60s Summer of Love is a stunning collection of 60 tracks that capture the sometimes groovy, psychedelic and populist feel as well as laid back and chilled-out mood of the mid to late 60s through to the early 70s. This was the time when teenagers were discovering and listening to "pseudo-psychedelic" anthems, a groovy collection of mind expanding folk-rock hits from the hip artists of that time and genre, wearing colourful and way-out fashions with flowers in their hair.
Beat Avenue is 60-year-old Eric Andersen's most ambitious album, a 90-minute tour de force that encapsulates his musical and lyrical concerns over a lifetime. The music is often-dense rock dominated by a rhythm section led by guitarist Eric Bazilian of the Hooters. Equally dense is Andersen's highly poetic versifying, which he sings in his gruff baritone. Andersen is world-weary in these songs, roaming the globe haunted by the past and fearful of the future. He confesses to a reckless youth, but acknowledges that he can no longer afford such license. "What once was Charles Bukowski," he sings in "Before Everything Changed," referring to the free-living beat poet, "is now Emily Dickinson." The ballads and love songs "Song of You and Me," "Shape of a Broken Heart," "Under the Shadows," and "Still Looking for You" are rendered tenderly, but they are also full of regret and loss, past-tense reflections that recount memories of love long gone. The first disc of Beat Avenue is complete and formidable unto itself, but there is a second CD consisting of two lengthy songs. The title track, running more than 26 minutes, is a beat poem with jazzy accompaniment by Robert Aaron in which Andersen recalls a poetry reading he attended as a 20-year-old on the day President Kennedy was assassinated.
A really cool pairing of two relatively obscure and always overlooked early- to mid-'60s LPs by Jerry Lee Lewis that, respectively, capture him as a country crooner (and quite a good one) and a high-energy country-rocker with a bluesy edge. The original albums never sold any significant numbers to speak of, with the result that the material will essentially be new to all but the most hardcore fans. None of it is bad and a large portion of it is not only good but impressive, showing some sides to Lewis' talent that weren't always obvious amid the rippling ivories of the Sun Records hits.