Various Artists - The Hitmakers Sing Carole King (1973)

In the late 1950's Carole King attended Queens College, where she met Gerry Goffin, who was later to become her song-writing partner. When she was 17, they married in a Jewish ceremony on Long Island in August 1959, after King became pregnant with her first daughter, Louise. After they quit college they took day jobs, with Goffin working as an assistant chemist and King as a secretary, writing songs together in the evening, and after writing the Shirelles' Billboard Hot 100 number 1 hit 'Will You Love Me Tomorrow', they gave up their daytime jobs to concentrate on the song-writing. In the 1960's, with King composing the music and Goffin writing the lyrics, the two wrote a string of classic songs for a variety of artists, including 'Chains' (later recorded by the Beatles), 'The Loco-Motion' and 'Keep Your Hands Off My Baby' (both for their babysitter Little Eva), and 'It Might As Well Rain Until September', which King recorded herself in 1962, charting at number 22 in the US and number 3 in the UK. Other songs from her early period, up to 1967, included 'Half Way To Paradise' for Billy Fury, 'Take Good Care Of My Baby' for Bobby Vee, 'Up On The Roof' for the Drifters, 'I'm Into Something Good' for Earl-Jean (later recorded by Herman's Hermits), 'One Fine Day' for the Chiffons, and 'Pleasant Valley Sunday' for the Monkees. By 1968, Goffin and King were divorced and were starting to lose contact, and King moved to Laurel Canyon in Los Angeles with her two daughters. There she reactivated her recording career by forming 'The City', a music trio consisting of Charles Larkey, her future husband, on bass, Danny Kortchmar on guitar and vocals, and King on piano and vocals. The group produced one album, 'Now That Everything's Been Said', in 1968, but King's reluctance to perform live meant sales were slow, and the group disbanded in 1969. While in Laurel Canyon, she met James Taylor and Joni Mitchell, as well as Toni Stern, with whom she collaborated on songs, and when  King made her first solo album, 'Writer', in 1970, Taylor played acoustic guitar and provided backing vocals. It peaked at number 84 in the Billboard Top 200, and was followed the next year by 'Tapestry', which featured new compositions as well as reinterpretations of 'Will You Love Me Tomorrow' and '(You Make Me Feel Like) A Natural Woman'. 'Tapestry' was an instant success, with numerous hit singles, including a Billboard No.1 with 'It's Too Late', and every song on it has since become a classic. It's therefore no surprise that they have all been covered by a huge variety of artists, and so here are the best of them, reinterpreting this classic album of the 70's.

Track listing

01 I Feel The Earth Move (Design 1973)
02 So Far Away (Marlena Shaw 1972)
03 It's Too Late (The Sandpipers 1971)
04 Home Again (Kate Taylor 1971)
05 Beautiful (Petula Clark 1971)
06 Way Over Yonder (Cornelia 1972)
07 You've Got A Friend (James Taylor 1971)
08 Where You Lead (Barbara Streisand 1971)
09 Will You Love Me Tomorrow? (Roberta Flack 1971)
10 Smackwater Jack (Quincy Jones 1971)
11 Tapestry (Alice Babs 1973)
12 (You Make Me Feel Like) A Natural Woman (Aretha Franklin 1967)

Slash - ...and on guitar (2008)

Saul Hudson was born in Stoke-on-Trent on July 23, 1965, and was immersed in music from the outset. His father, Anthony Hudson, was an artist who created album covers for musicians such as Neil Young and Joni Mitchell, while his mother Ola J. Hudson was an African-American fashion designer and costumier from the United States, whose clients included David Bowie (whom she also dated), Ringo Starr, and Janis Joplin. During his early years, he was raised by his father and paternal grandparents in Stoke-on-Trent while his mother moved back to her native United States to work in Los Angeles, and when he was around five years old, they both joined his mother in Los Angeles. Following his parents' separation in 1974, Hudson became a self-described "problem child", living with his mother, but often being sent to live with his beloved maternal grandmother whenever she had to travel for her job. He sometimes accompanied his mother to work, where he met several film and music stars, and was given the nickname "Slash" by actor Seymour Cassel, because he was "always in a hurry, zipping around from one thing to another". In 1979, Slash decided to form a band with his friend Steven Adler, and although the band never materialized, it prompted him to take up an instrument, and since Adler had designated himself the role of guitarist, Slash decided to learn how to play bass. Equipped with a one-string flamenco guitar given to him by his grandmother, he began taking classes with guitar teacher Robert Wolin, but during his first lesson he decided to switch from bass to guitar after hearing Wolin play 'Brown Sugar' by the Rolling Stones. In 1981 he joined his first band Tidus Sloan, and a couple of years later he reunited with Alder and formed Road Crew, named after the Motörhead song '(We Are) The Road Crew'. He placed an advertisement in a newspaper looking for a bassist, and received a response from Duff McKagan. They auditioned a number of singers, including one-time Black Flag vocalist Ron Reyes, but they couldn't find one that suited them and so the band broke up the following year. Slash and Adler then joined  local group Hollywood Rose, which featured singer Axl Rose and guitarist Izzy Stradlin, and after that he played with Black Sheep, and also unsuccessfully auditioned for glam-metallers Poison. 

In June 1985, Slash was asked by Axl Rose and Izzy Stradlin to join their new band Guns N' Roses, along with Duff McKagan and Steven Adler, replacing founding members Tracii Guns, Ole Beich and Rob Gardner, respectively, and they began playing Los Angeles-area nightclubs‍ ‌such as the Whisky a Go Go, The Roxy, and The Troubadour‍. Before one of the shows in 1985, Slash shoplifted a black felt top hat and a Native American-style silver concho belt from two stores on Melrose Avenue in Los Angeles, combining them to create a piece of custom headwear which would become his trademark. After being scouted by several major record labels, the band signed with Geffen Records in March 1986, and they released their debut album 'Appetite For Destruction' in 1987, eventually selling over 28 million copies worldwide. However, as their success grew, so did interpersonal tensions within the band, and in 1989, during a show as opening act for the Rolling Stones, Axl Rose threatened to leave the band if certain members didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin use. Slash was among those who promised to clean up, but the following year Adler was fired from the band because of his heroin addiction, being replaced by Matt Sorum of The Cult. In May 1991, the band embarked on the two-and-a-half-year-long Use Your Illusion Tour, and the following September they released the long-awaited albums 'Use Your Illusion I' and 'Use Your Illusion II', which debuted at No. 2 and No. 1 respectively on the U.S. chart. In the four years since the release of 'Appetite For Destruction', Slash had gained an enviable reputation as a guitarist, and so it was no surprise that he was asked to guest on albums from other artists, and one of the first that he accepted was an invitation from Iggy Pop, adding his guitar to Pop's 1990 'Brick By Brick' album, followed swiftly with a guest appearance on Bob Dylan's 'Under The Red Sky' album (even though Dylan later cut his solo), and collaborations with Alice Cooper, Motörhead, Michael Jackson, and Spinal Tap, and even though Spinal Tap don't take themselves too seriously, Slash pulled out all the stops for his contribution to their 'Break Like The Wind'. In November 1991 Izzy Stradlin abruptly left the band, and was replaced by Gilby Clarke of Candy and Kill for Thrills, and after the Use Your Illusion Tour had ended in 1993, the band released 'The Spaghetti Incident?', a cover album of mostly punk songs, which proved less successful than its predecessors. Slash then wrote several songs for what would have become the follow-up album to the 'Use Your Illusion' double set, but they were rejected by Rose and McKagan, and so with the band's failure to collaborate resulting in no album being recorded, Slash announced in October 1996 that he was no longer a part of Guns N' Roses. 

In 1994 he added his guitar to band-mates Gilby Clarke's solo album, and then formed Slash's Snakepit, a side project that featured his Guns N' Roses bandmates Matt Sorum and Gilby Clarke on drums and rhythm guitar respectively, as well as Alice in Chains' Mike Inez on bass and Jellyfish's Eric Dover on vocals. Their 1995 album 'It's Five O'Clock Somewhere' included Slash's rejected material that was intended for Guns N' Roses, and was critically praised for ignoring the then-popular conventions of alternative music. Faring well on the charts, the band toured in support of the album, before disbanding in 1996. Slash then toured for two years with the blues rock cover band Slash's Blues Ball, as well as adding his guitar to albums from Sammy Hagar and Insane Clown Posse, before deciding to regroup Slash's Snakepit in 1999, with Rod Jackson on vocals, Ryan Roxie on rhythm guitar, Johnny Griparic on bass, and Matt Laug on drums. Their second album 'Ain't Life Grand' was released in October 2000 through Koch Records, but it didn't sell as well as the band's previous release, and its critical reception was mixed. In 2002 Slash reunited with Duff McKagan and Matt Sorum for a Randy Castillo tribute concert, and realizing that they still had the chemistry of their days in Guns N' Roses, they decided to form a new band together. Izzy Stradlin was initially involved, but left after the others decided to find a lead singer; a task that took many months listening to demo tapes, before former Stone Temple Pilots vocalist Scott Weiland got the Velvet Revolver gig. In 2003 they released their first single 'Set Me Free' followed by their debut album 'Contraband' in June 2004, which crashed in at No. 1 on the U.S. chart, eventually selling two million copies. In July 2007 Velvet Revolver released their second album 'Libertad', and embarked on a second tour, but during a show in March 2008 Weiland announced to the audience that it would be the band's final tour, following which he was fired from the band, with Slash insisting "chemical issues" had led to his departure. Despite the loss of their singer, the band did not officially disband, and in early 2010 they began writing new songs and auditioning new singers. By January 2011 they'd recorded nine demos, and was reportedly due to make a decision on their singer, but Slash eventually admitted that they had been unable to find a suitable vocalist and that Velvet Revolver would go on hiatus for the next few years while its members focused on other projects. So that's the perfect place to end this collection of Slash's extra-curricular work between 1990 and 2008, so settle down and listen to some superb rock guitar on a wide variety of genres from a stellar group of artists. 

Track listing

Disc One
01 Home (from 'Brick By Brick' by Iggy Pop 1990)
02 Wiggle Wiggle (from 'Under The Red Sky by Bob Dylan 1990)
03 Always On The Run (from 'Mama Said' by' Lenny Kravitz 1991)
04 Hey Stoopid (from 'Hey Stoopid' by Alice Cooper 1991)

05 Give In To Me (from 'Dangerous' by Michael Jackson 1991)

06 Break Like The Wind (from 'Break Like The Wind' by Spinal Tap 1992)

07 You Better Run  (from 'March Ör Die' by Motörhead 1992)

08 I Don't Live Today (from 'Stone Free: A Tribute To Jimi Hendrix' by Various Artists 1993)

09 Tie Your Mother Down (from 'Resurrection' by Brian May & Cozy Powell 1993)

10 Hold Out For Love (from 'Colour Of Your Dreams' by Carole King 1993)

11 Believe In Me (from 'Believe In Me' by Duff McKagan 1993)

Disc Two

01 Cure Me...Or Kill Me... (from 'Pawnshop Guitars' by Gilby Clarke 1994)

02 Where You Belong (from 'Carmine Appice's Guitar Zeus' by Carmine Appice 1995)

03 Communication Breakdown (from 'Stairway To Heaven' by Various Artists 1997)

04 Moja Mi Corazón (from 'Azabache' by Marta Sánchez 1997) 

05 Little White Lie (from 'Marching To Mars' by Sammy Hagar 1997)

06 Hall Of Illusions (from 'The Great Milenko' by Insane Clown Posse 1997)

07 Human (from 'Human' by Rod Stewart 2001)

08 Over, Under, Sideways, Down (from 'Birdland' by The Yardbirds 2003) 

09 The Blame Game (from 'Hollywood Zen' by Matt Sorum 2003)

08 Street Child (from 'Street Child' by Elan 2003)
09 Mustang Nismo (from the soundtrack to the film 'The Fast And The Furious: Tokyo Drift' 2006)
10 Gioca Con Me (from 'Il Mondo Che Vorrei' by Vasco 2008)

Eric Johnson - ...and on guitar (1994)

Eric Johnson was born on 17 August 1954 into a musical family, studying piano with his three sisters at an early age, while his father was a whistling enthusiast. He started learning the guitar at age 11 and rapidly progressed while listening to the musicians that would heavily influence his future style, including Mike Bloomfield, Chet Atkins, Eric Clapton, Jimi Hendrix, and Django Reinhardt, among others. At the age of 15, he joined his first professional band, the psychedelic rock band Mariani, and in 1970 they recorded a demo, which saw an extremely limited release, and which became a prized collector's item some years later. I've had a copy of this since around the late 80's, but never knew Johnson appeared on it, so I must dig that out again. After graduating from high school, he briefly attended the University of Texas at Austin, and later traveled with his family to Africa, returning to Austin in 1974, and joining a local fusion group called Electromagnets. They toured and recorded regionally but didn't attract attention from major record labels, and so disbanded in 1977, but the strength of Johnson's playing had attracted a small cult following to the group's early recordings and, decades later, their two albums were given wide release on CD. Following the Electromagnets' demise, Johnson formed a touring trio, the Eric Johnson Group, with drummer Bill Maddox and bassist Kyle Brock, and between 1976 and 1978 they recorded the 'Seven Worlds' album, but due to contract disputes it was not released until 1998. Unable to secure a new management contract, Johnson began working as a session guitarist for some well-known acts, including Cat Stevens, Carole King, and Christopher Cross, and it was Cross's producer David Tickle who recommended Johnson to Warner Bros. Records, who signed him to their label. In 1986 he released his actual debut album 'Tones', with a cover story in Guitar Player helping to promote the release, but although 'Zap' was nominated for the 1987 Grammy Award for Best Rock Instrumental Performance, the album did not sell well, and Warner Bros. let Johnson's contract expire. 

Signing with indie label Cinema Records, distributed by Capitol Records, he released 'Ah Via Musicom' in 1990, and not only was he winning awards for his musicianship in the guitar press, but 'Cliffs Of Dover' won the 1991 Grammy Award for Best Rock Instrumental Performance. The session work took a back seat while Johnson recorded his next album, but being an admitted perfectionist, he recorded, mastered and then scrapped several completed tracks for the new album, which delayed its release for three years, on top of the three years he had spent touring, and 'Venus Isle' eventually appeared in 1996. Despite demonstrating Johnson's growth as a guitarist, songwriter, producer, musical arranger, and vocalist, it received mixed reviews and did not match the success of its predecessor, and as a result he was dropped from Capitol Records. While recording 'Venus Isle' Johnson formed a side project called Alien Love Child with vocalist Malford Milligan, and played sporadic shows around Austin, and positive fan feedback from the shows made Alien Love Child a permanent gig. Johnson eventually returned to the recording studio, releasing 'Souvenir' in January 2002 on his own Vortexan Records label, followed by 'Bloom' in 2005, on Steve Vai's Favored Nations label, and then releasing a new record every few years since then. This collection starts with one of his earliest gigs with jazz organist Jack McDuff, then takes in those late 70's guest spots with Cat Stevens and Christopher Cross, and quite a bit of work from the mid 80's to the mid 90's. I have to admit that I wasn't that familiar with Johnson's work, so this has been as much as a revelation to me as it might be to you. 

Track listing

Disc One
01 Rolling Stone (from 'The Fourth Dimension' by Jack McDuff 1974)
02 Circle Song (from 'Once Upon A Rock' by American Peddlers 1977)
03 Dancin' With Tears In My Eyes (from 'Pearls' by Carole King 1980)
04 Bad Brakes (from 'Back To Earth' by Cat Stevens 1978)
05 Minstrel Gigolo (from 'Christopher Cross' by Christopher Cross 1979)
06 Rise Up (from 'Long Time Friends' by Alessi 1982)
07 SA Stroll (from 'Tomás Ramírez' by Tomas Ramirez 1983)
08 Save A Little Time (from 'Pressure' by Pressure 1983)

Disc Two
01 Recover Gracefully (from 'Marc Anthony Thompson' by Marc Anthony Thompson 1984)
02 Distant Star (from 'Stand Up' by Steve Morse Band 1985)
03 Ballad Of Fast Eddie (from 'Street Language' by Rodney Crowell 1986)
04 Western Flyer (from 'Guitar Speak' by Various Artists 1988)
05 Ronda (from 'Inside Out' by Jay Aaron 1990)
06 Our Dreams (from 'The Urge' by Stuart Hamm 1991)
07 Keep Coming Back (from 'Rush Street' by Richard Marx 1992)
08 Lights Of Louisiana (from 'The Hunter' by Jennifer Warnes 1992)
09 Somebody Loves Me Now (from 'Read My Licks' by Chet Atkins 1994)

Thank to Don for the suggestion.

Carole King - I Wrote It, So I'm Singing It (1968)

Carol Joan Klein in was born in February 1942 in Manhattan to a Jewish family. From an early age she had an insatiable curiosity about music, and so her mother began teaching her some very basic piano skills, but did not give Carol actual lessons. When Carol was four years old, her parents discovered she had absolute pitch, which enabled her to name a note correctly by just hearing it, and real music lessons started shortly after this discovery In the 1950's she went to James Madison High School, where she formed a band called the Co-Sines, and changed her name to Carole King (many Jews did during this period to avoid an omnipresent anti-semitism). The band made demo records with her friend Paul Simon for $25 a session, and in 1958 she made her first official recording with the promotional single 'The Right Girl', released by ABC-Paramount. She attended Queens College, where she met Gerry Goffin, and they married when she was 17 after King had become pregnant with her first daughter, Louise. They quit college and took daytime jobs, Goffin working as an assistant chemist and King as a secretary, but wrote songs together in the evening. 
In 1959 Neil Sedaka, who had dated King when he was still in high school, had a hit with 'Oh! Carol', and Goffin took the tune and wrote the playful response 'Oh! Neil', which King recorded and released as a single the same year. Among their other compositions was 'Will You Love Me Tomorrow', which was a hit for the Shirelles, and following that success Goffin and King gave up their day jobs to become full-time songwriters. During the sixties the two wrote a string of classic songs for a variety of artists, including 'Chains', which was recorded by the Beatles, 'The Loco-Motion' for their babysitter Little Eva, and 'It Might as Well Rain Until September', which King recorded herself in 1962 and which was her first hit single. Other songs included 'Half Way To Paradise',  'Take Good Care of My Baby', 'Up on the Roof', 'I'm into Something Good', 'One Fine Day', 'Pleasant Valley Sunday', '(You Make Me Feel Like) A Natural Woman', 'Some Of Your Lovin'', and 'Goin' Back'. In order to try and sell these songs the duo would often record demo versions of the songs, and some of these have surfaced over the years, although not 'I'm Into Something Good' or 'Halfway To Paradise', which I'd love to hear. 
For this album I've gathered together 15 of these demos that have turned up over the years, which are mostly King with piano or guitar accompaniment, although on 'Up On The Roof' she plays piano while Goffin takes the vocal. You might not know that she wrote 'The Porpoise Song' for The Monkees' film 'Head', with that song since going on to become a psychedelic classic, and she tried it again with 'Dear Marm', although that one wasn't picked up by the band. When you see a list of the songs that Goffin & King wrote it's almost unbelievable that they came from the pens of just two people, as there are so many classic songs in their repertoire, and we can now hear them as the band or artist who were interested in them would have first heard these songs.   

Track listing

01 Crying In The Rain
02 Oh No, Not My Baby
03 Up On The Roof (Carole King piano, Gerry Goffin vocal)
04 Go Away Little Girl
05 Stage Door
06 Hey Girl
07 Take A Giant Step
08 Just Once In My Life
09 If I'm Late
10 Pleasant Valley Sunday
11 Take Good Care Of My Baby
12 Porpoise Song
13 Dear Marm
14 Yours Until Tomorrow
15 Image Collector