Like many black American blues and R&B artists, New Orleans singer and pianist Champion Jack Dupree found more respect and recognition in Europe than he did in his homeland, and he relocated to Europe in 1959, only rarely returning to the U.S. He cut several albums there, including the two included in this double-disc set from Beat Goes On, From New Orleans to Chicago, recorded in London in 1966, and Champion Jack Dupree and His Blues Band, tracked in the same city a year later (both were originally released on London Decca). Of the two, the latter release is the stronger (thanks in no small part to guitarist Mickey Baker), although From New Orleans is probably better known, mainly for the presence of Eric Clapton and John Mayall at the sessions…

Ray's choice of material again borrows from a wide musical palette and we are treated to fine performances of jazz originals, standard ballads, a folk tune and a recent Rock 'n Roll hit. The title tune, Lonesome Traveler, is a fitting follow-up to Gotta Travel On of the previous Cadet album. If someone can be lonesome and happy at the same time, then this condition must apply to Ray; because there's nothing lonesome sounding about the joyful groove he and his companions achieve on this track.

Guitarist T-Bone Walker is one of the links–if not THE link–between the suave, intricate jazz styles of Charlie Christian and Lonnie Johnson and the crackling electricity of Buddy Guy and Jimi Hendrix. Not only is he massively influential as a guitarist, but he was a dynamic showman (played that guitar behind his head way before Hendrix did) and his original songs have become standards ("Stormy Monday Blues"). Originally entitled HOME COOKING, this 1966 album from blues wizard T-Bone Walker, where he's accompanied by only three other musicians (with no drummer), proves the blues can be mellow without losing the sting or the zing.

This two-fer from Dutton Vocalion features a pair of out of print LPs by easy listening artist Mantovani: Mr. Music… Mantovani and More Mantovani Film Encores, originally issued in 1966 and 1959. These 24 tracks find the conductor/musician/arranger interpreting such traditional material as "Spanish Flea," "Strangers in the Night," and "When You Wish Upon a Star." This is an enjoyable reissue chosen from Mantovani's numerous London albums.

The notes for this CD ask, "What issue is more topical than the Brazilian rain forest? So what reissue would be more topical than Walter Wanderley's Rain Forest?" Politically, this may be true, but musically, this collection is anything but topical. From the first tune - the monster hit "Summer Samba," the listener is catapulted straight back to the '60s when bossa nova was new in the U.S. and everyone wanted a piece of it. Organist Wanderley made a big splash with this CD, which went platinum in two years - and it does evoke strong water images, like "poolside" and "ice skating rink." The jazzmen are underutilized, since most of the tracks are less than three minutes long and leave little room to stretch out. One exception is the pretty Ferreira/Marconi ballad "Rain," the only track where Wanderley plays piano rather than organ and which features a fine solo by Urbie Green on trombone…

The Standells made number 11 in 1966 with "Dirty Water," an archetypal garage rock hit with its Stones-ish riff, lecherous vocal, and combination of raunchy guitar and organ. While they never again reached the Top 40, they cut a number of strong, similar tunes in the 1966-1967 era that have belatedly been recognized as '60s punk classics. "Garage rock" may not have been a really accurate term for them in the first place, as the production on their best material was full and polished, with some imaginative touches of period psychedelia and pop.
This CD reissue takes off one cut (the easily found "Sometimes Good Guys Don't Wear White") and adds six bonus tracks of only mild interest, including a version of "Batman."

The band's second LP was very strong; this time, most of the tunes are originals, with the exception of a cover of "Bald Headed Lena." Joe Butler and Yanovsky are featured on some lead vocals, and the album includes two more hits, "You Didn't Have to Be So Nice" and "Didn't Want to Have to Do It."

Having released two previous albums and a soundtrack, along with a stream of singles, over the previous 12 and a half months, the Lovin' Spoonful assembled their third regular studio LP, Hums of the Lovin' Spoonful, for release around Thanksgiving 1966. It contained the group's chart-topping single from the previous June, "Summer in the City," along with September's Top Ten hit "Rain on the Roof" (curiously titled "You and Me and Rain on the Roof" on the LP)…

The Ugly Ducklings were probably the best-known Canadian garage rock group of the mid-'60s. Formed in Toronto's famed Yorkville area in 1965, the band flourished in the many coffeehouses around the Yorkville district as a Rolling Stones cover band before becoming the Ugly Ducklings and attracting the attention of the local independent Yorktown Records label. The band recorded a single, "Nothin'," which became a Canadian hit, and opened for the Rolling Stones in 1966 when the Stones played Toronto's Maple Leaf Gardens. The bandmembers were quickly becoming local heroes, and in 1967 the album Somewhere Outside was released on Yorktown. The album contained nine original compositions as well as two cover songs…

Fresh Cream represents so many different firsts, it's difficult to keep count. Cream, of course, was the first supergroup, but their first album not only gave birth to the power trio, it also was instrumental in the birth of heavy metal and the birth of jam rock…

Simon & Garfunkel's first masterpiece, Parsley, Sage, Rosemary and Thyme was also the first album on which the duo, in tandem with engineer Roy Halee, exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles' Revolver or the Beach Boys' Pet Sounds album, and just as personal and pointed as either of those records at their respective bests…

The year 1965 was a turning point in the life of John Coltrane. It was at this point that he crossed the line into the free jazz arena that he had been approaching since the early '60s. Besides his landmark Ascension, no album better illustrates this than the awe-inspiring Meditations. Coltrane's regular quartet - McCoy Tyner (piano), Jimmy Garrison (bass), and Elvin Jones (drums) - is expanded here with second drummer Rashied Ali (who assumed Jones' spot after this album) and saxophonist Pharoah Sanders. This conglomeration produces some dense textures, especially in the epic first track "The Father and the Son and the Holy Ghost." This sonic hurricane is a 13-minute outpouring of spiritual emotion that is at once compelling and exhausting…