"Hey Joe" is an American song from the 1960s that has become a rock standard and has been performed in many musical styles by hundreds of different artists. The lyrics tell of a man who is on the run and planning to head to Mexico after shooting his unfaithful wife. In 1962, Billy Roberts registered "Hey Joe" for copyright in the United States.
The Essential Byrds is a comprehensive two-CD compilation album by the American rock band the Byrds. It was released in 2003 as part of Sony BMG's The Essential series. The Essential Byrds did not chart in the U.S. or the UK. A 3.0 edition of the compilation released in 2011 contains a third disc with six additional tracks: "Spanish Harlem Incident", "I Knew I'd Want You", "The World Turns All Around Her", "I See You", "Change Is Now", and "One Hundred Years from Now".
Rocket Man: The Definitive Hits is a compilation album by English musician Elton John featuring 13 number one songs and a number of bonus tracks and live renditions. Worldwide there have been released 17 different versions of the album, including a CD/DVD combo. All versions include, "Your Song", the title track, "Rocket Man ", "Daniel", "Candle In The Wind", and "Don't Let The Sun Go Down On Me".
Pebbles, Volume 6: Chicago Pt. 1, also known as Chicago 1, is a compilation album featuring American garage and psychedelic rock musical artists from the 1960s that were associated with the Chicago music scene. It is a compact disc installment of the Pebbles series, and was released on AIP Records in 1994.
Essential Pebbles, Volume 2 is a compilation album in the Essential Pebbles series. Although subtitled Still More Ultimate '66 garage classics!, not all of the recordings on the album were originally released in 1966.
Back to the Story is a 2CD compilation set by Sixties/Seventies band The Idle Race released in 1996 on EMI's short-lived "Premier" series. It contains all three official studio albums, non-album singles and B-sides. The original edition's 2nd CD included the earliest known tracks featuring Jeff Lynne in The Nightriders. In 2007, the set was re-released on EMI's newly reconstituted "Zonophone" label minus the Nightriders tracks. In 2013 the compilation was once again re-released - this time on Warner Music Group's "Parlophone" label, also without the Nightriders tracks
Twin is a Swedish record production and songwriting team, consisting of Niclas Molinder and Joacim Persson.
Fortune And Maltese are an American garage rock band from Detroit, Michigan, formed in 1993 in Kalamazoo, Michigan.
Janez Detd. is a Belgian pop punk band that formed in 1995.
Elton John and his band set out on The One Tour just under a month prior to the album's release. The album proved a big success as did the world tour which lasted for two years.
The Diving Board Tour was a concert tour by British musician Elton John taking place in North, South and Central America and Europe in promotion of John's 2013 album The Diving Board.
The Bojax, later known as William Goat, were an American garage rock band from Greenville, South Carolina, who were active from 1964 through 1971. They are best known for the hard-driving protopunk sound exemplified in songs such as "Go Ahead and Go" and "Hippie Times". Although they briefly enjoyed popularity in their own region, they did not gain wider recognition at the until a number of years later when their material would be re-issued on various compilations and anthologies.
Back from the Grave Part 2 is the second installment in the Back from the Grave compact disc-exclusive series of garage rock compilations assembled by Tim Warren of Crypt Records. It was released on August 23, 1996. Its track listing differs from that of the LP version, which is part of the Back From the Grave LP-edition series, also on Crypt. In keeping with all of the entries in the series, and as indicated in the subheading which reads "Raw 'n' Crude Mid-60s Garage Punk!," this collection consists of many songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. Accordingly, the set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll. The packaging features a booklet containing well-researched liner notes written by Tim Warren which conveys basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.
Teenage Shutdown! Get a Move On!!! is a compilation album featuring garage and folk rock musical artists that recorded in the 1960s. It is the seventh installment of the Teenage Shutdown! series and was released on Crypt Records on December 29, 1998.
Back from the Grave, Volume 3 is the third installment in the Back from the Grave series of garage rock compilations put together by Tim Warren of Crypt Records. It was released in 1984. In keeping with all of the entries in the series, and as indicated in the subheading which reads "Mid 60s Garage Punkers," this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll. The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides. The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music. The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified "rock and roll" zombies who have just emerged from the grave to "drop in a pit" all adherents of supposedly "heretical" pop and progressive music which have come to prominence over the years.
Back from the Grave, Volume 4 is the fourth installment in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records. It was released in 1984. In keeping with all of the entries in the series, and as indicated in the subheading which reads "Wild Mid-60s Garage Punk Screamers," this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll. The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides. The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music. The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified "rock and roll" zombies who, on this occasion, with the help of Batman's sidekick, Robin, have taken the 1966 TV series Batmobile out for a "wild joyride" and are intent on causing as much mayhem as possible and "lassoing" unsuspecting bystanders—only on this outing, their "victims" are more "randomly selected" than as customarily portrayed on Back from the Grave sleeves.
Back from the Grave, Volume 7 is the seventh installment in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records and is available on LP and CD. It was originally released in 1988 as a double-LP containing 34 tracks, and has been newly re-mastered and re-issued in 2015. Though most of the LP's tracks had appeared on parts 3 and 4 of the Back from the Grave CD-specific sub-series, in 2015, it was released on CD with the re-mastered material and closely matches the song content of the original LP as part of an effort to bring the LP's and CD's of the series into multi-medium coherence. In keeping with all of the entries in the series, and as indicated in the subheading which reads "Raw Blastin' Mid 60s Punk," this collection generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll, usually consisting of songs displaying the rawer and more aggressive side of the genre often characterized by the use of fuzztone-distorted guitars and rough vocals.
Back from the Grave, Volume 9, released on LP and CD in 2015, is the ninth installment in the Back from the Grave series of garage rock compilations. Like all the entries in the series it was assembled by Tim Warren of Crypt Records. As indicated in the subheading which reads "Raw Blastin' Mid 60s Punk," this collection consists of many songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. In typical fashion, the set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.
Scream Loud!!! The Fenton Story is a garage rock compilation consisting of songs released by Fenton Records in Grand Rapids, Michigan and the assorted vanity labels that it had pressed and distributed for various regional acts, primarily from western Michigan in the 1960s, and is available on identical LP and CD formats.* The set focuses on basic upbeat and rocking material, but includes a couple of odd and more eclectic expetions. Fenton's founder was musician and entrepreneur Dave Kalmbach, who intended the label to be a place where un-established groups could have a place to record on either the Fenton label itself or on their own vanity labels, which were usually given special custom names chosen by the bands and their management, often under the arrangement that the bands would pay themselves for most of the recording and pressing costs, but receive a certain share in royalties. Commenting on how these recordings more-or-less function as aural snapshots taken from the bygone scrapbook of a more innocent time, Stephen Thomas Earlewine commented:
