of Skelly's after-parties in Liverpool, where they quickly discovered they had a musical affinity; based on that encounter they hurriedly booked themselves into Castle Grayskull Studios in Merseyside, and began working on their debut album.

Stan Getz was on tour in Brazil in 1961 when he first heard ‘Bossa Nova’ the new regional rhythm which was taking the country by storm. It also proved to be one of a handful of albums that helped to kick-start and underpin a worldwide resurgence for adventurous, symphonic rock music that is still gaining momentum over two decades later.

The end-result was a solo album, “The Flower King”, which struck such a resounding chord with a small but growing number of prog fans around the planet.

Dreams are an essential part of the musical world and despite having been firmly involved in Sweden’s highly fertile prog rock scene in the ‘70s, Roine Stolt (Kaipa, The Tangent, Transatlantic) was still harbouring dreams of maximum creative fulfilment when he arrived in the ‘90s, guitar in hand and a head full of sublime musical ideas.

The set will also include a new interview with band leader Roine Stolt by journalist Dom Lawson.

‘Jazz Samba Encore’, recorded in early 1963 saw him return to a small group but this time utilised the talents of Brazilian musicians Luiz Bonfa and Antonio Carlos Jobim. S first new studio album in 10 years and is replete with a heavy list of who’s who of hip-hops finest featured on the track listings. From the nascent splendour of 1995’s “Back In The World Of Adventures” onwards, Stolt and his merry prog rock men have been an unwavering force for artistic good: symphonic rock warriors waging a war against mindless trends and the dark forces of boring music.

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