Manny Charlton Band - Stonkin' (2000)

The Manny Charlton Band is a band put together by Nazareth guitarist, Manny Charlton. The band includes singer Robin DeLorenzo on lead vocals, Tim Bogert of Vanilla Fudge, and drummer Walfredo Reyes Jr. They scheduled an album and tour for summer of 2012. The album is titled Hellacious and is being produced by Gary Bryant McGrath (GB Records). The album includes some special guests such as Steven Adler of Guns N' Roses and Vivian Campbell of Def Leppard.

Hellacious is the name of the Manny Charlton Band's 2012 album featuring the lineup named above. It has a set of original songs written by both Charlton and DeLorenzo and some remakes of Nazareth tunes. On July 1, 2012, producer and manager Gary McGrath announced the album's physical US release for August 14, 2012, and the album was released on March 15, 2013 in online stores.

The Zombies - Greatest Hits (2002)

The Zombies are a British pop group, first active in the 1960s. Following The Beatles in 1964 as part of "The British Invasion" of the USA, they were the second UK group to score an American #1 hit. The Zombies were uniquely different, with a subtler style, often jazzier and more inventive chord structures, the prominent keyboards of Rod Argent, and the distinctive voice of Colin Blunstone. She's Not There and Tell Her No were quick hits, but despite continually stunning musical output that has influenced other artists ever since, another hit record was more than four years away, after they'd broken up! Only in recent years has the richness of The Zombies' entire catalog been discovered by a whole new generation of fans.

This collection, remastered for SACD, covers the Zombies' short and tasteful career, spanning their 1964-1967 years for Decca Records, and their single album, the classic Odessey & Oracle, for Epic Records in 1968. Two versions of "She's Not There" are included here, one the so-called "stereo underdub" version that lacks the snappy drum overdub that gives the superior single version its crisp, edgy feel. There are also two mixes of "Time of the Season," the familiar version and an alternate mix that features a little more organ in the verse sections.

~ Steve Leggett, All Music

The Byrds - (Untitled) (Unissued) (2000)

This double album was nearly titled Phoenix to symbolize The Byrds' rebirth after they settled into a solid post–Gram Parsons lineup. It was 1970, and bandleader Roger McGuinn was as intuitive as ever while longtime Byrds producer Terry Melcher was healing from Charlie Manson panic (The Manson family had allegedly targeted Melcher for murder). This album beautifully captures the failing hippie promise and the seemingly unending Vietnam War. With one LP recorded at two New York City shows (featuring heavier renditions of earlier hits, including “Mr. Tambourine Man” and a 16-minute “Eight Miles High”) and a studio LP with some songs cowritten by theater great Jacques Levy (for an ill-fated country-rock musical), Untitled contains some of the finest Byrds work on record. (The gorgeous 12-stringer “Chestnut Mare” might be McGuinn’s finest five minutes.) The set includes a few other left-fielders too, including a pair of winning Kim Fowley cowrites (“You All Look Alike,” “Hungry Planet”), a Little Feat cover (the inescapably sad “Truck Stop Girl”), and a classic Lomax Bros. ditty detailing the buttonholed evils of cocaine (“Take a Whiff on Me”).

The Byrds - Sweetheart of the Rodeo (1968)

Joe Bonamassa - Transilvania - Milano (2007)

Guitar mastermind Joe Bonamassa, a young player with the childhood dream of playing music similar to legends like Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, was 22 when he inked a deal with Epic. Hailing from Utica, New York, Bonamassa could play the blues before he could drive a car. He first heard Stevie Ray Vaughan at age four and was instantly taken by Vaughan's high-powered playing. At age eight, he opened for B.B. King, and at age 12, he was playing regularly around upstate New York. It was soon thereafter that Bonamassa hooked up with the band Bloodline, which featured other musicians' sons: Waylon Krieger (Robby Krieger's son), Erin Davis (Miles Davis' drummer kid), and Berry Oakley, Jr. (son of the Allman Brothers bassist). Bloodline released a self-titled album, but Bonamassa wanted to move on. In summer 2000 he guested for Roger McGuinn on Jethro Tull's summer tour, later releasing his debut solo album, A New Day Yesterday. Produced by longtime fan Tom Dowd, the album marked a move toward a more organic and rock-sounding direction. He put together a power trio with drummer Kenny Kramme and bassist Eric Czar and hit the road to support the album.

Upon returning from the road, he hooked up with Dowd to record the muscular and sweeping studio disc So, It's Like That and released a document of the tour, A New Day Yesterday Live. The following year, Bonamassa put out Blues Deluxe, featuring nine cover versions of blues classics alongside three originals. The muscular You & Me appeared in 2006, followed by the more acoustic-tinged Sloe Gin in 2007. A year later, Bonamassa released the two-disc live album Live from Nowhere in Particular, followed in 2009 by The Ballad of John Henry. Late in 2009 he released the DVD Live from the Royal Albert Hall with guest spots from Eric Clapton and Paul Jones. In 2010, the guitarist released his first disc for the Premier Artists label, Black Rock, featuring a guest appearance by B.B. King. It was followed by the debut album from Black Country Communion, a blues-rock supergroup that put him in the company of bassist/vocalist Glenn Hughes, drummer Jason Bonham, and keyboardist Derek Sherinian. Bonamassa, ever the overachiever, released his earthy Dust Bowl in March of 2011, followed by Black Country Communion's 2 in June and by his unique collaboration with vocalist Beth Hart on a searing collection of soul covers entitled Don't Explain in September.

In May of 2012, Bonamassa released Driving Towards the Daylight. The album reunited the guitarist with producer Kevin Shirley, who brought in Aerosmith's Brad Whitford to play rhythm guitar on the 11 tracks. Driving Towards the Daylight was a significant blues hit -- it topped the Billboard blues chart and debuted at number two on the overall British chart -- and Bonamassa didn't slow down. Early in 2013, he released a live CD/DVD set called An Acoustic Evening at the Vienna Opera House and prepared SeeSaw, a studio album of classic covers with vocalist Beth Hart. SeeSaw was released later in 2013, and Bonamassa and Hart followed it up with Live in Amsterdam in March of 2014. After the release of SeeSaw, Bonamassa returned to the studio once again with producer Shirley to record what would be his 11th solo studio album. As a thank-you to his fans for their continued support, Bonamassa announced that the album would be his first release to feature entirely original material. Different Shades of Blue appeared in the fall of 2014, featuring 11 new songs co-written by Bonamassa with various veteran Nashville songwriters. Another busy year followed in 2015, with Bonamassa playing on Mahalia Barnes' Betty Davis tribute Ooh Yea! The Betty Davis Songbook and releasing two separate live collections: Muddy Wolf at Red Rocks in the spring and Live at Radio City Music Hall in the fall.

Returning to Nashville, he recorded his studio follow-up to Different Shades of Blue, working with many of the same songwriters who'd appeared on that 2014 album. Blues of Desperation appeared in March 2016. Another live recording, Live at the Greek Theatre, which celebrated the work of blues legends such as B.B. King, Freddie King, and Albert King, followed that summer. At the beginning of that year, Bonamassa headed out on an all-acoustic tour that saw him performing some of his best-known material in a new way. The tour included two nights at the legendary Carnegie Hall in New York that were filmed and recorded for prosperity. The performances saw him backed by a full band alongside the likes of guest musicians Chinese cellist and erhuist Tina Guo and Egyptian percussionist and composer Hossam Ramzy. The recording, Live at Carnegie Hall: An Acoustic Evening, was released in mid-2017. Bonamassa re-teamed with Beth Hart for Black Coffee, an album of covers that was released in January 2018. Also that year, he delivered British Blues Explosion, a live album recorded during a five-show run at the Royal Navy College in London, in which he performed covers from his top three British influences: Eric Clapton, Jeff Beck, and Jimmy Page.

Paul Revere and The Raiders - A Christmas Past And Present (1967)

A Christmas Present…and Past, by Paul Revere & the Raiders featuring Mark Lindsay, was one of the stranger seasonal albums ever made, which was perhaps appropriate given its release in the midst of the psychedelic '60s/Vietnam War era. Lindsay and producer/co-songwriter Terry Melcher concocted a comic, satirical take on Christmas that included sendups of President Lyndon Johnson, references to current social problems, and "A Heavy Christmas Message," which plaintively asked, "Who took the Christ out of Christmas?" Amazingly, Columbia Records reissued this odd artifact on CD in the 1990s as though it were just another collection of holiday songs. Listeners who buy it unaware are in for a surprise.

Billy Squier - Hear and Now (1989)

Hear & Now is a rock album by Billy Squier that was released on June 14, 1989. Like his previous album, 1986's Enough Is Enough, it sold roughly 300,000 US copies. The disc's single, "Don't Say You Love Me”, reached #4 on Billboard's Mainstream Rock Tracks and #58 on the Billboard Hot 100.

Bachman -Turner Overdrive - Not Fragile (1974)

After gaining some recognition from the success of the band's previous album, Bachman-Turner Overdrive got around to recording Not Fragile. Not only had one of the three Bachman brothers (Tim, the rhythm guitarist) left the band to BTO's advantage, but Randy Bachman and C.F. Turner had clearly grown musically. To the album's benefit, most of the material on Not Fragile are the band's much-liked rock anthems, ranging from the hyper-distorted title track, through the famous but far more timid song "You Ain't Seen Nothing Yet." Indeed, for hard rock fanatics, it doesn't come much better than on Not Fragile. Randy's electrifying lead guitar is here more raucous than ever before, as are his rowdy vocals (particularly noticeable on the predictable, but fun "Sledgehammer"). The man steals the show on Not Fragile through his extensive and often astounding guitar solos. Generally, though, Bachman-Turner Overdrive are at their prime as a whole, both in songwriting and playing terms. As regards the mixing, it's hard to find fault with this release. The drums are clear but not so prominent that they dominate the recording, while the guitars, along with the bass, are kept rigidly in their place. Not Fragile is one of the finest arena rock albums of the era, featuring all the hallmarks of what makes a classic release in the genre. Randy's impressive guitar work and typically boisterous vocals complement the overall framework of the album superbly, as do the crunchy rhythm guitars. This release will astound fans of the genre and band, while those thoroughly against stadium rock may find something to convert their views.

Abraxas Pool - Abraxas Pool (1997)

In 1997, he performed on Abraxas Pool with other members of the early 1970s iteration of Santana, including Gregg Rolie, Neal Schon, Michael Carabello and Michael Shrieve. Previously, he released an eponymous solo album on Columbia/CBS Records in 1974. La Gigantona, a 1976 collaboration with Nicaraguan singer-songwriter and childhood friend Alfonso Noel Lovo, was reissued by Numero Group in 2012.

Whitesnake - Live In ’84 - Back To The Bone (1984)

WHITESNAKE fans worldwide now have something to be excited about! To celebrate the 30th anniversary of WHITESNAKE's multi-platinum "Slide It In" album, Frontiers Music Srl, the Italian-based label, will release "Live In '84 - Back To The Bone", a complete celebration of the group's awe-inspiring lineup during what many feel was the incredible beginning of what singer David Coverdale called his desire to make WHITESNAKE more "electrifying" on record and on stage.