"RSD First" release. The US Record Store Day page for this release states that it was released in a quantity of 2,000 copies.

The Beat Goes On is the second album by the American psychedelic rock band Vanilla Fudge, released in early 1968. The album doesn't contain any real "songs", but rather a sound collage featuring many different elements: the voices of world leaders past and present, the band reciting pre-written mantras and reflections, and excerpts of songs (done "Vanilla Fudge style") by The Beatles and Sonny Bono. While not as successful as their debut album, The Beat Goes On was a moderate hit despite the band's reservations, peaking at #17 on the Billboard album charts in March 1968.

Crawling Up A Hill is a fascinating document of a genre that, though relatively short-lived, would have a seismic influence on the subsequent development of rock music.

Wow - they don't make 'em like this anymore. A semi-legitimate compilation at best and mastered from vinyl, Hippie Goddesses is a collection of psych-pop tunes from the late '60s and early '70s, all fronted by women. The women's liberation movement and the sexual revolution were in full swing, and this collection is sort of a distillation of those newfound attitudes. Of course, attitudes toward women have undergone many changes since that time, and most of these tunes are dated to the point that they would probably horrify any self-respecting riot grrrl at the end of the 20th century. That's a big part of the reason why this is such a great collection.

Originally surfacing on Duncan Brooker’s indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and ‘diggers’ to rediscover lost music from Africa made during the ‘60s and ‘70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. This compilation paved the way for Strut's brilliant Nigeria 70 compilation as well as labels like Soundway and Analog Africa! Out of print for over 8 years, the album has been reissued on Strut in its original form with an extra bonus track, a dynamite unreleased psychedelic cut by Kenya’s Ishmael Jingo.

From his 1966 recording of Hank Williams’ “I’m So Lonesome I Could Cry” through his 1972 double-sided hit single “That’s What Friends Are For”/Happier Than the Morning Sun,” B.J. Thomas enjoyed a string of hits rivaled by few artists of the era, and the fact that he did it for an independent label, Scepter, makes his achievement even more impressive. Various compilations of B.J.’s Scepter sides have come and gone, but never one quite like this: this double-CD set includes the A and B-side of EVERY SINGLE B.J. cut for the label (minus two duplicate B-sides), 46 tracks in all including all 19 hits he scored for the label. And don’t forget, with all those B-sides, you’re getting a bunch of rare, non-LP single sides (11 of ‘em, to be exact). Add notes by Mike Ragogna featuring fresh quotes from the artist and photos and you’ve got the most comprehensive B.J. Thomas compilation ever released!

In the first half of the 1960s, Colpix and Dimension were record-label offshoots of Columbia Pictures; Colpix tended toward teen idols, while Dimension was mainly an outlet for the compositions of the Gerry Goffin/Carole King songwriting team. This 40-song double CD includes all the major hits on the labels by the Marcels, James Darren, Shelley Fabares, Paul Petersen, Little Eva, the Cookies, and Carole King herself, as well as quite a few rarities. Although the compilers have done a thorough job, the jumble of disparate styles – sappy teen-idol pop, rhythm and blues, girl groups, soul, even a garage band – makes for tough end-to-end listening. Several of the sides by Darren and Petersen are unbearably cloying; the ones by Fabares, Teddy Randazzo, and Sandy Stewart are barely any better. The hits by Little Eva and the Cookies, on the other hand, are great dynamic girl-group performances. And some of the rarities are pretty cool – Carole King's odd, almost folk-rockish flop single "He's a Bad Boy," Earl-Jean's original version of "I'm Into Something Good" (covered for a hit by Herman's Hermits), the Girlfriends' "My One and Only, Jimmy Boy" (the best Wall of Sound girl-group record not produced by Phil Spector), the little-anthologized Top Ten soul hit "Hey Girl" by Freddie Scott, rare sides by Lou Christie and Duane Eddy, a silly Beatle parody by Sonny Curtis, and extremely rare (if not terribly good) singles by David Jones and Michael Nesmith before they joined the Monkees.

Catherine Spaak (3 April 1945 – 17 April 2022) was a French-Italian actress, singer, model, and media personality. A member of the Spaak family, she was known as an iconic "It girl" in Italy during the 1960s, becoming a star of commedia all'italiana films, before later becoming prominent as a talk show host and media personality. In the 1960s and 70s, Spaak also developed a parallel singing career, recording a number of albums. As a singer, she was regarded by some as the Italian equivalent of French chanteuse Françoise Hardy. Spaak recorded some of Hardy's songs in 1963 for the DET label under the direction of Ezio Leoni, who had previously worked with Hardy.

Gordon Lightfoot in one of his early US appearances, on 10/5/1968 at the Fillmore West in San Francisco. Lightfoot opened for Cold Blood & Canned Heat in this Bill Graham production, he was not well known outside of Canada at this time. Gordon Lightfoot had released his 4th studio album, Did She Mention My Name, earlier that year, and would release Back Here On Earth, a month later. Recorded and broadcast by KSAN 95 FM at a later date.

The Christmas easy-listening album by Paul Mauriat and His Orchestra, originally released in 1967, with bonus tracks released in 1971, 1977 and 1978 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Get ready to be transported to a world of cinematic wonder with the Vintage Collection: Best of Movies soundtrack album! This meticulously curated collection of iconic film scores and themes is a must-listen for any movie enthusiast.

7 CDs will take listeners into the studio with Louis Armstrong in a way never previously imaginable
Over three hours of bonus material, including unissued takes, rehearsals and even studio discussions. Since George Avakian relied so much on editing and splicing, his albums contained very few complete, unedited takes.
Superior sound utilizing the original RCA Victor metal parts, and test pressings of the pre-tape material and for the Columbia sessions Mosaic Records had complete access to all the reel-to-reel tapes.

This recording features the legendary trio of pianist Paul Bley, bassist Steve Swallow, and drummer Barry Altschul from near the beginning of Bley's most innovative and creatively fertile period. For ESP-Disk's 50th Anniversary, they have remastered from the original tape.

In 1960, celebrated jazz critic Nat Hentoff called Charles Mingus to record a number of sessions for the new Candid label on which Mingus was given absolute freedom. All of the music from these sessions is on this set. Taped during the apex of Mingus’ creativity, they showcase such stars as Eric Dolphy, Roy Eldridge, Booker Ervin, Jimmy Knepper, Charles McPherson, Paul Bley, Tommy Flanagan, Jo Jones, and Dannie Richmond. A session featuring Booker Little, Benny Bailey, Eric Dolphy, and Max Roach (but not Mingus), has been added here as a bonus.

Limited six CD set. Colosseum came together in 1968, the brainchild of virtuoso drummer Jon Hiseman and saxophonist Dick Heckstall-Smith (who had played together in the Graham Bond Organisation and John Mayall's Bluesbreakers). Teaming with bass guitarist Tony Reeves and keyboard player Dave Greenslade, the line-up of the band was completed with the recruitment of guitarist and vocalist James Litherland. Their debut album, 'Those About to Die Salute You' was was one of the first successful attempts to fuse jazz, blues and rock reaching number 15 on the UK album chart. Their second album, 'Valentyne Suite', was the first release on the Progressive Vertigo imprint and spent nine weeks on the UK album chart, peaking at number 15. The album's focal point was the three part 'Valentyne Suite' which earned the band critical praise and is now regarded as a milestone in early Progressive Rock. In the USA and Canada the album appeared in different form in 1970 as 'The Grass is Greener' remixed and featuring new member Dave "Clem" Clempson (guitar, vocals), who replaced James Litherland in the group. The album also featured a series of songs unreleased in the UK. Released on the Vertigo in December 1970, 'Daughter of Time' heralded another line-up change within the group, featuring new recruits Mark Clarke (bass) and the distinctive lead vocalist Chris Farlowe. The album spent five weeks in UK Top 30. A series of UK concerts were recorded in 1971 and were issued in June of that year as the double LP 'Colosseum Live', a UK Top 20 hit. Colosseum dis-banded in October 1971, but were to reform in 1994. This Esoteric Recordings release also features studio bonus tracks and an additional CD of further live recordings from 1971.