From the catalog: Contents include: "Sweet Little Sixteen," "Memphis," "School Day," "Maybellene," "Back in the U.S.A.," "Around and Around," "Brown Eyed Handsome Man," "Johnny B. Goode," "Rock and Roll Music," "Roll over, Beethoven," "Thirty Days," "Carol," "Reelin' and Rockin'," "Let It Rock," "Club Nitty Gritty."
From Amazon.com: "Eric Clapton, who'd skipped out on the Yardbirds to explore his deep-blues muse, was given every opportunity to shine on flash-guitar numbers like Otis Rush's 'All Your Love' and Freddy King's 'Hideaway.' And Clapton's easy-rolling cover of Robert Johnson's 'Ramblin' on My Mind' marked his debut as a lead vocalist. John Mayall may have been overshadowed by his blazing attaché, but he and the Hughie Flint/John McVie rhythm section hold their own throughout..." - Steve Stolder
From CDUniverse.com: "From 'Tired of Your Jive' to 'I Know What You're Puttin' Down' to the unequivocal "Baby Get Lost," B.B. lets his audience in on the ups and downs of romance in no uncertain terms, both through his impassioned vocals and characteristically stinging guitar. The effect is both cathartic and awe-inspiring."
From the CD liner notes: "'The best way to accept some of the things that we do,' advised Jimi, 'if it's all that important, is to take every song for what it has to offer itself, instead of trying to put it all in one big thing, because our next LP is going to be completely different and, you know, strange...'"
From Amazon.com: "1984 was a successful record not only because it contained solid, catchy hard rock, but also because it incorporated synthesizers into the mix, the first metal album to do so to any serious extent....Songs like 'Jump' contain a pop element that gave 1984 mainstream appeal, and David Lee Roth turned the frontman role into an art form on songs such as 'Panama,' 'Hot for Teacher,' 'Drop Dead Legs,' and 'I'll Wait.' To a large extent, it was 1984 that set the standard for '80s pop metal..."
From the CD liner notes: "What...was the secret of [Segovia's] unparalleled success? Above all it was his self-imposed tasks - of raising the musical status of the guitar and of elevating it from the salon to concert halls throughout the world, exceeding the apparent ambitions of his contemporaries. To this 'crusade' he brought dazzling technical facility, passionate musicality, an imposing personality and, indispensably, the stamina that sustained him through almost 78 years of concert-giving; in the sum total of these things he far outstripped his less 'visionary' contemporaries."
From CDUniverse.com: "Covering a time frame from 1946 to 1953, here's a nice collection of Travis' biggest hits. As revered as Merle is as an innovative and influential guitarist, this set principally highlights his best-known tunes as a singer/songwriter..." - Cub Koda
From Amazon.com: "It's a pleasing and swinging potpourri of Latin-tinged numbers and ballads such as 'Weaver of Dreams,' 'This Time the Dream's on Me,' and 'Takeela' (read: Tequila). Burrell's nifty 'Fugue 'n the Blues' is a Bach-meets-bop excursion worthy of the Modern Jazz Quartet. Tracks 8 and 9 are from Kenny Burrell Volume Two, and feature the guitarist's lightning-licked take on 'Get Happy' and a succulent solo rendition of George Gershwin's 'But Not for Me.'" - Eugene Holley, Jr.
From the publisher: It was Disraeli Gears that turned Cream into a "supergroup." Here they pursue the psychedelic ideals of the era with total abandon (the LP cover art still stands as one of the 1960s' most striking designs), merging these ideals with their take on the blues and adorning the amalgamation with some superb pop craftsmanship. Of the eleven originals here, four--"Tales of Brave Ulysses," "SWLABR," "Strange Brew," and "Sunshine of Your Love"--earned major airplay. This, their excess-free greatest moment, does the Cream legend proud.
From the publisher: Released in 1970, Abraxas, Santana's second album, sees the band expanding its already wildly diverse Latin rock sound by adding deeper elements of blues and jazz to the sizzling mix. Abraxas is home to two more of the group's signature monster hits: the hypnotic, rhythmically hectic interpretations of Tito Puente's "Oye Como Va" and Fleetwood Mac's "Black Magic Woman."