Various Artists-Bumpers (1970)

In the late 1960s, British record labels began releasing a selection of their artists' material on discs known as "samplers." These weren't intended as anthologies or compilations; their main purpose was to give listeners the opportunity to discover a variety of underground musical styles at a reduced price (also known as mid-priced), particularly artists who lacked a conventional singles market and therefore had limited opportunities for radio airplay on British stations. Around the same time, Columbia and Liberty Records' "The Rock Machine Turns You On" in the United States had already begun this trend with the album 'Gutbucket'. The British response came from Islands Records, producing a series of so-called "samplers," from "Nice Enough to Eat" and "You Can All Join In" in 1969, to "Bumpers" in 1970 and "El Pea" in 1971. "Bumpers" meant "the best choice," and comprised eclectic yet cohesive collections of music on double LP 33 rpm vinyl records. By the late 1960s, the British music scene was remarkably vibrant, and Island Records was arguably the most experimental, innovative, and diverse label, and certainly the most successful independent label before its founder, Chris Blackwell, sold it to A&M Records many years later in 1989. Blackwell had started in the record industry in Jamaica in 1959, promoting the emerging sounds of bluebeat and ska. He had achieved notable success with Millie Small's "My Boy Lollipop" in 1964, at which point he moved his Island label to Notting Hill Gate in 1964. London. The label would expand to include a wide range of styles, from pop and rock to genres like folk, jazz, blues, reggae, progressive rock, underground music, and experimental offerings. It's no surprise, then, that "Bumpers" was a collection of artists who primarily recorded albums, not singles for the charts. "Bumpers" was released in 1970 and contained the label's most acclaimed acts of the time, from Traffic, King Crimson, and Jethro Tull its flagship acts to up-and-coming artists who would later become stars, or established bands like Free, Renaissance, Cat Stevens, Fairport Convention, Bronco, Spooky Tooth, Quintessence, Jimmy Cliff, Mott the Hoople, Nick Drake, and If. With a powerful opening track like Traffic's "Every Mother's Son", this compilation started strong. Spooky Tooth's version of The Beatles' "I Am the Walrus" was one of the highlights. Exciting, while Jethro Tull showcased their folk-rock arsenal with “Nothing to Say”, If, one of the lesser-known acts, revealed their potential in the intricate progressive “I’m Reaching Out On All Sides”, “Cadence and Cascade” displayed the more bucolic side of King Crimson, while Cat Stevens and his “Maybe You’re Right” clearly demonstrated the folk side that would bring him great success shortly thereafter, as did Fotheringay with “The Sea” and Fairport Convention with “Walk Awhile”. However, it was the young Jimmy Cliff with “Going Back West” and the fledgling Renaissance with “Island” who benefited most from this anthological showcase of the power of British music from the late 60s and Island Records in particular.

Eric Burdon and War-Eric Burdon Declares War (1970)

Eric Burdon was the greatest singer of the 1960s, thanks to an incredible voice that, even when reciting songs, produced cadence, rhythm, and movement. His legend and his nonconformity are a story apart within history itself, so much so that his career is considered almost an example of progression and evolution in the golden age of rock and pop music. Eric Burdon and The Animals were a major part of the evolution of blues and rhythm and blues in the early years of the beat movement. By the end of the sixties, Eric Burdon already had seven years of professional experience, great success, and numerous projects under his belt, including masterpieces with his band The Animals such as the incredible, now-classic rock singles "The House of the Rising Sun" and "Don't Let Me Be Misunderstood", as well as a series of significant albums. In 1966-67, Eric Burdon and The Animals traveled to the American West Coast and recorded their spectacular album "Wind of Change". In 1970, Burdon announced a new formation, creating a band composed of Black musicians called War. He explained that this change stemmed from his feeling of being Black, because he thought, reasoned, and sang like a Black person. War consisted of half a dozen musicians steeped in blues, soul, and funk. Eric Burdon & War got off to a great start with their track "Spill the Wine", and the album "Eric Burdon Declares War" was a superb blend of blues, psychedelia, funk, and African American music. In addition to the aforementioned "Spill the Wine", the album features standout tracks such as "Tobacco Road" and "Mother Earth", two long, hypnotic, lysergic, and cathartic suites, making this record an instant classic and one of the greatest albums in music history. At the end of that same year, another extraordinary album was released, this time in double LP format entitled "The Black-man's Burdon", another explosion of black music with a mix of funk, soul, rock and R&B with psychedelic touches and where the Stones' version "Paint it Black", the exciting "Bare Back Ride" or the legendary "Nights in White Satin" by the Moody Blues stood out.

Rush-Exit...Stage Left (1981)

Rush likes to play live. His first steps recorded on CD (in those years, on vinyl) were captured in the album All The World Is A Stage [1976]. It was not his best show, but they proved to be excellent musicians, who can play a modest setlist to expect more of them.
The idea of ​​"Exit" was to create an additional live disc to disk which had been launched, Permanent Waves [1980]. But until then his manager, Cliff Burnstein, virtually forcing them to enter the studio to record their best album, Moving Pictures [1981], which add more songs to the large repertoire of "Exit" (note that the DVD of the concert has other songs not on the CD).
Let's talk show. It was a tour across the United States, where huge stadiums were needed to accommodate so many people. Nearly 50 thousand people and a euphoric atmosphere gives way to one of the best concerts of the band. 3 musicians: Geddy Lee, Neil Peart and Alex Lifeson, 4 instruments: Drums, Bass, Guitar and Synthesizer. The perfect combination to display a live round from beginning to end, where what matters is the sound, not appearance (in the case of other bands of sand, is just the opposite. Example, Kiss).
Now the CD. What is special about this concert that did not possess any other show? First of all, excellent musicians. Playing 2 instruments at once is complicated, but Geddy Lee was on fire, and he did. Neil Peart was inspired by the batteries, playing solos extensive and complicated, in addition to spice up each song with Microsol as complicated as extended solos. And Alex Lifeson playing as in the study, the guitar solos are great, they sound exactly like his entire discography.
"The Spirit Of The Radio" is an excellent introduction to the concert (on CD in the DVD start with Limelight). Geddy's voice plays with the falsetto as he has been doing in all your disks, in tune. The guitar looks sharp in his ear, while Neil applies its expertise in batteries. Then comes "Red Barchetta" and the audience's emotions begin to feel. "YYZ" is the demonstration of why Neil Peart was considered the best drummer of his time. One almost 3 minutes epic that emulated the late John Bonham, the audience exploded in silence when he finished his demonstration of skills. Have been there to witness this gesture is something that is priceless.
After "Passage to Bangkok" is a classic. "Closer To The Heart", and the public Geddy Korea with the beautiful lyrics of this song, while the musicians play the game. Alex Lifeson's entrance and a short one was required to continue with the environment, and give way immediately to "Beneath, Between and Behind". Again, the audience explodes.
"Jacob's Ladder" is the song that has touched more solid so far (if you are playing as you read the review). All the musicians demonstrating their skills in an intricately epic song, which talks about a battle between two great armies.
"Baron's Bane / Trees" sounds great in this version. Aventuresca, a large section with guitar, energetic musicians playing, the audience crazy. Neil fed to the battery Microsol song, giving way to a small synthesizer solo. We ended up extending a note and live experience. Something hard to do if they have the necessary supplies. "Xanadu" starts with a E issued by the synthesizer, guitar playing very softly, while Neil plays the elements of the battery that had been used in other songs, like bells, Chrimes and congos. The song takes shape when the battery goes strong to break the peace of experimentation. Now after almost 6 minutes of the song, you can hear the first words of Geddy, going to something like Led Zeppelin. The perfect falsetto singing "Xanadu!, Xanadu!" and a great performance make it the gem of the disc.
"Freewill", arguably their best song, was played inspirationally, and almost identically to the version of the LP, taking with appropriate applause. "Tom Sawyer" is known worldwide for the brilliant Neil Peart solo in batteries, and emulating the album version, which played perfectly without miss any percussion.
The album ends with the magnificent performance of "La Villa Strangiato", where it looks like Alex Lifeson want. Only after the guitar solo, not tune anywhere, earnest people to the beat of this song instrumental for almost 10 minutes long end applauding with all his might to Rush, who had presented one of the best concerts of his career.