Here is a collection of 159 titles, 227 CDs in the Elvis Presley - Follow That Dream Series (1999-2016). All of these have covers and many have very nice artwork. Several have full booklet scans as well.
Inspired by folk, rock, country, and bluegrass, the London-based, platinum-selling Mumford & Sons feature singer/guitarist/drummer Marcus Mumford, vocalist and banjo/Dobro player Winston Marshall, vocalist/keyboardist Ben Lovett, and vocalist/bassist Ted Dwane. The foursome started playing together in 2007; though they were playing with other bands at the time, they bonded over their shared love of rootsy music.
Double-CD, career-spanning retrospective that offers little in the way of surprises: it's a tastefully selected overview of her career highlights, heaviest (and justifiably so) on her late '60s albums. There's the inevitable feeling of letdown as disc two progresses; her post-early '70s material is far less interesting than her earliest work, even if it's inoffensive. All of the first five albums (through 1971's Gonna Take a Miracle) are now on CD, so this is most suitable for the fan who isn't passionate enough to be a completist. Includes a couple of previously unreleased live tracks from the 1990s; the version of "Sweet Blindness," unfortunately, is not the original late-'60s recording, but from a late-'70s live album.
The latest free CD from the April 2015 issue of MOJO Magazine is a reboot of Led Zeppelin’s Physical Graffiti, featuring a slew of lesser known artists tackling the 1975 2LP behemoth. Almost all the interpretations are somewhat faithful to Zep’s arrangements, but some personality does manage to float to the surface…
The second outing from the female half of Australian sibling folk-pop duo Angus & Julia Stone is steeped in the sunset hue of 1970s California pop. Produced by Thomas Bartlett (The National) and Patrick Dillett (Mary J. Blige), By the Horns' greatest strength is also its biggest distraction. Stone's fragile voice is an acquired taste that falls somewhere between the primal affectations of Björk, the airy, pixie croon of Julee Cruise, and the throaty desperation of Stevie Nicks, but there's a soulfulness to it that lends a bit of phantom power to driving stand-out cuts like "It's All Okay," "With the Light," and "Justine".