Lynn Anderson – I Never Promised You A Rose garden

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Joe South, who wrote Deep Purple track Hush and played on Bob Dylan’s Blonde on Blonde album, has died at the age of 72. South penned a number of well-known tracks in the 1960s including Down in the Boondocks and I Never Promised You a Rose Garden. He won a Grammy for his own performance of Games People Play. He suffered from addiction issues in the 1970s, stemming from the suicide of his brother, then attended rehab in the mid-80s. As a session musician he worked with Dylan , Aretha Franklin and Simon and Garfunkel, among others. South, real name Joseph Souter, passed away from natural causes related to a recent heart attack.
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13th Floor Elevators – Roll Over Beethoven

roky

The 13th Floor Elevators were one of the pioneering bands of psychedelic music; many have cited them as the first true psychedelic rock band, and if they weren’t, they certainly predated most of the San Francisco bands that gave the sound a global audience. The Elevators played a bracing fusion of garage rock and genre-defying musical exploration powered by Roky Erickson’s feral vocals and rhythm guitar, Stacy Sutherland’s concise but agile lead guitar work, and Tommy Hall’s amplified jug playing, the latter of which gave them a sound unlike any other in rock.
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Reigning Sound – Medication Blues #1

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The Reigning Sound was born in Memphis, TN. Its daddy was a Flash & The Memphis Casuals 45 and its mother a Barbara Pittman single. Life was not easy for this musical what-not. Kids shunned it for its rock`n’roll sensibility and obvious lack of polished shtick. In true stepchild fashion though, the band continued to develop a unique sound all it’s own that didn’t really focus on any of the preconceived genres. Within weeks they found their audience and were shakin’ down the house at clubs all over town. “Hail, Hail Rock ‘n’ Roll and fuck your prefab garage” appears to be some sort of battle cry for them. This from their leader Greg Cartwright whose previous bands The Oblivians & Compulsive Gamblers were so closely linked to the “Garage Punk” stereotype of ten years ago. “We were never really like most of the other bands” says Greg.” I covered R&B, gospel or country songs with absolutely no regard for any 60’s aesthetic or sound, I just enjoyed finding an obscure song and breathing some new life into it.

Rachel Brooke – Mean Kind of Blues

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Rachel Brooke’s Down In The Barnyard was one of my most-anticipated releases for 2011. Then again 2011, especially early, has been full of anticipated releases that have been either disappointments in one way or another, or difficult to wholly appreciate because they’re full of previously-released material. Luckily, Down In The Barnyard delivers.
I love this album. I think it’s superb. I am astounded by how wholly original the thing is, how successful the theme and vision were implemented and seen through, that it brought out Rachel’s subtly brilliant songwriting, and most importantly, did not suffocate her most important asset: her timeless, flawless voice.
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The Bootleggers – White Light / White Heat

Lawless

“White Light/White Heat” is a song by American avant-garde rock band The Velvet Underground, the title track on their second album, released in 1968. It is a fast, relentlessly aggressive start to the album, similar to the punk rock genre it would ultimately influence.
The song’s vocals are performed primarily by Lou Reed, with John Cale and Sterling Morrison performing backing vocals. The song, much like “I’m Waiting for the Man”, features pounding rock-and-roll Barrelhouse-style piano. The song is about the sensations produced by intravenous injection of methamphetamine and features a heavily distorted electric bass outro played by John Cale over a single chord. This bass solo purportedly mimics the throbbing, ear-ringing effects experienced during the methamphetamine “rush.”
“White Light/White Heat” was released in 1968 as a single with the B-side “Here She Comes Now”. “White Light/White Heat” was also a staple of the Velvet Underground’s live performances from 1967 on. The tune appears on numerous live bootleg albums, and the nearly nine minute version included on the group’s posthumous 1969 Live double LP is one of the album’s centerpieces.
Reed also recorded a live version of the song in 1974, which is featured on his Rock ‘n’ Roll Animal and Greatest Hits albums.
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