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Renaissance - Selftitled (Progressive Rock UK 1969) + Bonus Album
101 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Following the break-up of The Yardbirds in early 1968 drummer Jim McCarty and guitarist/vocalist Keith Relf formed TOGETHER, an acoustic based group. This short lived then became RENAISSANCE in early 1969 with the addition of John Hawken (keyboard), Louis Cennamo (bass) and Jane Relf (vocal). So, this is the PRE ANNIE HASLAM period of the band. Musically, I would say this debut album has significant contribution in laying strong foundation of progressive rock music altogether with King Crimson, ELP, Yes, Genesis and Pink Floyd. RENAISSANCE has its own identity than the others. This debut album sets an important milestone for RENAISSANCE music direction in the future.
"Island" is again an acoustic guitar and piano based song with female vocal of JANE RELF as lead with male vocal as backing. The bass guitar play is dynamic throughout the track. Stunning. The inclusion of piano solo in classical style has made this track more attractive. "Wanderer" is a more uplifting track with great piano and harpsichord sounds. I like the melody of harpsichord just before and during the singing of JANE RELF. It reminds me to the kind of RICK van DER LINDEN of TRACE music. It's not the same, but the musical nuances are similar. This track has great melody!
The album is concluded fabulously with an epic track "Bullet" with 11:24 minutes duration. Again, the band gives a wonderfully crafted composition. This time the opening sound of piano is set to welcome the latin-like voices. KEITH RELF takes the lead vocal function backed with jazzy piano and drumming style. The overall composition of this song is more of in an avant-garde music, I think. It has high and low points with some musical exploration of sounds at the end of the track. I think this album is a masterpiece.
There were two groups under the banner of RENAISSANCE. The first group included Keith and Jane RELF (vocals) and came from the YARDBIRDS ashes. The second and better known incarnation produced some of the best music that I have ever heard. Annie HASLAM's five octave range fit perfectly with the classical/orchestral rock (lot of piano playing & full symphony orchestra backup) created by the other members. The quick description I usually give is they are sort of like the old MOODY BLUES with a an incredible female vocalist. The soprano voice of Annie and the piano virtuosity of John TOUT allied to the beauty and refreshing melodies, the refinement of the arrangements gave their music its magnificent splendour.
Renaissance are an English progressive rock band, most notable for their 1978 UK top 10 hit "Northern Lights" and progressive rock classics like "Carpet of the Sun", "Mother Russia", and "Ashes Are Burning".
In January 1969, former Yardbirds members Keith Relf and Jim McCarty organised a new group devoted to experimentation between rock, folk, and classical forms. This quintet—Relf on guitar and vocals, McCarty on drums, plus bassist Cennamo, pianist Hawken, and Relf's sister Jane as an additional vocalist—released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.
The band had begun performing in May 1969, before recording had begun for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970, they embarked on a North American tour, but that month-long trek proved marginally successful, as, because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks, and their new classically oriented direction did not always go down well with audiences.
Apart from Jane Relf, the new band consisted mostly of former members of Hawken's previous band, The Nashville Teens – guitarist Michael Dunford, bassist Neil Korner and singer Terry Crowe, plus drummer Terry Slade. This line-up recorded one track, "Mr Pine", a Dunford composition, and played a few gigs during the summer of 1970. Meanwhile a final recording session brought together the original line-up minus Hawken, with Don Shin sitting in on keyboards, and produced the album's closing track "Past Orbits of Dust". The now completed Illusion was released in Germany in 1971, although not released in the UK until 1976 (Island HELP 27). The album marked the beginning of Renaissance's long-standing collaboration with poet Betty Thatcher-Newsinger as lyricist when she co-wrote two songs with Relf and McCarty.
The two remaining original members left in the autumn of 1970; Jane Relf was replaced by American folk singer Anne-Marie "Binky" Cullum, then John Hawken left to join Spooky Tooth and pianist John Tout replaced him.
There is an extant video (released on the DVD "Kings & Queens" in 2010) of that line-up performing five songs on a German TV program (Muzik-Kanal). The plan at the time was that Keith Relf and Jim McCarty would remain involved as non-performing members – Relf as a producer and McCarty as a songwriter.
Both were present when singer Annie Haslam successfully auditioned in January 1971 to replace the departing Cullum (who would later marry drummer Terry Slade and is currently a massage therapist in the UK). While McCarty would go on to write songs for the new band, Relf's involvement would be short-lived. Dunford soon emerged as a prolific composer, and continued the writing partnership with Thatcher, who would go on to write most of the lyrics for the band's 1970s albums.
01. "Kings and Queens" Relf-McCarty-Hawken-Cennamo 10:56
02. "Innocence" Relf-McCarty-Hawken-Cennamo 7:07
03. "Island" Relf-McCarty-Hawken-Cennamo 5:58
04. "Wanderer" Hawken-McCarty 4:02
05. "Bullet" Relf-McCarty-Hawken-Cennamo 11:21
Bonus CD Single Tracks:
01. "Island" 03:39
02. "The Sea" 03:05
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Renaissance - Illusion (Progressive Rock UK 1971)
Size: 127 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
After their debut album's success (especially in France, Germany and Belgium), the group went in the studio for the follow-up in a state of disunion. Indeed, McCarty had become tired of touring, but chose to remain as a songwriter and studio member (and was trying to build as touring version of the band), and before Illusion was finished, the group had disbanded. Indeed Keith's failing health was also forcing him to stop touring and wanted to concentrate on writing, Cennamo left for Steamhammer via Colosseum (both the latter would meet up again in Armageddon, Keith's fateful end), Hawken coming and going from the group, then finally splitting for Spooky Tooth and later Strawbs, but was persuaded to finish the album. But by the time things had imploded, the album was still too short for release, and it is the reserve/touring group that produced the final track. So Renaissance's Mk II line-up lasted one studio song, but would tour a few months and be filmed for a Belgian TV special.
Definitely not as good as the debut, Illusion is a confused and patchy album (for the reasons stated), but surprisingly still good and a definitely a Renaissance-worthy album, that should not be overlooked, but investigated in a second or third wave. And if you manage to find in its Repertoire mini-Lp form, you might want to go for it a little dsooner than expected, because it is a beauty.
There were two groups under the banner of RENAISSANCE. The first group included Keith and Jane RELF (vocals) and came from the YARDBIRDS ashes. The second and better known incarnation produced some of the best music that I have ever heard. Annie HASLAM's five octave range fit perfectly with the classical/orchestral rock (lot of piano playing & full symphony orchestra backup) created by the other members. The quick description I usually give is they are sort of like the old MOODY BLUES with a an incredible female vocalist. The soprano voice of Annie and the piano virtuosity of John TOUT allied to the beauty and refreshing melodies, the refinement of the arrangements gave their music its magnificent splendour.
My favorite RENAISSANCE albums are "Ashes Are Burning" and "Turn of the Cards". I also recommend "Novella", "Scheherezade and Other Stories" and "A Song for All Seasons" are must haves. I would add "Live At Carneige Hall" and "King Biscuit Hour Parts 1 and 2" as their 'prime' material. Plenty to fill a day with class, power and ethereal delights. The best introduction to the band would be the "Tales of 1001 Nights" compilation, which together contain of the band's best material from 72 through 80. Also the very first album from '69 is essential. After 1979, the band moved towards a more pop direction, like many other bands did in the late 70's.
01. Love Goes On (2:51)
02. Golden Thread (8:15)
03. Love Is All (3:40)
04. Mr. Pine (7:00)
05. Face Of Yesterday (6:06)
06. Past Orbits Of Dust (14:39)
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★★ Five Good Suprises For Record Collectors ★★
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Syd Barrett - Barrett (2nd Album UK 1970)
Size: 121 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Barrett is the second and final studio album of new material released by former Pink Floyd frontman Syd Barrett. Recording began at Abbey Road Studios on 26 February 1970, and lasted for 15 sessions until 21 July. The album was produced by Pink Floyd's guitarist David Gilmour, who also contributed on bass guitar, and features contributions from fellow Pink Floyd member Richard Wright on keyboard and previous Madcap contributor Jerry Shirley on drums.
Barrett was released in November 1970 on Harvest in the United Kingdom and Capitol in the United States, but failed to chart in both markets; it was re-released in 1974 as part of Syd Barrett. No singles were issued from the album.
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From mid to late 1967, Syd Barrett's erratic behaviour became more apparent, and at one performance of the band's first US tour, Barrett slowly detuned his guitar. The audience seemed to enjoy such antics, unaware of the rest of the band's consternation. Interviewed on Pat Boone's show during this tour, Barrett's reply to Boone's questions was a "blank and totally mute stare". Initial sales and reaction of Barrett's first solo album, The Madcap Laughs, were deemed sufficient by EMI to sanction a second solo album.
On 24 February 1970, a month after releasing Madcap, Barrett appeared on John Peel's Top Gear radio show, where he performed only one song from the newly released album ("Terrapin"), three that would later be recorded for Barrett ("Gigolo Aunt", "Baby Lemonade" and "Effervescing Elephant") and a one-off ("Two of a Kind", possibly written by Richard Wright). The session producers had no verbal contact with Barrett, having only communication to him via Gilmour. For the radio session, Gilmour and Humble Pie drummer Jerry Shirley accompanied Barrett on bass and bongos, respectively. The version of "Gigolo Aunt" recorded for the radio session (and later released on 1988's The Peel Session) was unfinished, as Barrett had sung the opening verse three times. Barrett played slide guitar on the radio version of "Baby Lemonade", with Gilmour on organ.
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Two days later, he began working on his second album in Abbey Road Studios, with Gilmour as producer, and a trio of musicians: Richard Wright, Shirley and Gilmour himself. The main aim for the Barrett sessions was to give Barrett the structure and focus many felt was missing during the long and unwieldy sessions for The Madcap Laughs. Thus, the sessions were more efficiently run and the album was finished in considerably less time than The Madcap Laughs (six months, compared to Madcap's one year).
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On 6 June 1970, Barrett gave his one and only official solo performance, at the Olympia in Kensington, backed once more by Gilmour and Shirley. At the end of "Octopus", the fourth number of the set, Barrett baffled the audience and his backing musicians by abruptly taking off his guitar and walking off stage.
The first session was on 26 February, three of the first songs—fully recorded—attempted during the session were "Baby Lemonade", "Maisie" and "Gigolo Aunt". However, Gilmour thought they were losing the "Barrett-ness". After "Baby Lemonade" was attempted, 2 takes of "Maisie" were recorded before Barrett went into 15 takes of "Gigolo Aunt". The next day, two-track demos of "Wolfpack", "Waving My Arms in the Air", "Living Alone" and "Bob Dylan Blues", were recorded. The former two made it to the album; the latter two didn't. On the recording sheet, it lists Gilmour as having taken home a copy of the latter two, Gilmour later returned and took the master tapes too. Gilmour has since said "Those sessions were done so quickly.
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We were rushing to gigs every day and had to fit recording sessions in between. I probably took it away to have a listen and simply forgot to take it back. It wasn't intended to be a final mix. Syd knocked it off, I took a tape home." Despite some minor work made to "Gigolo Aunt", Barrett wouldn't return to Abbey Road Studios until 1 April, due to Pink Floyd working on their 1970 album, Atom Heart Mother. On various occasions, Barrett would "spy" on the band as they recorded the album. Again, Barrett recorded some work to a song, "Wolfpack," on the 3rd, before the sessions were postponed until 5 June, this time due to Gilmour and Wright going on tour in the US with Pink Floyd.
On the session of 5 June, Barrett managed to record an unknown number of two-track demos for three songs: "Rats", "Winded and Dined", and "Birdie Hop". The "Rats" demo recorded here, became the basis for the album master, and would later be overdubbed by musicians, despite the changing tempos.
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Two days later, on the 7th, Barrett recorded "Milky Way", "Millionaire", before being rounded off with overdubs for "Rats". "Millionaire" was originally titled "She Was a Millionaire", was originally recorded by Pink Floyd. Barrett recorded two attempts at a backing track before abandoning it, and adding vocals. Yet another break in recording occurred, until 14 July, where Barrett recorded several takes of "Effervescing Elephant", while numerous overdubs were added to Barrett's "Wined and Dined" demo by Gilmour.
Three takes of "Dominoes" ensued, with an unknown number of takes of "Love Song", "Dolly Rocker" and "Let's Spilt" were recorded."Love Song" and "Dolly Rocker" were both overdubbed, the former being overdubbed from 17 to 21 July, but overdubs for the latter were wiped. On 21 July, Barrett worked on another Untitled track (later to be titled as "Word Song"), recording only one take, before recording 5 takes of the last new song to be recorded for Barrett: "It Is Obvious". Barrett worked on remakes of two tracks: "Maisie", and "Waving My Arms in the Air" (the latter now seguing into a new track, "I Never Lied to You").
We really had basically three alternatives at that point, working with Syd. One, we could actually work with him in the studio, playing along as he put down his tracks – which was almost impossible, though we succeeded on 'Gigolo Aunt'. The second was laying down some kind of track before and then having him play over it. The third was him putting his basic ideas down with just guitar and vocals and then we'd try and make something out of it.
— David Gilmour,
Shirley said of Barrett's playing: "He would never play the same tune twice. Sometimes Syd couldn't play anything that made sense; other times what he'd play was absolute magic." Barrett's direction to the other musicians were limited to pronouncements like "Perhaps we could make the middle darker and maybe the end a bit middle afternoonish. At the moment it's too windy and icy".
01. "Baby Lemonade" Take 1, recorded 26 February 1970 4:10
02. "Love Song" Take 1, recorded 17 July 1970, overdubs added 17 July 3:03
03. "Dominoes" Take 3, recorded 14 July 1970 4:08
04. "It Is Obvious" Take 1, recorded 17 July 1970, overdubs added 20 July 2:59
05. "Rats" Demo, recorded 7 May 1970, overdubs added 5 June 3:00
06. "Maisie" Take 2, recorded 26 February 1970 2:51
07. "Gigolo Aunt" Take 15, recorded 27 February 1970, overdubs added 2 April 5:46
08. "Waving My Arms in the Air" Take 1, recorded 27 February 1970, overdubs and new vocal track 2 April 2:09
09. "I Never Lied to You" Take 1, recorded 27 February 1970, overdubs and new vocal track 2 April 1:50
10. "Wined and Dined" Take 10, recorded 14 July 1970 2:58
11. "Wolfpack" Take 2, recorded 3 April 1970 3:41
12. "Effervescing Elephant" Take 9, recorded 14 July 1970 1:52
Bonus Tracks:
13. "Baby Lemonade" Take 1, recorded 26 February 1970. Guitar and double-track vocals only. 03:46
14. "Waving My Arms in the Air" Take 1, recorded 26 February 1970. Guitar and vocals only 02:13
15. "I Never Lied to You" Take 1, recorded 27 February 1970. Guitar and vocals only 01:48
16. "Love Song" Take 1, recorded 14 July 1970 02:32
17. "Dominoes" Take 1, recorded 14 July 1970 00:40
18. "Dominoes" Take 2, recorded 14 July 1970 02:36
19. "It Is Obvious" Take 2, recorded 17 July 1970.Electric guitar and vocal 03:51
20. "Bob Dylan Blues" (1965) Previously unreleased 03:14
21. "Dominoes" (2010 Mix)
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![]()
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Barrett is the second and final studio album of new material released by former Pink Floyd frontman Syd Barrett. Recording began at Abbey Road Studios on 26 February 1970, and lasted for 15 sessions until 21 July. The album was produced by Pink Floyd's guitarist David Gilmour, who also contributed on bass guitar, and features contributions from fellow Pink Floyd member Richard Wright on keyboard and previous Madcap contributor Jerry Shirley on drums.
Barrett was released in November 1970 on Harvest in the United Kingdom and Capitol in the United States, but failed to chart in both markets; it was re-released in 1974 as part of Syd Barrett. No singles were issued from the album.
On 24 February 1970, a month after releasing Madcap, Barrett appeared on John Peel's Top Gear radio show, where he performed only one song from the newly released album ("Terrapin"), three that would later be recorded for Barrett ("Gigolo Aunt", "Baby Lemonade" and "Effervescing Elephant") and a one-off ("Two of a Kind", possibly written by Richard Wright). The session producers had no verbal contact with Barrett, having only communication to him via Gilmour. For the radio session, Gilmour and Humble Pie drummer Jerry Shirley accompanied Barrett on bass and bongos, respectively. The version of "Gigolo Aunt" recorded for the radio session (and later released on 1988's The Peel Session) was unfinished, as Barrett had sung the opening verse three times. Barrett played slide guitar on the radio version of "Baby Lemonade", with Gilmour on organ.
The first session was on 26 February, three of the first songs—fully recorded—attempted during the session were "Baby Lemonade", "Maisie" and "Gigolo Aunt". However, Gilmour thought they were losing the "Barrett-ness". After "Baby Lemonade" was attempted, 2 takes of "Maisie" were recorded before Barrett went into 15 takes of "Gigolo Aunt". The next day, two-track demos of "Wolfpack", "Waving My Arms in the Air", "Living Alone" and "Bob Dylan Blues", were recorded. The former two made it to the album; the latter two didn't. On the recording sheet, it lists Gilmour as having taken home a copy of the latter two, Gilmour later returned and took the master tapes too. Gilmour has since said "Those sessions were done so quickly.
On the session of 5 June, Barrett managed to record an unknown number of two-track demos for three songs: "Rats", "Winded and Dined", and "Birdie Hop". The "Rats" demo recorded here, became the basis for the album master, and would later be overdubbed by musicians, despite the changing tempos.
Three takes of "Dominoes" ensued, with an unknown number of takes of "Love Song", "Dolly Rocker" and "Let's Spilt" were recorded."Love Song" and "Dolly Rocker" were both overdubbed, the former being overdubbed from 17 to 21 July, but overdubs for the latter were wiped. On 21 July, Barrett worked on another Untitled track (later to be titled as "Word Song"), recording only one take, before recording 5 takes of the last new song to be recorded for Barrett: "It Is Obvious". Barrett worked on remakes of two tracks: "Maisie", and "Waving My Arms in the Air" (the latter now seguing into a new track, "I Never Lied to You").
We really had basically three alternatives at that point, working with Syd. One, we could actually work with him in the studio, playing along as he put down his tracks – which was almost impossible, though we succeeded on 'Gigolo Aunt'. The second was laying down some kind of track before and then having him play over it. The third was him putting his basic ideas down with just guitar and vocals and then we'd try and make something out of it.
— David Gilmour,
Shirley said of Barrett's playing: "He would never play the same tune twice. Sometimes Syd couldn't play anything that made sense; other times what he'd play was absolute magic." Barrett's direction to the other musicians were limited to pronouncements like "Perhaps we could make the middle darker and maybe the end a bit middle afternoonish. At the moment it's too windy and icy".
01. "Baby Lemonade" Take 1, recorded 26 February 1970 4:10
02. "Love Song" Take 1, recorded 17 July 1970, overdubs added 17 July 3:03
03. "Dominoes" Take 3, recorded 14 July 1970 4:08
04. "It Is Obvious" Take 1, recorded 17 July 1970, overdubs added 20 July 2:59
05. "Rats" Demo, recorded 7 May 1970, overdubs added 5 June 3:00
06. "Maisie" Take 2, recorded 26 February 1970 2:51
07. "Gigolo Aunt" Take 15, recorded 27 February 1970, overdubs added 2 April 5:46
08. "Waving My Arms in the Air" Take 1, recorded 27 February 1970, overdubs and new vocal track 2 April 2:09
09. "I Never Lied to You" Take 1, recorded 27 February 1970, overdubs and new vocal track 2 April 1:50
10. "Wined and Dined" Take 10, recorded 14 July 1970 2:58
11. "Wolfpack" Take 2, recorded 3 April 1970 3:41
12. "Effervescing Elephant" Take 9, recorded 14 July 1970 1:52
Bonus Tracks:
13. "Baby Lemonade" Take 1, recorded 26 February 1970. Guitar and double-track vocals only. 03:46
14. "Waving My Arms in the Air" Take 1, recorded 26 February 1970. Guitar and vocals only 02:13
15. "I Never Lied to You" Take 1, recorded 27 February 1970. Guitar and vocals only 01:48
16. "Love Song" Take 1, recorded 14 July 1970 02:32
17. "Dominoes" Take 1, recorded 14 July 1970 00:40
18. "Dominoes" Take 2, recorded 14 July 1970 02:36
19. "It Is Obvious" Take 2, recorded 17 July 1970.Electric guitar and vocal 03:51
20. "Bob Dylan Blues" (1965) Previously unreleased 03:14
21. "Dominoes" (2010 Mix)
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The Rolling Stones - It's Only Goat's Head Soup..But We Like It (1974) (Bootleg)
Bitrate: 320
mp3
Found in DC++ World
Artwork Included
Ok, collection of song's."it's only rock n roll",sounds like the album version,and,does not sound great on this cd. Lot's of alternate mixes,and,some unreleased song's,for which,you can find on some other bootlegg's. Overall though,this would look good in anyone's collecton! My favorite track on this cd is,"drift away", a dobie gray song, which surprised me when i first heard it! Sound quality for the whole cd, is alright. That's why i give this a 9/10. However, it's great for your collection! Get it!
Recorded in late 1973 and completed in the spring of 1974, "It's Only Rock 'n Roll (But I Like It)" is credited to the Rolling Stones songwriting team Mick Jagger and Keith Richards, although future Rolling Stones guitarist Ronnie Wood collaborated with Jagger on it. The song was originally recorded one night in a studio at Wood's house, "The Wick" in Richmond, London. David Bowie was backing singer to Jagger's lead, and Willie Weeks played bass with Kenney Jones on drums. The song on the album is similar to that original recording, with the Stones keeping the original rhythm track.
The meaning of the lyrics was summed up by Jagger in the liner notes to the 1993 compilation Jump Back; "The idea of the song has to do with our public persona at the time. I was getting a bit tired of people having a go, all that, 'oh, it's not as good as their last one' business. The single sleeve had a picture of me with a pen digging into me as if it were a sword. It was a lighthearted, anti-journalistic sort of thing."
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| The Rollng Stones - German Single 194 |
Would it satisfy ya, would it slide on by ya, Would you think the boy is strange? Ain't he strange?”
“If I could win ya, if I could sing ya, a love song so divine,
Would it be enough for your cheating heart, If I broke down and cried? If I cried?
I said I know it's only rock 'n roll but I like it”
“Suicide right on the stage...”
Mick also has said that as soon as he wrote it, he knew it was going to be a single. He said it was his answer to everyone who took seriously what he or the band did. According to Keith there was opposition to it being a single but they persisted, saying it had to be the next single. He said that to him "that song is a classic. The title alone is a classic and that's the whole thing about it."
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| The Rolling Stones - Japan Single 1974 |
The Rolling Stones regularly perform the song in concert, although in a different key from the studio recording: on their concert albums Love You Live (1977) and Live Licks (2004), the number is in B, whereas the studio track is in E. According to Richards, the song was recorded in the wrong key, but they did not realise this until they played it live.
Rolling Stones - "It's Only Goat's Head Soup...but we like it" - Outtakes & Alternates from "It's Only Rock'n'Roll" and "Goat's Head Soup" album, 1972-1974. Source: Audio Quality: Excellent studio recording
01. It's Only Rock 'N' Roll [5:12] (rough mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
02. Ain't Too Proud To Beg [3:51] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
03. Winter [5:34] (alternate mix)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios.
04. Silver Train [4:34] (alternate mix)
1973, 28th May onwards: London, Island Recording Studios. Mixing and overdubbing for the album ‘Goat’s Head Soup’ (partially without KR).
05. Drift Away [4:12](unreleased song)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
06. Time Waits For No One [6:46] (long version)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
07. Criss Cross Man [4:06](unreleased song)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios.
08. Through The Lonely Nights [4:16] (1974 b-side only)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios.
09. Living In The Heart Of Love [4:13](unreleased song)
1974, 14th - 28th January: Munich, Germany, Musicland Studios.
10. Too Many Cooks [3:48](unreleased Mick Jagger solo-single) (The Very Best Of Mick Jagger version)
1973, late December: ALL STAR BAND. Los Angeles, California, The Record Plant. Producer: John Lennon
Line-up: John Lennon (guitar)/Jesse Ed Davis (gtr)/Danny Kortchmar (gtr)/Al Kooper (keyb)/Jim Keltner (dr)/Bobby Keys (sax)/Trevor Lawrence (sax)/Jack Bruce (bass)/Bruce Gary (dr)/Mike Finnegan (keyb)/Wolfgang Metz (bass)/Rocky Djubano (perc)/Harry Nilsson & some unidentified girls (bvoc)
11. Angie [4:39] (rough mix without reverb & 2nd keyboard overdub)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios.
12. Dance Little Sister [5:03] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
13. Till The Next Goodbye [4:40] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
14. If You Can't Rock Me [3:45] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
15. Fingerprint File [7:06] (alternate longer mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.
01. Tracks 1, 2, 5, 6, 12, 13, 14, 15 were recorded at Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio (1974, April 10th - 15th) and London, Island Recording Studios (1974, May 20th - 25th)
02. On April 1974, the Stones were in England (Newbury & London), not in Munich.
03. The Stones were in Munich on January (14th - 28th) recording early versions and primitive takes of Dance Little Sister, Drift Away, If You Really Want To Be My Friend, Living In The Heart Of Love, Luxury, Till The Next Goodbye, Time Waits For No One, Labour Swing, but I don't think any of the CD tracks are early versions or primitive takes.
04. The Stones were again in Munich on December (7th - 15th) (without Mick Taylor!), but they did not play any of the tracks from this CD. In fact, they played Act Together, Cherry Oh Baby, Fool To Cry, I Got A Letter.
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| The Rolling Stones - US Promotion Single 1974 |
The Rolling Stones - It's Only Rock N' Roll
Original Full Album UK 1974
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| Alexis Korner Part 2 |
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Loggins and Messina - Selftitled (Great 2nd Rock Album US 1972)
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Loggins and Messina is the second album by singer/songwriters Loggins and Messina, released in 1972.
Following on the success of their first album, this album built on the strengths of their debut outing. It also became the true introduction of the team, Loggins and Messina, not as singles playing together, but rather as a team that played as one.
The first full-fledged L&M album found the duo in good form as songwriters, with Messina turning in the sparkling "Thinking Of You," and the two collaborating on the hit single "Your Mama Don't Dance" and "Angry Eyes." Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young.
Kenny Loggins and Jim Messina were the most successful pop/rock duo of the first half of the '70s. Loggins was a staff songwriter who had recently enjoyed success with a group of songs recorded by the Nitty Gritty Dirt Band when he came to the attention of Messina, a record producer and former member of Buffalo Springfield and Poco.
Loggins & Messina In the next four years, Loggins & Messina released a series of gold or platinum albums, most of which hit the Top Ten. They were all played in a buoyant country-rock style with an accomplished band. Loggins & Messina (1972) featured the retro-rock hit "Your Mama Don't Dance." Full Sail (1973), On Stage (a double live album, 1974), and Mother Lode (1974) all hit the Top Ten. So Fine was an album of '50s cover songs. The pair's last new studio album, Native Sons, came out at the start of 1976.
The Best of FriendsLoggins & Messina split for two solo careers by the end of that year, their early catalog completed by a greatest-hits album, Best of Friends, and a live record, Finale. The duo reunited in 2005 and hit the road for a summer tour while the compilation The Best: Sittin' in Again was arriving in stores. The tour itself was documented on Live: Sittin' in Again at Santa Barbara Bowl, which appeared late in the year.
Biography:
Loggins and Messina is an American rock-pop duo consisting of Kenny Loggins and Jim Messina who achieved their success in the early to mid-1970s. Among their well-known songs are "Danny's Song", "House at Pooh Corner", and "Your Mama Don't Dance". After selling more than 16 million records and becoming one of the leading musical duos of the 1970s, Loggins and Messina broke up in 1976. Although Messina would find only limited popularity following the breakup, Loggins went on to be a 1980s hitmaker. In both 2005 and 2009, Loggins and Messina have rejoined for United States tours.
The two recorded a number of Loggins' compositions in Messina's home living room. When Columbia signed Loggins to a six-album contract (with the assistance of Messina), recording began in earnest for Loggins' debut album, with Messina as producer. Messina originally intended to lend his name to the Loggins project only to help introduce the unknown Loggins to Messina's well-established Buffalo Springfield and Poco audiences. But by the time the album was completed, Messina had contributed so much to the album - in terms of songwriting, arrangement, instrumentation, and vocals - that an "accidental" duo was born.
Their debut album was released November 1971 as Sittin' In. The album's first single release, the Caribbean-flavored "Vahevala" (or "Vahevella"), found top 3 success on WCFL on 18 May 1972. Although the album went unnoticed by radio upon release, it eventually gained traction by autumn 1972, particularly on college campuses, where the pair toured heavily. Loggins' and Messina's harmonies meshed so well that what was begun as a one-off album became an entity unto itself. Audiences regarded the pair as a genuine duo rather than as a solo act with a well-known producer. Instead of just continuing to produce Loggins as a sole performer, they decided to record as a duo – Loggins & Messina.
Messina assembled The Kenny Loggins Band by summoning old friends bassist Larry Sims and drummer Merel Bregante, formerly of The Sunshine Company, multireedist Jon Clarke, violinist/multireedist Al Garth and famed Grammy-winning keyboardist, songwriter and record producer Michael Omartian, who played on the debut album, but did not join them on tour, although he played keyboards on the second and third albums. Los Angeles-based session percussionist Milt Holland played on each of the duo's studio albums, but like Omartian, he did not tour with them either.
Over the next four years they produced five more original albums, plus one album of covers of other artists' material, and two live albums. They sold 16 million records and were the most successful duo of the early 1970s, surpassed later in the decade only by Hall & Oates. Their work was covered by other artists such as Lynn Anderson who recorded "Listen to a Country Song" released in 1972 and reached #3 on the charts, and perhaps most notably Anne Murray, who reached the U.S. top ten with "Danny's Song" in early 1973 and the U.S. top twenty with "A Love Song" in early 1974. A greatest-hits album, The Best of Friends, would be released a year after the duo had separated. The later studio albums often found both Loggins and Messina more as two solo artists sharing the same record rather than as a genuine partnership. As both Loggins and Messina noted in 2005, their collaboration eventually became more a competition - a frequent, almost-inevitable dynamic of show business duos.
Never really a team of true equals due to the "teacher/apprentice" nature of their music experience levels, the pair had by early 1976 quietly, amicably parted to pursue solo careers, following the release of Native Sons. Prior to the duo's final tour, Loggins accidentally cut his hand with a craft knife while practicing his wood-carving hobby at home, which required surgery and prevented him from playing guitar for most of their final tour. After a final concert in Hawaii, the duo split and went on to solo careers. Messina found solo success elusive, but Loggins went on to become one of the biggest hitmakers of the 1980s.
The two were pleased enough to consider future Loggins and Messina projects and the two also toured in 2009. "Like most relationships, we were a moment in time," Loggins said. "It's just really fun to be able to go back and celebrate that and just sort of really honor each other as grown men, in a way we never really did back then. We were young and competitive and didn't realize that it wasn't necessarily all about getting your way, but you learn that if you grow up."
Their backing band changed from album to album, with the core members listed below. Many albums featured backing members who were well known in their own right, John Townsend and Ed Sanford, later of the Sanford & Townsend Band ("Smoke from a Distant Fire"), contributed vocals and songwriting to the Native Sons, their final studio album.
Personnel:
★ Kenny Loggins - vocals, rhythm guitar, harmonica, acoustic guitar
★ Jim Messina - vocals, lead guitar, electric mandolin, acoustic guitar
★ Stephen Stills - vocals
★ Merel Bregante - backing vocals, drums
★ Lester "Al" Garth - violin, recorder, alto and tenor saxophone
★ Michael Omartian - Hammond organ, piano, harmonium, clavinet, tack piano, Wurlitzer electric piano
★ Rusty Young - dobro on "Long Tail Cat"
★ Jon Clarke - flute, oboe, recorder, baritone saxophone, soprano saxophone, tenor saxophone
★ Milt Holland - percussion
★ Larry Sims - backing vocals, bass
01. "Good Friend" (Jim Messina) – 04:04
02. "Whiskey" (Kenny Loggins) – 01:58
03. "Your Mama Don't Dance" (Loggins, Messina) – 02:48
04. "Long Tail Cat" (Loggins) – 03:47
05. "Golden Ribbons" (Messina) – 06:08
06. "Thinking of You" (Messina) – 02:19
07. "Just Before the News" (Messina) – 01:09 (instrumental)
08. "Till the Ends Meet" (Loggins) – 03:10
09. "Holiday Hotel" (Messina, Al Garth) – 02:02
10. "Lady of My Heart" (Loggins) – 01:44 (lead singer: Kenny Loggins)
11. "Angry Eyes" (Loggins, Messina) – 07:40
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Robin Trower - Robin Trower Live! (Great Concert, Stockholm, Sweden 1976)
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
An excellent recording of a superb 1975 stadium show in Sweden, Robin Trower's Live album is a perfect snapshot of the guitar hero in his prime. The record also gives ample evidence of why the Robin Trower Band was one of the most successful live guitar rock acts of the '70s, highlighting not only Trower's virtuoso Stratocaster licks, but the soulful vocals of bassist James Dewar and the polyrhythmic drumming of Bill Lordan.
It's a mystery why James Dewar isn't generally recognized as one of the finest blue-eyed soul singers of the '70s, as he is easily as talented and convincing as Paul Rogers or Joe Cocker. Here, he's in excellent form and his vocals on the slow-burning "I Can't Wait Much Longer" are spine-tingling. Although none of the performances stray too far from the songs' studio versions, that fact is part of what makes this album interesting. Live shows the Robin Trower Band to be a quintessential no-frills blues-rock band, capable of kicking serious ass no matter what the setting.
Biography:
Throughout his long and winding solo career, guitarist Robin Trower has had to endure countless comparisons to Jimi Hendrix, due to his uncanny ability to channel Hendrix's bluesy/psychedelic, Fender Strat-fueled playing style. Born on March 9, 1945, in Catford, England, Trower spent the early '60s playing guitar in various London based outfits; the most successful one being the R&B group the Paramounts, who specialized mostly in covers, but managed to issue several singles between 1963 and 1965. It wasn't until 1967 that Trower received his big break however, when he joined Procol Harum. The group had just scored a worldwide smash hit with "A Whiter Shade of Pale," but the only problem was that the band's leader, singer/pianist Gary Brooker, didn't have a proper band to back him. Brooker was previously a bandmate of Trower's in the Paramounts, and offered the guitar slot in his new fast-rising project to his old friend. As a result, Trower appeared on such Procol Harum classics as 1967's Procol Harum, 1968's Shine on Brightly, 1969's A Salty Dog, 1970's Home (which spawned the popular Trower tune "Whiskey Train"), and 1971's Broken Barricades.
The '80s saw Trower try and expand his audience with several releases that attempted to update his blues-rock style (such as 1987's slick produced Passion), but none returned the guitarist back to the top of the charts. During the early '90s, Trower returned back to Procol Harum for a brief reunion (1991's Prodigal Stranger), before backing ex-Roxy Music singer Bryan Ferry on a few releases (1993's Taxi and 1994's Mamouna, the latter of which Trower earned a co-producer credit for). Trower continued to issue solo albums in the 21st century (2000's Go My Way), while a steady stream of live sets and compilations appeared. Trower returned to work with Ferry once more on 2002's Frantic, again earning a production credit. Reassembling most of his late-'80s band, Trower released Living Out of Time in 2004 and returned with Another Days Blues in late 2005. What Lies Beneath appeared in 2009 from V-12 Records.
Personnel
* Robin Trower – guitar
* James Dewar – bass, vocals
* Bill Lordan – drums
01. "Too Rolling Stoned" 06:50
02. "Daydream" 08:02
03. "Rock Me Baby" 06:01
04. "Lady Love" 03:15
05. "I Can't Wait Much Longer" 07:07
06. "Alethea" 04:11
07. "Little Bit of Sympathy" 05:55
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Videos/Albums on the week...
Enjoy!!
ChrisGoesRock
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Can - BBC In Concert London 1973 (Bootleg)
Bitrate: 320
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Found in Outer Space
Artwork Included
"Can" was a German experimental rock band formed in Cologne, West Germany, in 1968. Later labeled as one of the first krautrock groups, they transcended mainstream influences and incorporated strong minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music.
Can constructed their music largely through collective spontaneous composition—which the band differentiated from improvisation in the jazz sense—sampling themselves in the studio and editing down the results; bassist/chief engineer Holger Czukay referred to Can's live and studio performances as "instant compositions". They had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. Through albums such as Monster Movie (1969), Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973), the band exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music.
Early years: 1968–1970
The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol, Hotel Chelsea and, perhaps most importantly, the Velvet Underground. In his own words, the trip "corrupted" him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.
“When I founded the group I was a classical composer and conductor and pianist making piano recitals, playing a lot of contemporary music but also Brahms, Chopin and Beethoven and everything. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new. It was, in a way, much newer than the new classical music which claimed to be 'the new music'.”
The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit subsequently suggested the backronym "communism, anarchism, nihilism" for the band's name. In mid-1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom. Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie, released in 1969. This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Other material recorded around the same time was released in 1981 as Delay 1968. Mooney's bizarre ranting vocals emphasized the sheer strangeness and hypnotic quality of the music, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the epic "Yoo Doo Right", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music.
Mooney returned to America soon afterwards on the advice of a psychiatrist, having been told that getting away from the chaotic music of Can would be better for his mental health.[5] The liner notes of Monster Movie claim that Mooney suffered a nervous breakdown ("caught in a Can groove"), shouting "upstairs, downstairs" repeatedly. He was replaced by the more understated Kenji "Damo" Suzuki, a young Japanese traveller found busking outside a Munich café by Czukay and Liebezeit. Though he only knew a handful of guitar chords and improvised the majority of his lyrics (as opposed to committing them to paper), Suzuki was asked to perform with the band that same night. The band's first record with Suzuki was Soundtracks, released in 1970, a compilation of music made for films that also contained two earlier tracks recorded with Mooney. Suzuki's lyrics were usually in English, though sometimes in Japanese (for example, in "Oh Yeah" and "Doko E").
Classic years: 1971–1973
The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining each other), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return."
In 1971 the band composed the music for the three-part German-language television crime mini-series Das Messer ("The Knife"), directed by Rolf von Sydow.
Tago Mago was followed in 1972 by Ege Bamyasi, a more accessible but still avant-garde record which featured the catchy "Vitamin C" and the Top 10 German hit "Spoon". Czukay: "We could achieve an excellent dry and ambient sound... [Ege Bamyasi] reflects the group being in a lighter mood."
It was followed by Future Days in 1973, which represents an early example of ambient music, as well as including the pop song "Moonshake". Czukay: "'Bel Air' [the 20 minute-long track which took up the whole of side two on the Future Days original vinyl LP] showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting."
Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah's Witness. Vocals were taken over by Karoli and Schmidt; however, after the departure of Suzuki, fewer of their tracks featured vocals, as Can found themselves experimenting with the ambient music they had begun with Future Days.
Much of Can's music was based on free improvisation and then edited for the studio albums. For example, when preparing a soundtrack, only Irmin Schmidt would view the film and then give the rest of the band a general description of the scenes they would be scoring. This assisted in the improvised soundtrack being successful both inside and outside the film's context. Also, the epic track "Cutaway" from Unlimited Edition demonstrates how tape editing and extensive jamming could be used to create a sound collage that doesn't gel perfectly, and that the flashes of genius in the improvisation needed to be cut from long, unconsolidated recordings.
Can made attempts to find a new vocalist after the departure of Damo Suzuki, although no one quite fit the position. In 1975, folk singer Tim Hardin took the lead vocal spot and played guitar with Can for one song, at two gigs, performing his own "The Lady Came From Baltimore". Malaysian Thaiga Raj Raja Ratnam played four dates with the band between January and March 1976, all of which were recorded, and did considerable studio work with them. Another vocalist, Englishman Michael Cousins, toured with Can in March (France) and April (Germany) 1976. Audiences in France disapproved of his presence and literally spat at him while on stage. There are eight recordings of Cousins performing with the band.
BBC Radio 1: 'In Concert' FM Broadcast
London, Paris Theatre, Recorded: 1973-02-19
★ Holger Czukay - bass
★ Irmin Schmidt - keyboards
★ Michael Karoli - guitars, violin
★ Jaki Liebezeit - drums
★ Damo Suzuki - vocals
01. "I`m So Green" + "Spoon" (Improvisation) 35:24
02. "Tatgirdid Janit" 22:16
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The Next Morning - Selftitled (Jimi Hendrix Infl. US Heavy 1971)
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
A wickedly rare phase 'n' fuzz fueled slice of psychedelia circa 1970! - featuring ripsnorting guitar-work by Bert Bailey- these guys were Caribbean immigrants (four from Trindad, one from the Virgin Islands) and they idolized the Who and Jimi Hendrix.
African-American psychedelic groups, and rock bands from Trinidad, were both uncommon items around 1970. The Next Morning fit into both categories, making them an interesting curiosity regardless of their music. The music, however--average 1970 hard-rock with soul, hard rock, and psychedelic influences, particularly from Jimi Hendrix--is not as unusual as their origins.
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| Rock And Roll, Here To Stay!, Ann Arbor Sun, May 7, 1971 |
The Next Morning formed in the late 1960s in New York, four of the five members having come to the city from Trinidad; Lou Phillips was from the Virgin Islands. Jimi Hendrix was a big influence on the band, as were some other hard rock acts of the period like the Who, and rock-soul hybrids like Sly Stone and the Chamber Brothers.
The Next Morning were busy on the New York club circuit and attracted attention from Columbia Records, but ended up signing to the smaller Roulette label, whose Calla subsidiary issued their lone, self-titled LP in 1971.
Although the jagged guitar sounds of Bert Bailey and some unexpected chord shifts made the album less pedestrian than some efforts in the style, the songs tended toward the long and meandering side, and the material was not as outstanding as their influences.
The Next Morning's career sputtered out in the early 1970s, with bassist Scipio Sargeant finding some work doing horn arrangements for Joe Tex and Harry Belafonte. The Next Morning album was reissued on CD by Sundazed in 1999.
01. The Next Morning 4:57
02. Life 2:57
03. Changes Of The Mind 6:01
04. Life Is Love 5:34
05. Back To The Stone Age 5:26
06. Adelane 2:51
07. A Jam Of Love 4:24
08. Faces Are Smiling 6:29
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McDonald & Sherby - Catharsis (Heavy Guitar Driven Psych US 1974)
Bitrate: 256
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Ripped By: ChrisGoesRock
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"McDonald & Sherby's" sole contribution to the canon of 20th century music was Catharsis, an album which originally appeared on the appropriately-named Omniscient label (Omniscient Records 1426S) Some have speculated that given the band's prog/psych leanings, Catharsis was probably recorded in the '70s, although the accepted wisdom is that the album was made at Minneapolis's Sound 80 Studios on 1969. The album consists of six long tracks with a decidedly heavy guitar-based vibe, all well- recorded and delivered with considerable aplomb."
The album consists of six long tracks with a decidedly heavy guitar-based vibe, all well- recorded and delivered with considerable aplomb.
A guitar-based progressive album recorded at Sound 80 in Minneapolis. Though undated, the record sounds of a mid-seventies vintage, not dissimilar to fellow Great Lakes prog rockers Kopperfield."
*** I was in this band, and was shocked to find it here! It was indeed recorded at Sound 80 in Minneapolis, but the year is 1974 - not 1969. (In 1969 I was only in the 9th grade, and living in Japan.)
01. Addoranne - 10.06
02. Sharks Around Blood - 5.27
03. Run And Hide - 4.17
04. Space Beam - 4.35
05. Swim Free - 15.01
06. Drivin´ Me Crazy - 5.18
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McDonald & Sherby - Space Beam (US 1974)
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Not to be missed: Pentagram - All Daze Here 1972-76 (Very Good Hardrock)
Bitrate: 256
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Ripped By: ChrisGoesRock
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Compilation of early material from this hard rocking Sabbath influenced American underground metal band. Mostly unreleased tracks from the first period of this long lived but under recorded outfit. Fairly lo-fi stuff recorded live with some demos and with the first single included, the songs stand up well and the guitar playing is excellent. It is surprising they didn't generate more success. Stand out for me is ":Starlady" with a stunning piece of guitar work that give me goose bumps.Overall rating 4.5/5
Man, these guys are screaming out for an LP of their own but there’s not even bones for these dogs! And slowly out of the mists comes the sub-Joy Division/E Pluribus Sabbalong of ‘Walk in the Blue Light’ in which Vincent McAllister exposes his bassist-turned-guitar hero provenance with another Bleib Alien riff you always thought Ace Frehley woulda been knocking out before his Kiss days (not true, I’m sure). In fact, that whole Roky Erikson/Bobby Liebling thing that the Swedish band Witchcraft had going really manifests here in the atmosphere of ‘Walk in the Blue Light’, enjoying a real soaring clarity and openness that Sabbath obviously never approached because of their ubermetal groovelessness.
Track 5 is that classic ‘Lazylady’ 7” they recorded a year before as Macabre, and comes on with another ‘Walk in the Blue Light’ morons-on-the-frontier riff (play ‘em back to back – they’ze virtually the same fucking riff: excellent) over an Ace Frehley’s ‘Shock Me’/’Dark Light’-style throw away vocal that meets dirty Frank Zappa around the time of OVERNIGHT SENSATION (though this sucker is a year before that Mothers’ LP) – extremely charming and funny too. This is the toon in which Liebling disses his chick and kicks her out so she buys up the whole apartment block he lives in and has him kicked out, too. Nice.
Then, we conclude with Pentagram’s finest hour by about ten bazzillion miles. ‘Last Daze Here’ is a beautiful, gleaming jewel of a death trip, with Bobby singing like he’s staring out of some spectacular ice palace and ain’t never coming back to the real world. He’s Mithra trapped in the mountain, he’s Loki with the poison reigning down on him,, but there ain’t nobody there to wipe it away in this particklier scenario. This song is imbued with a sense of tragedy you rarely hear in heavy rock. For those who don’t quite get it… whatever. But if you ever approached that post-everything vacuum, that empty cathedral in your head, that hollow, unspeaking, unblinking, unhuman emotionless inertia that even Iggy could only hint at in the flatness of ‘Sick of you’ then you truly NEED NEED NEED this song in your life. If Pentagram had only done this one song and been killed in a plane crash thereafter, we’d still be celebrating it 50 years from now. And when Bobby takes it down from his dazed almost whispered tenor to flat shark-eyed semi-spoken baritone and states: ‘Said it’s bin a little bit too long’, you feel the ice melt, then re-freeze instantly, and you know in that moment how tragic human life is, how intolerably short human life is, how the moments of adolescence that resurface in adult life must be celebrated and further celebrated, then howled about, shrieked out, screamed out… man, we are dead and in the fucking ground for so long… No No No No No No No… Gimme Life and gimme the six minutes of this toon on endless rotation.
In the fall of 1971, Liebling and O'Keefe decided to pool their talents and form a band that could play originals in the heavy style they both loved. In addition to Liebling (vocals) and O'Keefe (switching to guitar), the very first line-up featured Vincent McAllister (bass), and Steve Martin (drums). They began working up original material influenced by their idols including Blue Cheer, The Frost, The Groundhogs, Stray, and Sir Lord Baltimore, and yet even in this embryonic phase, the sound was uniquely PENTAGRAM. After a month, John Jennings returned to the fold giving the band a twin-guitar style of groups like Wishbone Ash and Thin Lizzy but it soon became apparent that further fine-tuning was needed. Martin's jazz-influence style wasn't right for the heavy direction the band wanted to go in, and so O'Keefe returned to the drums. This sadly unrecorded Mark III line-up of Liebling/Jennings/McAllister/O'Keefe lasted for all of one rehearsal which blew everyone away, but later that evening, Jennings phoned O'Keefe and said he really didn't want to play heavy hard rock, leaving the remaining three members disappointed and without a guitarist.
Product Description
Before the name was even coined, Legendary D.C. outfit PENTAGRAM was helping to invent the beast called heavy metal. For over thirty years the band, led by eccentric founder and vocalist Bobby Liebling, has remained true to its vision of songcraft in the macabre art. This unwavering dedication has influenced scores of renowned musicians some three decades on, and the legacy grows stronger with each passing year. First Daze Here Too is a brand new 2-disc set containing rare and unreleased studio recordings and live rehearsals from the early 70's. A deluxe 28-page booklet includes lyrics, detailed historical liner notes by drummer Geof O'Keefe and scores of never-before-seen PENTAGRAM photography! First Daze Here Too is 22 tracks of vintage PENTAGRAM classics from the vaults of the influential and critically-acclaimed D.C. legends!!! The legend lives on!
Disc 1:
01. Forever My Queen (1973)
02. When the Screams Come (1973)
03. Walk in the Blue Light (1973)
04. Starlady (1976
05. Lazylady (1972)
06. Review Your Choices (1973)
07. Hurricane (1973)
08. Livin’ in a Ram’s Head (1974)
09. Earth Flight (1974)
10. 20 Buck Spin (1973)
11. Be Forewarned (1972)
12. Last Days Here (1974)
Disc 2:
01. Wheel of Fortune
02. When the Screams Come
03. Under My Thumb
04. Smokescreen
05. Teaser
06. Little Games
07. Much Too Young to Know
Disc 3:
01. Virgin Death
02. Yes I Do
03. Ask no More
04. Man
05. Be Forewarned
06. Catwalk
07. Die in Your Sleep
08. Frustration
09. Target
10. Everything's Turning To Night
11. Take me Away
12. Nightmare Gown
13. Cartwheel
14. Cat & Mouse
15. Show 'Em How
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Video of the week
Captain Foam and the Doctor was a two piece band out of Canton Ohio from 1967 till probably around 70. Richard Bertram played all guitars and Mike O'brien was on drums. Ritchard previously had led Lord Ritchie and the Mariners, and Mike O'Brien had been in the Angry and The 18th Century. Captain Foam was probably the loudest band ever live.'
Captain Foam was a Extremly loud Heavy Psych/Heavy rock band. This song is of the A side of their very rare sought after single from 1968 . Anyone who knows a member of the band is welcome to get it touch. Rumour has it that Captain Foam played a 45 min version of Crossroads live..
Enjoy!!
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Barry Goldberg, Charlie Musselhite, Harvey Mandel - Chicago Anthology (Great Blues US 1966)
Size: 140 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Some Artwork Included
Source: Japan 24-Bit Remaster (Not the Bonus Tracks)
Barry Goldberg Story:
Beginnings. My mother sang and played piano, we used to play duets, then I heard Meade Lux Lewis on the radio and started playing boogie woogie by ear at 5 yrs old. First band was in high school, Denny Lee And The Ramblers. Mike Bloomfield had the rival band and we would compete for sweet 16 party gigs. That’s when I first met him. Influences were Meade Lux, Little Richard, Jerry Lee Lewis, Fats Domino. Each time period has had memorable moments, but the early blues, and rock ‘58 through ‘64 was the most fun.
Actually when I was 5 and started playing piano, my aunt bought me a drum set, and I Muddy Waters was magical, James Cotton can really blow, nobody can shake a string like Michael Bloomfield or Otis Rush. Charlie Musselwhite, and Harvey Mandel are inspirational, I love Nick Gravenites singing, Tracy Nelson and Marcy Levy vocals, Michael Bloomfield’s intensity was unbelieveable. Steve Miller’s Texas shuffle, Buddy Miles powerful drumming. Mick Taylor’s slide playing, Bob Dylan’s funky rhythm guitar, Duane Allman’s slide, Jimi Hendrix’s all around amazing chops.
The old blues scene is almost gone. Most of the great masters are in blues heaven, but there is nothing like the power of playing the blues, and the ones that are left must keep that alive! It is synonymous as life itself.
The people in Europe have always picked up on American jazz and blues more then the American people and have traditionally supported and respected the music and the artists more. That’s unfortunate, because its right here in their own backyard.
I like Harvey Mandel, Charlie Musselwhite, White Stripes, Soledad, James Cotton, Jimmy Smith, Johnnie Johnson. I would tell the people of Macedonia to embrace the blues, because it is real and true and free! It helps you when you need it. When you’re up, or when you’re down the blues is always there to help you through! You can have a good time with the blues, it can be your friend when you’re down! You can always count on the blues! We would love to bring the Chicago Blues Reunion to Europe and Macedonia. Maybe there is a way. Dear Vasja, it’s always nice to hear from people who appreciate your work. Thank you for your interest, and love for the blues, blues forever, Barry Goldberg.
Harmonica wizard Norton Buffalo can recollect a leaner time when his record collection had been whittled down to only the bare essentials: The Paul Butterfield Blues Band and Stand Back! Here Comes Charley Musselwhite's South Side Band. Butterfield and Musselwhite will probably be forever linked as the two most interesting, and arguably the most important, products of the "white blues movement" of the mid- to late '60s -- not only because they were near the forefront chronologically, but because they both stand out as being especially faithful to the style. Each certainly earned the respect of his legendary mentors. No less than the late Big Joe Williams said, "Charlie Musselwhite is one of the greatest living harp players of country blues. He is right up there with Sonny Boy Williamson, and he's been my harp player ever since Sonny Boy got killed."
It's interesting that Williams specifies "country" blues, because, even though he made his mark leading electric bands in Chicago and San Francisco, Musselwhite began playing blues with people he'd read about in Samuel Charters' Country Blues -- Memphis greats like Furry Lewis, Will Shade, and Gus Cannon. It was these rural roots that set him apart from Butterfield, and decades later Musselwhite began incorporating his first instrument, guitar.
Musselwhite was born in Kosciusko, Mississippi in 1944, and his family moved north to Memphis, where he went to high school. Musselwhite migrated to Chicago in search of the near-mythical $3.00-an-hour job (the same lure that set innumerable youngsters on the same route), and became a familiar face at blues haunts like Pepper's, Turner's, and Theresa's, sitting in with and sometimes playing alongside harmonica lords such as Little Walter, Shakey Horton, Good Rockin' Charles, Carey Bell, Big John Wrencher, and even Sonny Boy Williamson. Before recording his first album, Musselwhite appeared on LPs by Tracy Nelson and John Hammond and duetted (as Memphis Charlie) with Shakey Horton on Vanguard's Chicago/The Blues/Today series
His two releases on Virgin, Rough News in 1997 and Continental Drifter in 2000, found Musselwhite mixing elements of jazz, gospel, Tex-Mex, and acoustic Delta blues. After signing with Telarc Blues in 2002, he continued exploring his musical roots by releasing One Night in America. The disc exposed Musselwhite's interest in country music with a cover version of the Johnny Cash classic "Big River," and featured guest appearances by Kelly Willis and Marty Stuart. Sanctuary, released in 2004, was Musselwhite's first record for Real World. After extensive touring globally, he returned to the studio for its follow-up, the back-to-basics Delta Hardware, recorded in Mississippi. The set was hard-edged and raw blues and featured one live track, the hip-shaking "Clarksdale Boogie," recorded in front of a small but enthusiastic audience at Red's Juke Joint in that very town. Musselwhite returned to Alligator in 2009 and got down to business and cut The Well in Chicago, an all-original program that featured a guest duet appearance from Mavis Staples on the track "Sad Beautiful World." The song references the murder of his 93-year-old mother during a burglary in her home.
Harvey Mandel Story:
In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite.
In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai.
Recorded live in 1966 at the legendary Big John’s, a swinging Blues club in Chicago’s old town. "Together Records" released this concert 1971, USA.
Along with MANDEL and GOLDBERG this recording features CHARLIE MUSSELWHITE on harmonica, ROY RUBY on bass, MORRIS MCKINLEY on drums, and on guitar BOBBY JONES.
Personnel:
★ Bass – Roy Ruby
★ Drums – Maurice McKinley
★ Guitar – Dave Brian, Harvey Mandel
★ Harmonica – Charlie Musselwhite
★ Organ – Barry Goldberg
★ Saxophone – Cliff Davis
★ Vocals – Bobby Jones, The Day Jobbers
01. Slow Down I'm Gonna Lose You 03:04
02. I Loved And Lost 04:18
03. Big Boss Man 05:09
04. Funk 05:35
05. Aunt Lilly 02:09
06. You Got Me Crying 03:25
07. Times I've Had 02:12
08. Hoochie Cooche Man 03:32
Bonus Tracks:
09. Barry Goldberg & Friends - One More Mile [Bonus]
10. Charlie Musselwhite - Sundown [2006 Bonus Track]
11. Charlie Musselwhite - Blues For Yesterday [2006 Bonus Track]
12. Charlie Musselwhite - Key to the Highway Live [Bonus]
13. A.B. Skhy w. C. Musselwhite - Thinking It Over [Bonus 1969]
14. A.B. Skhy w. C. Musselwhite - Sweet Little Angel [Bonus 1969]
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Canned Heat - Selftitled (1st Album Mono 1967) + Bonus
Bitrate: 256
mp3
Artwork Included
Canned Heat is the 1967 debut album by Canned Heat. It was released shortly after their appearance at the Monterey Pop Festival, and features performances of several blues covers.
This debut long-player from Canned Heat was issued shortly after their appearance at the Monterey International Pop Music Festival. That performance, for all intents and purposes, was not only the combo's entrée into the burgeoning underground rock & roll scene, but was also among the first high-profile showcases to garner national and international attention.
Although their blues might have suggested that the aggregate hailed from the likes of Chicago or Memphis, Canned Heat actually formed in the Los Angeles suburb of Topanga Canyon, where they were contemporaries of other up-and-coming rockers Spirit and Kaleidoscope. Wilson and Hite's almost scholarly approach created a unique synthesis when blended with the band's amplified rock & roll. After their initial studio sessions in April of 1967 produced favorable demos, they returned several weeks later to begin work in earnest on this platter.
Blues aficionados will undoubtedly notice references to a pair of Howlin' Wolf classics -- "Smokestack Lightning" as well as "I Asked for Water (She Gave Me Gasoline)" -- as part of the rambling "Road Song." While decidedly more obscure to the casual listener, Eddie "Guitar Slim" Jones "Story of My Life" is both a high point on this recording, as well as one of the fiercest renditions ever committed to tape. Until a thorough overhaul of Canned Heat's catalog materializes, this title can be found on the Canned Heat/Boogie With Canned Heat (2003) two-fer that couples this title with their 1968 follow-up.
Certainly their hearts were in the right place. Canned Heat's debut album -- released shortly after their appearance at Monterey -- was every bit as deep into the roots of the blues as any other combo of the time mining similar turf, with the exception of the original Paul Butterfield band. Hite was nicknamed "The Bear" and stalked the stage in the time-honored tradition of Howlin' Wolf and other large-proportioned bluesmen.
Canned Heat's breakthrough moment occurred with the release of their second album, establishing them with hippie ballroom audiences as the "kings of the boogie." As a way of paying homage to the musician they got the idea from in the first place, they later collaborated on an album with John Lee Hooker that was one of the elder bluesman's most successful outings with a young white (or black, for that matter) combo backing him up. After two big chart hits with "Goin' Up the Country" and an explosive version of Wilbert Harrison's "Let's Work Together," Wilson died under mysterious (probably drug-related) circumstances in 1970, and Hite carried on with various reconstituted versions of the band until his death just before a show in 1981, from a heart seizure.
Personnel:
♣ Bob Hite – vocals
♣ Alan Wilson – rhythm and slide guitar, vocals, harmonica
♣ Henry Vestine – lead guitar
♣ Larry Taylor – bass
♣ Frank Cook – drums
Additional Musician
♣ Ray Johnson (brother of Plas Johnson) – piano
01. "Rollin' and Tumblin'" (Muddy Waters) – 3:11
02. "Bullfrog Blues" (Canned Heat) – 2:20
03. "Evil Is Going On" (Willie Dixon) – 2:24
04. "Goin' Down Slow" (James Oden) – 3:48
05. "Catfish Blues" (Robert Petway) – 6:48
06. "Dust My Broom" (Robert Johnson, Elmore James) – 3:18
07. "Help Me" (Sonny Boy Williamson II) – 3:12
08. "Big Road Blues" (Tommy Johnson) – 3:15
09. "The Story of My Life" (Guitar Slim) – 3:43
10. "The Road Song" (Floyd Jones) – 3:16
11. "Rich Woman" (Dorothy LaBostrie, McKinley Millet) – 3:04
Bonus:
Canned Heat, WBCN Studios
Boston, MA, 1972-02-22
Source: FM, Quality: A
-=Disc One=-
01.Back On The Road Again
02.Talking
03.Chicago Bound
04.Talking
05I Don't KNow What I'll Do With Myself
06.Talking
07.I Feel So Bad
08.Sneakin' Around
09.Talking
10.Big City (splice)
11.Big City pt.2
12.Talking
13.My Love For You Won't Grow Cold
-=Disc Two=-
01.Framed
02.Talking
03.Hill Stomp
04.Talking
05.Thats Alright
06.Talking
07.Let's Work Together
08.Let's Work Together pt.2
09.Talking
10.A Long Way From L.A
11.Talking
12.Have You Ever Loved A Women?
13.Radio AD for Canned Heat at the Electric Ballroom,Dallas,TX
Part 1: Link
Part 2: Link
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Moby Grape - Selftitled (Great 1st Album US 1967 + Bonus)
Bitrate:
mp3
Found in DC++ World
Some Artwork Included
Moby Grape is the rock band Moby Grape's eponymous 1967 debut album. Coming from the San Francisco scene, their reputation quickly grew to immense proportions, leading to a bidding war and a contract with Columbia Records. The album peaked at #24 on the Billboard 200 albums chart in September 1967.
The flag behind Skip Spence is actually a United States flag that Columbia Records decided to obscure through airbrushing, presumably due to the political climate of the times. On the original release, the flag is colored red. When the cover was revised to remove the offending finger mentioned above, the flag was changed from red to black, again presumably due to possible political interpretations (the association of the color red with communism). The Edsel vinyl (1984) and CD (1989) re-issues restored the photo to its original state, with Don Stevenson's displayed finger and an un-airbrushed United States flag. Other CD re-issues use the cover from the first pressing, with the finger intact and the flag tinted red.
Noted rock critic Robert Christgau listed it as one of The 40 Essential Albums of 1967. As reviewed by Mark Deming, "Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands.
In 2008, Skip Spence's song "Omaha" was listed as number 95 in Rolling Stone's "100 Greatest Guitar Songs of All Time". The song was described there as follows: "On their best single, Jerry Miller, Peter Lewis and Skip Spence compete in a three-way guitar battle for two and a quarter red-hot minutes, each of them charging at Spence's song from different angles, no one yielding to anyone else.
" Writing in 1967, shortly after the album's release, Crawdaddy! creator Paul Williams described "Omaha" as "the toughest cut on the album (and) one of the finest recorded examples of the wall-of-sound approach in rock. It surges and roars like a tidal wave restrained by a seawall."
Personnel
♦ Peter Lewis – rhythm guitar, vocals
♦ Bob Mosley – bass, vocals
♦ Jerry Miller – lead guitar, vocals
♦ Skip Spence – rhythm guitar, vocals
♦ Don Stevenson – drums, vocals
01. "Hey Grandma" Jerry Miller, Don Stevenson 02:43
02. "Mr. Blues" Bob Mosley 01:58
03. "Fall on You" Peter Lewis 01:53
04. "8:05" Miller, Stevenson 02:17
05. "Come in the Morning" Mosley 02:20
06. "Omaha" Skip Spence 02:19
07. "Naked, If I Want To" Miller00:55
08. "Someday" Miller, Stevenson, Spence02:41
09. "Ain't No Use" Miller, Stevenson 01:37
10. "Sitting by the Window" Lewis 02:44
11. "Changes" Miller, Stevenson 03:21
12. "Lazy Me" Mosley 01:45
13. "Indifference" Spence 04:14
MOBY GRAPE (KSAN Live Bonus Production )
Avalon Ballroom 1967
14. "It Depends On You" 07:34
15. "Changes" 04:23
16. "Leavin'" 01:57
17. "Grape Jam with Big Brother... 05:12
Extra Bonus:
MOBY GRAPE - FALL ON AMSTERDAM 1969-02-12
01. I'm Not Willing 05:23
02. Trucking Man 02:07.
03. Sitting By The Window 03:40
04. Fall On You 02:23
05. Murder In My Heart For The Judge 05:13
06. Untitled Blues 04:57
07. Omaha 05:38
08. If You Can't Learn From My Mistakes05:11
09. Hey Grand Ma 04:53
10. Omaha Reprise 05:49
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Video of the week... "Seasick Steve"
[WIKIPEDIA]
Steven Gene Wold (born 1941), commonly known as Seasick Steve, is an American blues musician. He plays mostly personalized guitars, and sings, usually about his early life doing casual work.
Wold was born in Oakland, California. When he was four years old, his parents split up. His father played boogie-woogie piano and Wold tried to learn when he was five or six, but could not. At the age of eight, he learned to play the guitar from K. C. Douglas, who worked at his grandfather's garage, later realising that he had been taught the blues. Douglas wrote the song "Mercury Blues" and had played with Tommy Johnson in the early 1940s. Wold left home at 13 to avoid abuse at the hands of his stepfather, and lived rough and on the road in Tennessee, Mississippi and elsewhere, until 1973.
In the 1960s, Wold started touring and performing with fellow blues musicians, and had friends in the music scene including Joni Mitchell. Since then, he has worked, on and off, as a session musician and studio engineer. In the late 1980s, while living in Olympia, near Seattle, he worked with many indie label artists. In the 1990s he continued to work as a recording engineer and producer, producing several releases by Modest Mouse including their 1996 debut album This Is a Long Drive for Someone with Nothing to Think About.
At one time, living in Paris, Wold made his living busking, mostly on the metro. After moving to Norway in 2001, Wold released his first album, entitled Cheap, recorded with The Level Devils as his rhythm section, with Jo Husmo on stand-up bass and Kai Christoffersen on drums. His debut solo album, Dog House Music was released by Bronzerat Records on November 26, 2006, after he was championed by an old friend, Joe Cushley, DJ on the Balling The Jack blues show on London radio station Resonance FM.
Wold made his first UK television appearance on Jools Holland's annual Hootenanny BBC TV show on New Year's Eve 2006. He performed a live rendition of "Dog House Boogie" on the "Three String Trance Wonder" and the "Mississippi Drum Machine". After that show his popularity exploded in Britain, as he explained in an interview:[16]
"I can't believe it, all of the sudden I'm like the cat's meow!"
He was well received in the UK, winning the 2007 MOJO Award for Best Breakthrough Act and going on to appear at major UK festivals such as Reading, Leeds and Glastonbury. In 2007 he played more UK festivals than any other artist.
Wold toured early in 2008, playing in various venues and festivals in the UK. He was joined on stage by drummer Dan Magnusson. KT Tunstall also dueted with Wold at the London Astoria in January 2008.[20] Wold also played many other festivals throughout the world in 2008, including Fuji Rock in Japan, East Coast Blues & Roots Music Festival in Australia, also in April 2008, and Roskilde in Denmark.
Wold's major-label debut, I Started Out with Nothin and I Still Got Most of It Left was recorded with Dan Magnusson on drums, was released by Warner Music on September 29, 2008, and features Ruby Turner and Nick Cave's Grinderman.
He has toured the UK extensively since 2007 being supported by Duke Garwood, Gemma Ray, The Sugars, Billie the Vision and the Dancers in January 2008, Amy LaVere in October 2008, Melody Nelson at the Brighton Dome on 7 October, and Joe Gideon & The Shark in January 2009. His tours in October 2008 and January 2009 were all sold out and included performances at the Royal Albert Hall, the Edinburgh Queen's Hall, the Grand Opera House in Belfast, the Apollo in Manchester, the City Hall in Newcastle and the London Hammersmith Apollo.
In 2009, Wold was nominated for a Brit Award in the category of International Solo Male Artist, That same year, BBC Four broadcast a documentary of Wold visiting the southern USA entitled Seasick Steve: Bringing It All Back Home. On January 21, Wold hosted "Folk America: Hollerers, Stompers and Old Time Ramblers" at the Barbican in London, a show that was also televised and shown with the documentary on BBC Four as part of a series tracing American roots music.
In an interview with an Australian magazine, Wold attributes much of his unlikely success to his cheap and weather-beaten guitar, "The Trance Wonder" and reveals the guitar's mojo might come from supernatural sources.
"I got it from Sherman, who is a friend of mine down in Mississippi, who had bought it down at a Goodwill store. When we were down there last time he says to me, 'I didn't tell you when you bought it off me, but that guitar used to be haunted'. I say, 'What are you talking about, Sherman?'. He says, 'There’s 50 solid citizens here in Como who'll tell you this guitar is haunted. It's the darnedest thing – we’d leave it over in the potato barn and we'd come back in and it would be moved. You'd put it down somewhere and the next morning you’d come back and it would have moved. When you took that guitar the ghost in the barn left'. He told me this not very long ago and I said to him, 'Sherman! Why didn't you tell me this before?' and he said, 'Well the ghost was gone – I didn't want it around here no more!"
On January 3, 2010, Wold appeared on the popular BBC motoring show Top Gear as the Star In A Reasonably Priced Car. He was the last star to drive in the blue Chevrolet Lacetti.
In February 2010, Wold was nominated for a Brit Award in the category of International Solo Male Artist for the second consecutive year.
In 2010, Wold made numerous festival appearances throughout the summer, including the Pyramid Stage at the Glastonbury Festival, the main stage at V Festival, the main stage at the Hop Farm Festival and many more.
In February 2011, Wold signed to Play It Again Sam to release his new album with the exception of the US, where it will be released on Third Man Records. Subsequently his new album You Can't Teach an Old Dog New Tricks was released on his new labels and it was announced that former Led Zeppelin bassist John Paul Jones had played on the new album, and performed alongside Wold to promote it. This caused some to believe that he will tour with Wold as a part of his backing band, joining his then-current drummer Dan.[citation needed] John Paul Jones did indeed appear onstage to play with Wold at the Isle of Wight 2011 festival and on the main stage of Rock Werchter 2011.
On 16 August 2014 he was the headline act at Beautiful Days in Exeter, UK, and on the 24th August he headlined at 'Victorious Festival' in Southsea, Portsmouth, UK.
Wold owns and plays several obscure and personalized instruments.
Guitars:
The Three-String Trance Wonder
This is a normal guitar that resembles a GHI Guitar made in Japan in the 1960s. It has an old Harmony pickup added with duct tape, and is tuned to G, A and B using an E string in the A position, a D in the G position and a G in the B position. At his gigs, he often tells the story that he bought it for US$75 in this condition in Como, Mississippi, from a man named Sherman, who later told him he only paid US$25 for it the day before. Wold vowed never to add another string, and that he would tour the world telling his story of how Sherman ripped him off.[16] All in good fun as Sherman Cooper is a good buddy, who gave him the guitar having had it nailed to the wall as a decoration.[15] A lot of the time he also adds, while picking up or putting away the guitar, that it is the "...biggest piece of shit in the world, I swear."[citation needed] In a BBC interview Wold claimed that the guitar was found by a friend, just with the three strings on it, and he decided to keep it that way.
Hubcap guitars
When on the TV show Top Gear, presenter Jeremy Clarkson commented that Wold's car history of over 100 cars included a Morris Minor. Wold then presented a four-string guitar that his friend Davey had made out of two old hubcaps from a Minor 1000 joined back-to-back and his wife's broomstick. Wold then played it a little in the episode. Clarkson replied that it was the best use of a Morris Minor he had ever seen.
A similar guitar was made out of Hudson Terraplane hubcaps, one of them given to him by Jack White, referring to "Terraplane Blues" by Robert Johnson.
The Mississippi Drum Machine
A small wooden box that is stomped upon, providing percussion. It is decorated with a Mississippi motorcycle registration plate ("MC33583"), and a small piece of carpet.
Nickname
When asked about his nickname, Wold has said: "because it's just true: I always get seasick". When he was ill on a ferry from Norway to Copenhagen, later in his life, a friend began playfully using the name and, despite Wold not rising to it for a while, it stuck. When asked about his name on British Sunday morning television show, Something for the Weekend, he replied, "I just get sick on boats". On Top Gear, when asked about his name, Wold replied "Well, I guess I just don't like boats!"
Personal life
Wold had two children with his first wife: Sevrin and Ivan. Sevrin is the lead singer in a rock band called Peratus. Wold married his second wife in 1982 and together they have three adult sons. Wold has problems putting down roots in one place, and he and his wife have lived in 59 houses to date. They currently live in Norway and the UK.
One of Wold's sons, Didrik, is an illustrator who is responsible for designing all of his father's album artwork, merchandise, print ads, and websites. His youngest son, Paul Martin Wold, played drums on Dog House Music and first made a guest appearance with him on percussion at the Astoria in January 2008. He has since performed with Wold frequently, playing washboard, shakers, tambourine, floor tom and occasionally guitar. He also works as Steve's guitar-tech. Paul Martin Wold, aka "Wishful Thinking", released his debut album A Waste of Time Well Spent on November 2, 2009, and showcased a selection from the album whilst touring the UK with his father.
[ALLMUSIC.COM]
Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in life than other musicians. A storytelling singer reviving traditional country blues, Wold spent his childhood in California, but left home at 14. As a hobo, he traveled for several years, jumping trains and working odd jobs. After drifting around the U.S. and Europe, he finally ended up in Norway.
Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television, and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he'd finally released some official material. His first solo album, Doghouse Music, out in late 2006, was performed almost entirely by Wold. Another record, Cheap, was recorded with the Swedish rhythm section the Level Devils.
An amorous seven-track Valentine's Day EP called Songs for Elisabeth (six of the cuts were culled from previous releases) arrived in 2010. With a rustic and at time almost punk-blues approach to his material, Wold increasingly merged country blues trance boogie with a street-holler voice that makes Tom Waits seem like a mainstream crooner, and the best of his songs carry a hard-earned wisdom that can only come from living on the street one block over from the edge of civility. He released the stark and powerful You Can't Teach an Old Dog New Tricks in 2011, and returned in 2013 with his sixth offering, Hubcap Music, which featured guest appearances from Jack White and Led Zeppelin bassist John Paul Jones. In 2015, Seasick Steve showed that his blues power was still running strong with the release of the album Sonic Soul Surfer.
Albums:
Cheap (2004)
Dog House Music (2006)
I Started Out with Nothin and I Still Got Most of It Left (2008)
Man from Another Time (2009)
You Can't Teach an Old Dog New Tricks (2011)
Hubcap Music (2013)
Sonic Soul Surfer (2015)
Compilation albums:
Songs For Elisabeth (2010)
Walkin' Man - The Best of Seasick Steve (2011)
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Janis Joplin - San Francisco Coffee Gallery 1963 + Bonus Album
Bitrate: 256
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Ripped by: ChrisGoesRock
Some Artwork Included
Janis Joplin was born in Port Arthur, Texas, on January 19, 1943, to Dorothy Bonita East (February 15, 1913 – December 13, 1998), a registrar at a business college, and her husband, Seth Ward Joplin (April 19, 1910 – May 10, 1987), an engineer at Texaco. She had two younger siblings, Michael and Laura. The family attended the Church of Christ. The Joplins felt that Janis always needed more attention than their other children, with her mother stating, "She was unhappy and unsatisfied without [receiving a lot of attention]. The normal rapport wasn't adequate." As a teenager, she befriended a group of outcasts, one of whom had albums by blues artists Bessie Smith, Ma Rainey and Lead Belly, whom Joplin later credited with influencing her decision to become a singer. She began singing in the local choir and expanded her listening to blues singers such as Odetta, Billie Holiday and Big Mama Thornton.
She left Texas for San Francisco ("just to get away from Texas", she said, "because my head was in a much different place") in January 1963, living in North Beach and later Haight-Ashbury. In 1964, Joplin and future Jefferson Airplane guitarist Jorma Kaukonen recorded a number of blues standards, further accompanied by Margareta Kaukonen on typewriter (as a percussion instrument). This session included seven tracks: "Typewriter Talk", "Trouble in Mind", "Kansas City Blues", "Hesitation Blues", "Nobody Knows You When You're Down and Out", "Daddy, Daddy, Daddy" and "Long Black Train Blues", and was later released as the bootleg album The Typewriter Tape. Around this time, her drug use increased, and she acquired a reputation as a "speed freak" and occasional heroin user. She also used other psychoactive drugs and was a heavy drinker throughout her career; her favorite beverage was Southern Comfort.
Five years later, Joplin told Rolling Stone magazine writer David Dalton the following about her first stint in San Francisco: "I didn't have many friends and I didn't like the ones I had."
For at least six months after she returned to her parents' home in Port Arthur, she regularly corresponded by mail with Peter de Blanc, with whom she had been romantically involved in San Francisco. De Blanc, a year and ten months her junior, was a well-educated New Yorker. Shortly after he and Joplin both moved away from San Francisco and their beatnik lifestyle, de Blanc was hired by IBM to work with computers at the company's location in East Fishkill, New York, and Joplin's letters reached him at his New York home.
Joplin became engaged to Peter de Blanc in the fall of 1965. Now living in New York where he worked with IBM computers, he visited her, wearing a blue serge suit, to ask her father for her hand in marriage. Joplin and her mother began planning the wedding. De Blanc, who traveled frequently, terminated plans for the marriage soon afterwards.
Just prior to joining Big Brother and the Holding Company, Joplin recorded seven studio tracks in 1965. Among the songs she recorded was her original composition for her song "Turtle Blues" and an alternate version of "Cod'ine" by Buffy Sainte-Marie. These tracks were later issued as a new album in 1995 entitled This is Janis Joplin 1965 by James Gurley.
Janis Joplin - 1963-xx-xx San Francisco
California Coffee Gallery 1353 Grant Avenue
North Beach
Line-up (unconfirmed)
★ Janis Joplin - vocals
★ Larry Hanks - acoustic guitar, vocals
★ Billy Roberts - acoustic guitar, banjo, vocals, harmonica.
★ OR possibly: Roger Perkins - acoustic guitar & vocals instead of Roberts
01. Leaving' This Morning (K.C. Blues)
02. Daddy, Daddy, Daddy
03. Careless Love
04. Bourgeois Blues
05. Black Mountain Blues
06. Gospel Ship
07. Stealin'
Bonus Album:
01. What Good Can Drinkin' Do (Joplin) - 2:49
02. I Bring the News performed by Joplin / Catherine Curtain - 2:43
03. Down on Me performed by Big Brother & the Holding Company - 2:04
04. I'm Somebody Important performed by Catherine Curtain - 1:39
05. Women Is Losers performed by Big Brother & the Holding Company - 2:03
06. Our First Record Is Finally Out performed by Catherine Curtain - 1:11
07. Piece of My Heart performed by Big Brother & the Holding Company - 4:14
08. I'm Sorry, Sorry performed by Catherine Curtain - :51
09. A Happening performed by Catherine Curtain - 2:02
10. Summertime (Gershwin/Gershwin/Heyward) - 3:58
11. He's a Beatle, Mother performed by Catherine Curtain - 1:35
12. Ball and Chain performed by Big Brother & the Holding Company - 9:26
13. I May Just Be a Star Someday performed by Catherine Curtain - 2:01
14. A Woman Left Lonely performed by Joplin, Janis & the Full Tilt Boogie... - 3:27
15. Twenty-Five performed by Catherine Curtain - 1:29
16. Try (Just a Little Bit Harder) performed by Joplin, Janis & Her Kozmic Blues Band - 3:55
17. Did I Tell You About My Reviews? performed by Catherine Curtain - 1:07
18. Little Girl Blue performed by Joplin, Janis & Her Kozmic Blues Band - 3:48
19. Twenty-Seven (Hall/Hall/Joplin) - 2:18
20. Me and Bobby McGee performed by Joplin, Janis & the Full Tilt Boogie... - 4:29
21. Mercedes Benz (Joplin/McClure/Neuwirth) - 2:12
22. The Last Letter: Really Rushin' Through performed by Catherine Curtain - 1:44
23. Get It While You Can performed by Joplin, Janis & the Full Tilt Boogie... - 3:23
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