{"product_id":"various-classic-rock-rock-renaissance-ii-cd-comp-vg-vg","title":"Various \/ Classic Rock - Rock Renaissance II - CD, Comp (VG+\/VG+)","description":"\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e1.  Cream (2) - White Room 4:59\u003cbr\u003e2.  The Seeds - Pushin' Too Hard 2:37\u003cbr\u003e3.  The Byrds - My Back Pages 3:09\u003cbr\u003e4.  The Hollies - Pay You Back With Interest 2:42\u003cbr\u003e5.  The Searchers - Bumblebee 2:18\u003cbr\u003e6.  The Pretty Things - Don't Bring Me Down 2:13\u003cbr\u003e7.  The Troggs - I Can't Control Myself 3:06\u003cbr\u003e8.  Love - My Little Red Book 2:32\u003cbr\u003e9.  The Kinks - Dedicated Follower Of Fashion 3:03\u003cbr\u003e10.  Santana - Evil Ways 3:53\u003cbr\u003e11.  Traffic - Forty Thousand Headmen 3:18\u003cbr\u003e12.  Them (3) - Mystic Eyes 2:43\u003cbr\u003e13.  The Velvet Underground - Sweet Jane 3:17\u003cbr\u003e14.  Van Morrison - Moondance 4:37\u003cbr\u003e15.  The Flying Burrito Bros - Christine's Tune 3:03\u003cbr\u003e16.  The Balloon Farm - A Question Of Temperature 2:41\u003cbr\u003e17.  The Yardbirds - Stroll On 2:47\u003cbr\u003e18.  Cream (2) - Tales Of Brave Ulysses 2:48\u003cbr\u003e19.  The Standells - Sometimes Good Guys Don't Wear White 2:39\u003cbr\u003e20.  Sir Douglas Quintet - The Rains Came 2:17\u003cbr\u003e21.  Quicksilver Messenger Service - Who Do You Love 3:34\u003cbr\u003e22.  Blind Faith (2) - Can't Find My Way Home 3:15\u003cbr\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eMedia Condition:\u003c\/strong\u003e Very Good Plus (VG+)\u003cbr\u003e\r\n\u003cstrong\u003eSleeve Condition:\u003c\/strong\u003e Very Good Plus (VG+)\u003c\/p\u003e\r\n\r\n\u003cp\u003eCat # : 2CLR-21, OPCD-2588\u003c\/p\u003e\r\n\r\n\u003cp\u003eBarcode : \u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eRock, Pop \/ Rock \u0026amp; Roll, Psychedelic Rock, Prog Rock, Classic Rock\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eNotes:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\u003cpre style=\"white-space: pre-wrap; text-align: justify;font-family: unset;\"\u003eVolume 21 of a 30 volume set.\n\nTrack durations obtained from software.\n\nComplete liner notes:\n\nRock 'n' roll has always been image conscious, and the good-vs.-evil battle lines drawn between Pat Boone and Elvis Presley factions in the '50s resurfaced with the Beatles-Rolling Stones rivalry. By 1965, everyone knew the score: The wholesome Beatles you'd invite for tea at Mum's, but the bad boy Stones - well, heaven help your whiskey supply and dope stash if they should drop by. Perceived differences aside, both groups had mined American R \u0026amp; B veins extensively before establishing themselves as songwriters. Their somewhat opposing musical approaches - sophisticated pop vs. blues-heavy rock - dominated the '60s and gave fledgling outfits everywhere two viable options in pursuing stardom. \n\nLike the Beatles, the Searchers were a working-class quartet from Liverpool that established a name at the infamous Star Club in Hamburg, Germany. Bumblebee, which had been a minor hit for LaVern Baker, did well here, but it was never issued in England on 45. Fellow Beat merchants the Hollies didn't really click in the U.S. until 1966; yet back home this Manchester quintet became, next to the Beatles, Britain's most consistent hit-maker with 21 consecutive top-20 singles. The Hollies' unwillingness to move beyond lightweight pop such as Pay You Back with Interest irked co-writer Graham Nash, who felt his mates should explore heavier subject matter. They didn't, so in 1968 Nash left to join two other disgruntled musicians, David Crosby and Steve Stills. \n\nBritish in name and look, the Sir Douglas Quintet actually hailed from Texas, hotbed for the conjunto, Western Swing and R \u0026amp; B elements that leader Doug Sahm embraced to beat the invading Brits at their own game. The Rains Came, spotlighting the shrill Vox organ playing of Augie Meyer, followed Sir Doug's smash She's About a Mover, which was heavily indebted to the Beatles' She's a Woman. John Lennon phoned Meyer, when the quintet was in England, to ask how he got that incredible tone. The an­swer was simple - lots of reverb. \n\nThoroughly British and outrageous, the Pretty Things made even the Stones look like choirboys. Lead singer Phil May had the longest hair in London, and bearded guitarist Dick Taylor had played bass with the Stones before they turned professional. The Pretties not only cheekily took their name from a Bo Diddley tune, they also copped his swagger. Though highly regarded in England, they never broke in the States, where a misconstrued line from Don't Bring Me Down (\"then I laid her on the ground\") got the record banned. \n\nFrom Belfast, Ireland, Them shared the Pretty Things' disdain for fashion and adopted a surly punk stance to challenge the Stones in late 1963. George Ivan (Van) Morrison had already logged four years fronting a show band but wanted something truer to his R \u0026amp; B roots. Mystic Eyes captures Them at their rawest. Producer Tony Scott pieced it together from an instrumental workout in which Van blew harp for seven minutes and then burst in with his stream-of-consciousness rap. \n\nWhen Them broke up, Morrison moved to the U.S., enjoyed brief commercial success with Brown-Eyed Girl in 1967 and finally solidified his reputation on Astral Weeks and Moondance, albums combining a Lake poet's pastoral imagery with pure American soul. Normally his own worst critic, Morrison was so impressed by the swinging arrangement of Moondance that he claimed the song could be in Frank Sinatra's repertoire. \n\nIn the fast-paced '60s, group survival depended on resilience, evidenced by the pioneering Kinks, Byrds and Yardbirds. The satire of Kinks songster Ray Davies was pointed in Dedicated Follower of Fashion, inspired by a trendy fop who had angered Davies at a party. Roger McGuinn looked to Dylan with My Back Pages, taken from the Byrds' Younger Than Yesterday album. A rare Jeff Beck­-Jimmy Page guitar duel is the high point of Stroll On, used in the sound track to Blow-Up, a film set in swinging London's fashion world. Stroll On is a thinly-disguised version of The Train Kept A-Rollin', which the Yardbirds recorded twice - first with Beck and then on a live LP with Page (who had the record pulled citing its poor musical quality). \n\nThe summer of 1969 brought not only Woodstock but also the only U.S. tour of the supergroup Blind Faith. The acoustic guitars behind Steve Winwood's Can't Find My Way Home echoed the folky sound of Traffic that had made Forty Thousand Headmen an FM radio favorite. Blind Faith's power came from Eric Clapton and Ginger Baker, both of whom had elevated interminable soloing into an art form with Cream. Tales of Brave Ulysses and White Room, with basically the same chord progressions allowing space for Clapton's guitar to weep, hint at the creative tension that made Cream an exciting live act but that eventually burned them out. \n\nWoodstock opened the nation's eyes to many new bands, none more enduring than Santana from San Francisco. A nervous Carlos Santana had taken drugs to mellow out after being told he wouldn't go on for several hours. Plans abruptly changed, and the group was hustled onstage where, as Carlos recalled, the neck of his guitar \"felt like a rubber band.\" His mantric prayer, \"Lord, please keep me in time and in tune,\" was answered as Santana stole the show with the explosive Latin-rock of Soul Sacrifice. They had already recorded the song for their debut LP, which yielded the band's first top-10 single, Evil Ways. Another popular San Francisco outfit, Quicksilver Messenger Service, took the rambling acid-rock route and headlined at the hippie venues Fillmore West and Avalon Ballroom. The single version of Who Do You Love is phase one of a live 24-minute Who Do You Love Suite, sparked by the snaky guitar licks of founding member John Cippolina. \n\nIn Los Angeles, folk- and garage-rock flourished. Love ripped into Bacharach-David's My Little Red Book, a song previously covered by Manfred Mann. The Standells exhibited a cocksure posture in Sometimes Good Guys Don't Wear White, which was composed by their producer Ed Cobb. One-riff wonders the Seeds didn't let ineptitude keep them from scoring with Pushin' Too Hard, written by lead singer Sky Saxon in, as he put it, \"about three minutes.\" Saxon's creative juices flowed in protest to the demolition of Pandora's Box, the L.A. nightspot featured in Riot on Sunset Strip, a film that failed to make movie stars out of the Standells. The Seeds also landed a small role in Psych-Out, starring Jack Nicholson as the ponytailed leader of an acid-rock band. \n\nBased on their continuing influence, the Velvet Underground and the Flying Burrito Brothers were two of the most important acts of the late '60s. \"People would leave looking dazed and damaged,\" explained Velvet champion Andy Warhol about the band's defiantly abrasive live performances of songs that broached the unsavory topics of drugs, prostitutes and transsexuals. These brutal exposes of Manhattan street life were set to Lou Reed's howling guitar, John Cale's electric viola drones and drummer Maureen Tucker's insistent pounding. The Velvets turned to \"straight\" rock on their fourth LP, Loaded, which included a future Reed anthem, Sweet Jane.\n\nBack in L.A., Gram Parsons, the Southern charmer with the Hank Williams ache in his voice, envisaged creating \"cosmic American music,\" roughly translated as country-rock. Parsons joined the Byrds briefly in 1968 and then split, taking Chris Hillman with him to write songs and put the Burrito Brothers together. Christine's Tune, the tale of a bizarre groupie, Miss Christine, finds Parsons and Hillman singing close, Everly Brothers harmonies, with Sneaky Pete Kleinow providing wild pedal-steel leads. \n\nAfter two albums, the Burritos barely had a cult following, so Parsons drifted away and tasted the high life with the Stones. He finally recorded two solo albums, but before completing his comeback, the 26-year-old Parsons died from a booze- and morphine-induced heart attack at the Joshua Tree National Monument, where he had once told his manager Phil Kaufman he wanted his cremated ashes spread. Kaufman hijacked Parsons' coffin, took it to the desert site, doused it with gasoline and torched it, sending a fireball skyward. Parsons' sober-minded sister Avis in Tennessee called his friends claiming she had seen him peek in her window, smile, wink and give the thumbs-up sign. Parsons' buddies figured ol' G.P. laughed all the way to hillbilly heaven. \n\n- Charles McCardell\u003c\/pre\u003e\u003ca href=\"https:\/\/www.discogs.com\/sell\/item\/4349579229\" target=\"_blank\"\u003eData provided by Discogs\u003c\/a\u003e","brand":"IDshop","offers":[{"title":"Default Title","offer_id":49569445839107,"sku":"2CLR-21, OPCD-2588","price":5.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0030\/9765\/7390\/files\/581793-0825824164b3102b0c7ab64b3102b0c7ad168945668364b3102b0c7b0.jpg?v=1788594371","url":"https:\/\/idshop.ca\/products\/various-classic-rock-rock-renaissance-ii-cd-comp-vg-vg","provider":"ID Shop.ca","version":"1.0","type":"link"}