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Diyahmoon Group

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Henry Thompson
Henry Thompson

The Best Of Eric Clapton Album Rar

This one-disc singles compilation, spanning 1968-1972, isn't quite what its title promises: The Beatles' post-"Hey Jude" records, and their early solo records, aren't on here. (It's being released alongside reissues of most of Apple's not-Beatles-or-Yoko album catalogue.) Still, they're all over it. Paul McCartney wrote the winning oompah instrumental "Thingumybob" for the Black Dyke Mills Band and "Goodbye" for Mary Hopkin, and he told Badfinger they could have his new song "Come and Get It" if they played it note-for-note like his demo. George Harrison wrote "Try Some, Buy Some" for ex-Ronette Ronnie Spector and the explosive rocker "Sour Milk Sea" for his old Liverpool pal Jackie Lomax. (The backing band on the latter includes George, Paul, Ringo Starr, and Eric Clapton; recorded during the White Album sessions, it would've been one of the best songs on that record if George had kept it for himself.)

The Best Of Eric Clapton Album Rar

What makes Come and Get It really fun, though, is the same thing that made the Beatles' own Apple releases particularly entertaining: their willingness to go to bat for totally uncommercial ideas. George managed to get the Radha Krishna Temple on "Top of the Pops", released a single by the Cajun band the Sundown Playboys just because he liked it, and made a nifty album with then-forgotten American soul singer Doris Troy (represented here by the single "Ain't That Cute"). Paul played bass on the debut single by then-unknown folk singer James Taylor. John Lennon (and Yoko Ono) wrote a benefit single for the underground newspaper Oz, "God Save Us", released by Bill Elliot and the Elastic Oz Band (aka John, Ringo, and Klaus Voorman).

Veteran session drummer Jamie Oldaker was born and raised in Tulsa, OK, and has a pronounced soft spot for the country, blues, and roots rock sounds of his home state. With that in mind, Oldaker assembled the album Mad Dogs & Okies as a tribute to Oklahoma's musical heritage (with an accompanying movie in the works), and thankfully he had the good sense to bring in some of his good friends and jamming buddies from over 30 years in the music business to help take the leads rather than doing it himself. Mad Dogs & Okies would be a cause for celebration if only for the fact it features an actual new song written and performed by the brilliant but reclusive Texas singer and songwriter Willis Alan Ramsey, and "Sympathy for a Train" is a slice of late-night blues that sounds like it could have been an outtake from Ramsey's superb 1972 album. But that's not all this album has going for it -- Taj Mahal shines on his two cuts (including a rollicking version of "Stagger Lee"), Vince Gill and Eric Clapton are in laid-back but emphatic form on numbers that outclass their most recent albums, J.J. Cale and Tony Joe White serve their legends well, and Ray Benson and Bonnie Bramlett sound like they're having a whole lot of fun on their selections. Mad Dogs & Okies sounds like an album that was made for the enjoyment of the musicians involved more than anything else (and Oldaker is essentially just a sideman on his own record), but the fun is infectious, and the cast lets loose with some fine sounds along the way -- it's a good guess that these sessions were a pretty great party, and Oldaker's musical snapshots of the proceedings are the next best thing to being there.

In a lifetime that spanned over 80 years and a recording career that spanned nearly 50 of those years, the great New Orleans blueman Champion Jack Dupree made a lot of records. On his best form Jack had few equals, whether doing barrelhouse blues and ragtime, or just trying to keep abreast of current trends in R&B. Regular trips to the UK during the late 50s and early 1960s seemed to galvanize Jack into producing some of the best work of his career, his albums for UK Decca proving to be especially noteworthy thanks to the production work of Decca staff producer and Dupree fan Mike Vernon and the musicians he employed to back Jack (among them John Mayall, Eric Clapton, Keef Hartley and a youngster from up Grimsby way called Tony McPhee, whom Vernon rechristened "TS").

As well as working for Decca, Vernon also ran his fledgling Purdah and Blue Horizon labels, releasing recordings that he made which had not enough commercial appeal for Decca to want to release themselves. Vernon would often instigate sessions that paired unlikely musical bedfellows in unique situations, such as longtime Howling Wolf associate Hubert Sumlin and renowned blues writer Neil Slaven in a guitar duet. While recording Dupree in his traditional surroundings, it also occurred to Mike that a session featuring just his voice and suitably sympathetic guitar accompaniment might appeal to the ever growing UK blues fanbase. Noting that Jack Dupree and Tony McPhee enjoyed a mutual empathy, he booked some time at a small studio in North London in early 1967 and let the pair run though enough largely improvised repertoire to fill a whole album, with a few extra tracks for possible singles or an EP. As good as the results were, Mike could find no takers for the project. For many years, the tape of what was recorded on that spring day in 1967 sat on a shelf in its producer's tape library. Mike had pulled two tracks for a limited edition, contemporaneous Blue Horizon 45 that those of you who own one of the 99 pressed copies probably still treasure. When he was compiling the Blue Horizon boxed set for Sony/Columbia around a decade ago, Mike slipped a further tantalizing track onto one of the CDs. But for the world at large, the complete Dupree & McPhee session has been little more than a listing in Blues Records for the best part of nearly four decades, and a hugely interesting musical experiment that virtually no one, outside of those who were present at the session, has ever heard until now.

Over these next two weeks leading up to her induction on April 14, four additional essential Tharpe recordings and her Decca singles, divided into five volumes, will be released. The albums include expanded editions of her pioneering 1956 album Gospel Train (not to be confused with the 1958 Decca album of the same name), expanded with five bonus tracks including the non-LP single "When The Saints Go Marching In" and two previously unreleased performances, and her riveting 1959 live concert LP The Gospel Truth, bolstered by two unreleased tracks and two non-LP singles from the era, as well as the similarly named 1962 The Gospel Truth: All New! Her Greatest Gospel Hits, featuring brand new recordings of many of her best-known songs, and 1961's Sister On Tour; the latter two were recorded for Verve. All albums, except the original Gospel Train (1956), are making their digital debut.


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