October 11, 2018, 11:59 pm
Size: 207 MBBitrate: 320mp3Ripped by: ChrisGoersRockArtwork IncludedVanilla Fudge was one of the few American links between psychedelia and what soon became heavy metal. While the band did record original material, they were best-known for their loud, heavy, slowed-down arrangements of contemporary pop songs, blowing them up to epic proportions and bathing them in a trippy, distorted haze. Originally, Vanilla Fudge was a blue-eyed soul cover band called the Electric Pigeons, who formed in Long Island, New York, in 1965. Organist Mark Stein, bassist Tim Bogert, and drummer Joey Brennan soon shortened their name to the Pigeons and added guitarist Vince Martell. They built a following by gigging extensively up and down the East Coast, and earned extra money by providing freelance in-concert backing for girl groups. In early 1966, the group recorded a set of eight demos that were released several years later as While the Whole World Was Eating Vanilla Fudge, credited to Mark Stein & the Pigeons.
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Inspired by the Vagrants, another band on the club circuit led by future Mountain guitarist Leslie West, the Pigeons began to put more effort into reimagining the arrangements of their cover songs. They got so elaborate that by the end of the year, drummer Brennan was replaced by the more technically skilled Carmine Appice. In early 1967, their manager convinced producer George "Shadow" Morton (who'd handled the girl group the Shangri-Las and had since moved into protest folk) to catch their live act. Impressed by their heavy, hard-rocking recasting of the Supremes'"You Keep Me Hangin' On," Morton offered to record the song as a single; the results landed the group a deal with the Atlantic subsidiary Atco, which requested a name change. The band settled on Vanilla Fudge, after a favorite ice cream flavor.
"You Keep Me Hangin' On" didn't perform as well as hoped, but the band toured extensively behind its covers-heavy, jam-oriented debut album Vanilla Fudge, which gradually expanded their fan base. Things started to pick up for the band in 1968: early in the year, they headlined the Fillmore West with the Steve Miller Band, performed "You Keep Me Hangin' On" on The Ed Sullivan Show, and released their second album, The Beat Goes On. Despite its somewhat arty, indulgent qualities, the LP was a hit, climbing into the Top 20. That summer, Atco reissued "You Keep Me Hangin' On," and the second time around it climbed into the Top Ten. It was followed by Renaissance, one of Vanilla Fudge's best albums, which also hit the Top 20. The band supported it by touring with Jimi Hendrix, opening several dates on Cream's farewell tour, and late in the year touring again with the fledgling Led Zeppelin as their opening act.
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In 1969, the band kept touring and released their first album without Morton, the expansive, symphonic-tinged Near the Beginning. After part of the band recorded a radio commercial with guitarist Jeff Beck, the idea was hatched to form a Cream-styled power trio with plenty of individual solo spotlights. Exhausted by the constant touring, the band decided that their late-1969 European tour would be their last.
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At the turn of the millennium, the group -- featuring Appice, Bogert, keyboardist Bill Pascali, and guitarist Vince Martell -- launched a more serious comeback heralded by the 2002 album The Return. Several other minor switches in lineup followed in the next few years and, in 2007, they featured Mark Stein on vocals/keyboards instead of Pascali. That group released Out Through the In Door in 2007. More tours followed as did the revolving membership, with the most notable departure being Bogert in 2011.
He was replaced by Pete Bremy, and Vanilla Fudge launched a "farewell tour" in 2011, a tour that continued for several years. A studio album, Spirit of '67, appeared in 2015; the band described as their heaviest work to date. AllmusicVanilla Fudge is an American rock band known predominantly for their extended rock arrangements of contemporary hit songs, most notably "You Keep Me Hangin' On".
The band's original lineup—vocalist and organist Mark Stein, bassist and vocalist Tim Bogert, lead guitarist/vocalist Vince Martell, and drummer and vocalist Carmine Appice—recorded five albums during the years 1967–69, before disbanding in 1970. The band is currently touring with three of the four original members: Stein, Martell, and Appice with Pete Bremy on bass as Bogert retired in 2009.
The band has been cited as "one of the few American links between psychedelia and what soon became heavy metal." Vanilla Fudge also is known to have influenced other major bands such as The Nice, Deep Purple, Yes, Styx, Led Zeppelin, and Uriah Heep.
Stein and Bogert had played in a local band called Rick Martin & The Showmen. The pair were so impressed by the swinging, organ-heavy sound of The Rascals they decided to form their own band in 1965 with Martell and Rick Martin's drummer, Mark Dolfen, who was quickly replaced by Joey Brennan. Originally calling themselves The Electric Pigeons, they soon shortened the name to The Pigeons.
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| Vanilla Fudge - US Single 1968 |
In December 1966 Brennan moved on to The Younger Brothers Band and Bogert became very impressed with a young drummer named Carmine Appice he'd heard playing at the Headliner Club on 43rd Street in a cover band called Thursday's Children. Appice was asked to join The Pigeons and in his 2016 autobiography, Stick It!, Carmine explained the name change to Vanilla Fudge: "In April 1967 the Pigeons got signed to Atlantic Records. But there was one drawback, however: Atlantic didn't want to sign a band called The Pigeons. "Ahmet Ertegun, the label's founder and president, didn't like that name and told us we had to change it.
We didn't mind, in fact, I had always thought The Pigeons was a weird thing to be called but had just gone with it. We tried to think up a new name but were getting nowhere until we played a gig at the Page 2 club on Long Island and ended up talking to a chick named Dee Dee who worked there. She told us how her grandfather used to call her Vanilla Fudge. Then she looked at us and added 'Maybe you guys should call yourselves that—you're like white soul music'. We liked it. We told our manager, Phil Basile. He liked it. We told Atlantic and they liked it, too. So Vanilla Fudge it was". A recording of The Pigeons, "While The World Was Eating Vanilla Fudge", was released by Scepter/Wand in 1970.
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| Vanilla Fudge - Australian EP 1967 |
Vanilla Fudge was managed by the reputed Lucchese crime family member Phillip Basile, who operated several popular clubs in New York. Their first three albums (Vanilla Fudge, The Beat Goes On, and Renaissance) were produced by Shadow Morton, whom the band met through The Rascals. When Led Zeppelin first toured the United States in early 1969, they opened for Vanilla Fudge on some shows.
The band's biggest hit was its cover of "You Keep Me Hangin' On," a slowed-down, hard rocking version of a song originally recorded by The Supremes. This version featured Stein's psychedelic-baroque organ intro and Appice's energetic drumming. It was a Top 10 hit in Canada, the United States, and Australia and a Top 20 hit in the UK in 1967.
The members of Vanilla Fudge were great admirers of the Beatles, and covered several of their songs including "Ticket to Ride", "Eleanor Rigby" and "You Can't Do That". The self-titled debut album quotes "Strawberry Fields Forever" at the end, with the line "there's nothing to get hung about."
According to Ritchie Blackmore and Jon Lord, Vanilla Fudge's organ-heavy sound was a large influence on the British band Deep Purple, with Blackmore even stating that his band wanted to be a "Vanilla Fudge clone" in its early years.
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| Vanilla Fudge - Italy Single 1969 |
Vanilla Fudge played a farewell concert at the Phil Basile's Action House on March 14, 1970. After that, Bogert & Appice departed to form another group, Cactus, that they had been planning since late 1969. They left Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck in 1972. Stein, left on his own, tried to keep Vanilla Fudge afloat with two new players, Sal D'Nofrio (bass) and Jimmy Galluzi (drums) (both of whom had been members of a Poughkeepsie, New York, group known as 'The Dirty Elbows'). But when nothing came from this, Stein ended up forming a new group, Boomerang, with Galluzi.
Since the band's breakup in 1970, Vanilla Fudge has reunited several times. They reunited in support of the Atco Records release Best of Vanilla Fudge in 1982. This resulted in Mystery, another album of new material, released in 1984. Martell was not included in this initial reunion and Ron Mancuso played guitar on Mystery instead, along with Jeff Beck, who guested under the moniker "J. Toad". Two reunion tours followed in 1987/1988. with Paul Hanson on guitar. Lanny Cordola was guitarist when the band took the stage on May 14, 1988 for Atlantic Records' 40th anniversary celebration. After that, band members went their own ways once again to pursue separate projects.
In 1991 Appice revived the Vanilla Fudge name for a tour with Ted Nugent's former band members Derek St. Holmes (guitar, vocals), Martin Gerschwitz (keyboards, vocals), and Tom Croucier (bass, vocals), which resulted in the album The Best of Vanilla Fudge – Live. Wikipedia
01. You Keep Me Hangin On02. Take Me For A Little While03. Where Is My Mind04. The Look Of Love05. Come By Day Come By Night06. Thoughts07. Season Of The Witch Pt. 108. Season Of The Witch Pt. 209. Shotgun10. Good Good Lovin'11. Some Velvet Morning12. People13. Need Love14. I Can't Make It Alone15. Lord In The Country16. The Windmills Of Your Mind17. Mystery18. The Stranger19. Some Velvet Morning (DJ Promo Edit)Part 1:
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| Vanilla Fudge Poster September 7, 1968 |
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October 14, 2018, 12:10 am
Size: 139 MBBitrate: 256mp3Ripped By: ChrisGoesRockArtwork Included
Do you recognize the album cover or know the name of the band? Well, if you do you are older than I am. I was a little boy when these people were making a name for themselves. Vanilla Fudge was a band known for doing covers of popular songs by injecting their psychedelic blues-rock into every groove on a record. That was then and this is now. Has that much changed?
Not really, they still kick ass and sound great. They serve notice they are back with a vengeance very quickly on the rockin' opener "Ain't That Peculiar" and renew their classic rendition of "You Keep Me Hangin'On" in their own unique way. They even do an out of character rap in Rod Stewart's "Do Ya Think I'm Sexy," which by the way, rocks the house down.
The only song on the CD that did not seem to fit was "I Want It That Way," it seemed as if they were trying to force their style of music on the song, and it did not work. Other than that, this is a great recording.
I can only hope I have the energy, soul, and emotion that this group has when I get into my fifties. We seem to be going through a rock 'n' roll renaissance lately with 60s and 70s bands reemerging and catching everyone by surprise with the great music that is being produced. They are that good, and much of what is recorded today is not worthy of your listening so it is a real treat to take this all in.
There is not only the audience that they left behind in the 60s that will be thrilled to hear this, there will be excited new listeners wondering why they never heard of this group. I got a wakeup call with Vince Martell's solo album Endless High last year. I found out what a great guitarist and vocalist he was and wondered then if he would get the Fudge back together because he was having so much success. I am glad that he did. They have also stayed current with an attractive website with updates on all the group members.
For all the hangers on and all of those that have been wondering what this band sounded like, here is your chance to hear them in present day. I encourage you to delve into their back catalog as well, it is excellent and well worth your time and hard-earned bucks. Review by Muzikman
In 2001, three members of the VANILLA FUDGE got together and proved they can still rock & roll-- these guys sound terrific! THE RETURN features reworkings of eight of their classics-- all are excellent. "Season Of The Witch," for example, is vastly improved by the loss of Mark Stein's odd poetry break midway through ("Here we sit emerged in a liquid sea of love..." etc.), as well as a truncation of the intro. The new studio version of "Shotgun" is white-hot and most welcome.
Carmine Appice is still amazing-- the man hasn't lost a beat. Vocals on "Need Love" soar high, while the Fudge's jamming surpasses their original track. The four new songs on this set are quite good, too. This album's a joy-- if you're a Vanilla Fudge fan, you're gonna love it!
★ Vince Martell - guitar, vocals ★ Bill Pascali - organ, vocals ★ Tim Bogert - bass, vocals ★ Carmine Appice - drums, vocals, producer
01. Ain't That Peculiar (6:10)02. You Keep Me Hangin' On (6:45)03. Tearin' Up My Heart (7:37) *04. Shotgun (6:05)05. People Get Ready (6:46)06. Take Me For A Little While (4:15)07. Good Good Livin' (4:42)08. I Want It That Way (6:50) *09. Need Love (4:49)10. She's Not There (5:12)11. Season Of The Witch (8:10)12. Do Ya Think I'm Sexy (7:12) *
New recordings of previous songs and three new songs*(tracks #3,8,12)1.
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October 14, 2018, 11:46 pm
AboutYou want to know about us?
Well, we're a band. You probably knew that so I'll skip to the meat and potatoes. We're a pop-rock band from Sydney Nova Scotia that lives in the HRM. We tend to describe ourselves as a clean mix of the Beatles and the Band.
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| Front Cover |
You know when you're driving around with your friends and THAT song comes on, and you all look at each other and start singing along and pretending to play the instruments? That's what we make people do.
So you walk into a bar and you see this ecstatic guy singing these contagious lyrics, bouncing around and pounding away at his guitar; that's Blair Lucas.
Blair writes 99% of our current material and he has been writing for years. You look to his left and see this slightly taller dude singing harmonies and playing what looks like a Hofner bass but it's actually just an Epiphone (You wouldn't believe how many people think it's a Hofner,) and he's wearing something probably stupid looking. That's Dan Taylor, what a weirdo. Last we have the rhythm keeper, the beat maker, the hoodie wearing specialist and all around A+ percussionist, Brett Chivari.
We've all known each other for awhile and we like to let that show in our interactions off and on stage. We've played a lot of typical bar shows, some festival related events like Action Week, some fundraisers like Run for the Cure and Children's Wish Foundation, and we managed to play the Savoy Theatre twice now. We've been climbing the gig ladder and are hoping to hop onto that nice shiny new ladder that hasn't been jumped on yet. We've had some air time on CKDU and a station in Germany which we think is pretty sweet- plus we had one of our singles on the Back Home NS Podcast.
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Our debut album was released on October 1st 2016 and since then we've been working on tons of new material that we hope to get recorded for your listening pleasures soon!
Check out our music page to hear us; and if you want us to come play a gig or event with you, send us an email- we'd love it.
We're a pop-rock band from Sydney Nova Scotia that lives in the HRM. We tend to describe ourselves as a clean mix of the Beatles and the Band.
You know when you're driving around with your friends and THAT song comes on, and you all look at each other and start singing along and pretending to play the instruments? That's what we make people do.So you walk into a bar and you see this ecstatic guy singing these contagious lyrics, bouncing around and pounding away at his guitar; that's Blair Lucas. Blair writes 99% of our current material and he has been writing for years.
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You look to his left and see this slightly taller dude singing harmonies and playing what looks like a Hofner bass but it's actually just an Epiphone (You wouldn't believe how many people think it's a Hofner,) and he's wearing something probably stupid looking.
That's Dan Taylor, what a weirdo. Last we have the rhythm keeper, the beat maker, the hoodie wearing specialist and all around A+ percussionist, Brett Chivari. We've all known each other for awhile and we like to let that show in our interactions off and on stage.
We've played a lot of typical bar shows, some festival related events like Action Week, some fundraisers like Run for the Cure and Children's Wish Foundation, and we managed to play the Savoy Theatre twice now.
We've been climbing the gig ladder and are hoping to hop onto that nice shiny new ladder that hasn't been jumped on yet.
We've had some air time on CKDU and a station in Germany which is pretty sweet, and had one of our singles on the Back Home NS Podcast. The Band: ♫♪♪ Blair Lucas - Lead Vocals, Acoustic Rhythm guitar, percussion, harmonies, mellotron ♫♪♪ Dan Taylor - Bass, Harmonies, Acoustic Rhythm guitars, 12 String Acoustic guitar ♫♪♪ Brett Chivari - Drums, percussion
Special thanks to our guests who appeared on our album and our new single: ♫♪♪ Glen Bourgeios - Piano, Organ, Mellotron, Harmonies ♫♪♪ Arthur Fox - Electric lead and rhythm guitars ♫♪♪ Willie Moore - Electric Lead and rhythm guitars, Harmonies ♫♪♪ Michael Sheldon: Lead Guitar, Backing Vocals (New Single)
Our Album:01. Goddamn Musician Blues 03:1702. Jimmy's a Lady Now 02:5803. (This Is Not) Another Love Song 05:1804. Livin' In a Zombie Town 04:3405. Run Summer Rabbit 01:2106. Lovely Little Yellow Sweden 04:3907. Train Comin' Round 04:1508. You're Gonna Miss Me 04:2009. Farewell 04:57
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October 26, 2018, 11:47 pm
What Makes John Bonham Such a Good Drummer?A Brief History of Electric Guitar Distortion
What Makes Jimi Hendrix Such a Good GuitaristTop 10 Guitarists of All Time//ChrisGoesRock
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October 28, 2018, 12:17 am
Zurcaroh:Golden Buzzer Worthy Aerial Dance Group Impresses Tyra Banks - America's Got Talent 2018
Remember; The are amateurs, not professional.
//ChrisGoesRock
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October 28, 2018, 2:07 am
Size: 103 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
Belgium desert rock band Fire Down Below will release its new album, Hymn of the Cosmic Man, on June 8 via Ripple Music (Mothership, BANG!). The surging quartet -- once hailed as "a stoner version of Tool" -- created the LP as an outer space concept album detailing "a single soul against an unnamed threat to mankind." Hymn of the Cosmic Man was mixed for maximum trajectory by Brad Boatright (Windhand, SUNN O))), Bell Witch) and is the follow up to Fire Down Below's 2016 debut, Viper, Vixen, Goddess, Saint.
On Hymn of the Cosmic Man, Fire Down Below trades the hot desert winds of its debut for the cold desolation of outer space. "Saviour of Man", the first track released from the album, debuts in the form of a music video which builds on the album's cosmic concept. See and hear "Saviour of Man" at this location.
"Rock n’ roll ain’t dead…stoner, classic, psyche, late 60s/early 70s style, etc., you just gotta look for the good stuff. Fire Down Below is pound for pound one of the best the style has to offer in current times."
Belgium's Fire Down Below refer to themselves as "amp-hugging, hard-hitting, fuzz-loving, ear-splitting, riff-worshipping rock 'n rollers", it is a bold claim but one the band, Sam Nuytens (drums)Jeroen Van Troyen (rhythm guitar and vocals), Kevin Gernaey (lead guitar) and Bert Wynsberghe (bass guitar), can more than back up, as can be witnessed by giving their latest release "Hymn of the Cosmic Man" (Ripple Music) a spin.
The word "cosmic" is well used in this albums title as the album has very much a space related theme running through its songs, titles like "Red Giant", "Ignition/Space Cruiser", "The Cosmic Pilgrim", "Nebula" and "Adrift in a Sea of Stars" are scattered liberally over the album length and even those songs with no reference to the vast Cosmos in their titles, " Saviour of Man" and "Ascension", are lyrically concerned with the great unknown and our place within it.
What we all come to an album for however is the music and even if you have the most mind blowing concept for your album if the music does not match the integrity of your themes/concepts then you are more or less sunk before you have begun. Thankfully Fire Down Below's grooves are more than a match for their lofty conceptual aspirations and deliver both musically and lyrically within their spacial structures, the band rocking and vibrant on "Ignition/Space Cruiser", tranquil and trippy on "Nebula" and even a little prog(ish) and Tool like on the superb "Ascension".
Fire Down Below:♦♫♦ Bert Wynsberghe - bass ♦♫♦ Jeroen Van Troyen - guitar, vocals ♦♫♦ Kevin Gernaey - guitar♦♫♦ Sam Nuytens - drums
01. Red Giant 02:1002. Ignition-Space Cruiser 07:4703. Saviour of Man 03:0804. The Cosmic Pilgrim 09:1605. Nebula 02:3406. Ascension 07:4607. Adrift in a Sea of Stars 11:081.
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October 28, 2018, 2:34 am
ThumbsPlus is a photo and graphics organizing and searching database and application for Microsoft Windows. It creates thumbnails and views images, vector files, fonts, videos, and metafiles. It also includes editing, batch editing and format conversion, searching and sorting by image similarity, image filters and processes, creating contact sheets, printing images and catalogs, displaying slide shows, changing wallpaper, launching external editors, installing and removing fonts, managing offline media, and automatically saving screen and window captures.
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File formats supportedThumbsPlus can read and display over 100 file formats, including raster (image), metafile (vector), movies, and fonts. Many additional types are configurable using OLE or filter, including Adobe Photoshop import filters.
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Batch processing is one of the most useful and powerful capabilities of ThumbsPlus. A "batch" is a group of files, and batch processing performs a set of operations on each file in the batch. Here are just a few examples of the numerous batch processes that you can do:
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You can save defined batch sets and reuse them later on different sets of files. You can even call a batch set from within another batch set! (This can be useful, for example, to write two files — for example, a GIF and a JPEG — from each input file.)
Image editing functions■ Color adjustment (hue, saturation, lightness, brightness, contrast, gamma curve)■ Change color depth (1, 4, 8-bit indexed, 16 and 32 bit grayscale, RGB (24 and 48 bit), RGBA (32 and 64 bit)■ Color balancing■ Resize (downsample, bilinear, bicubic interpolation)■ Rotate (.01 degree increments)■ Rotate to match a drawn line horizontally or vertically■ Assign and convert color profiles■ Replace colors■ Swap red and blue channels■ Invert colors■ Histogram equalization■ Histogram stretching■ Set image resolution (dpi, dpc)■ Crop, including autocrop (remove solid borders)■ Create alpha channel using selection (with feathering)■ Remove or render alpha channel■ Image stamping (overlay text or image)■ Fading any prior operation■ Rectangular, elliptical, and freehand selection■ Cut, copy, paste■ Combine images (add, subtract, multiply, divide, and, or, xor, etc.)■ Image processes: ○ Auto Color Balance ○ Improve Video Capture ○ Fluorescent Lighting ○ General Enhancement ○ Contrast Enhancement ○ Cleanup Jpeg ○ Digital Camera Cleanup ○ Sepia Tone ○ Semi-Sepia Tone ○ Photo Negative ○ Equalize Channels ○ Stretch Channels■ Image filters: ○ 6 Blur filters, including Gaussian blur ○ 11 Edge Detection, including morphological gradient ○ 11 Sharpen filters, including edge enhancement and unsharp mask ○ 22 Effects filters, including etch, drawing, oil posterize, mosaic, emboss, and glowing edges ○ 9 Noise filters, including despeckle and edge-sensitive median ○ 6 Edge processing filters
Additional features:Printing images and catalogsDigital Contact sheetsSlide showsAcquire scans using TWAIN, including multiple TWAIN acquireMovie thumbnail and viewing optionsQuick convert menu for converting multiple filesComputes image metrics for finding similar and duplicate imagesOLE and Filter support for file formats not handled internallyThumbnail creation for proprietary formatsWindows Still Image supportWeb Page WizardOptimized palettes can be generated from multiple image files.Extensive DDE commandsExtensive search capabilities with named search sets.Folder operations (copy, move, and rename)Many file sort optionsMultiple customizable thumbnail viewsPlugins are available for raw formats as well as EPS/PDFSynchronized image scrolling, panning and zooming (for comparing images)Image galleries for custom ordered slide shows and quick organizationMultiple monitor supportPhoto printing options with print previewFavorite locations for quick access to foldersAutomatic file renaming (numbering)Multiple background tasks are supportedTagging imagesBatch metadata EditorLoupe Display (magnifier)Metafile functions, including converting vector to true wmf files
The data input and search capabilities are professional and advanced while at the same time ThumbsPlus is very intuitive and easy to use for beginners in the graphic world.1.
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October 30, 2018, 11:44 pm
Size: 80.6 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan SHM-CD Remaster
Released just a few years after the epochal Phil Spector-produced River Deep Mountain High and close to six years before their breakup, Ike and Tina Turner's Hunter often gets lost in the duo's long and stormy existence.
And while the album certainly is not on the same plane as the Spector album or later work like Workin' Together, Hunter still boasts several fine blues workouts in the inimitably electrifying Ike and Tina mode. The Stax sound figures prominently here, with producer Bob Krasnow (Captain Beefheart) keeping things nice and uncluttered to better frame Tina's intense vocal workouts.
The Hunter is an Ike & Tina studio album with a very strange cover art. The title track and the song I Know were released as singles - both with the song „Bold Soul Sister“ on the b-side. The duo performed some songs live in their concerts, released on different live albums like Live In Paris from 1971.
Released originally in October 1969 from Blue Thumb Records in America and Harvest Records in Germany on vinyl, The Hunter reached #49 (R&B) and #176 (Pop) in America.
Billboard Magazine - October 18, 1969: Blue Thumb's "Outta Season" LP brought the much-recorded duo high and heavy on the charts, and their latest, featuring "l Know," should outrace all competitors for the lke & Tina Turner laurels. Bob Krasnow’s strong production sets the stage for this raucous rock 'n' blues session, as Tina rips up the vocals and lke provides the rhythm. "The Hunter" and "I Smell Trouble" should score.
A pretty sweet little album from Ike & Tina Turner – recording during a period when it seemed like they had contracts with just about every soul label on the market! This one's definitely got that hip "play it for the Fillmore crowd" sound that you'd expect from Blue Thumb – with less of the raw soul of earlier albums, and more of that "studio rootsy" feel that was sure to be big with the kids.
There is a great little funk number, though – the incredible "Bold Soul Sister", which has great funky drumbeats, chicken scratch guitar, dipping basslines, and screaming vocals by Tina Turner that make the number sound like a lost little funky 45! Other tracks are more bluesy, and include "The Hunter", "Early In The Morning", "You're Still My Baby", "You Got Me Running", and "The Things I Used To Do".
01. The Hunter 6:3702. You Don’t Love Me No More (Yes I Know) 3:0203. You Got Me Running 3:0404. Bold Soul Sister 2:3805. I Smell Trouble 3:4806. The Things I Used To Do 3:1607. Early In The Morning 3:0308. You’re Still My Baby 2:5009. I Know (You Don’t Want Me No More) 2:34
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November 11, 2018, 9:22 am
Size: 92.2 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan SHM-CD Remaster
Throughout 1965, the Revue promoted their music on rock and roll-themed musical variety series such as American Bandstand, Hollywood A Go-Go and Shindig! as well as the concert film The Big T.N.T. Show. In addition to deals with Kent, Warner and Loma, the Revue would record for seven other labels in a five-year period, through 1969.
The Turners' lack of a hit single was sometimes blamed on Ike Turner's limited facility in the studio. With Krasnow, however, that changed. Hit producer Phil Spector soon called Krasnow asking him if he could produce for Ike and Tina, to which Krasnow agreed.[20] Spector paid over $25,000 for the right to record with them, with the intent on creating his "biggest hit".
Tina recorded the Ellie Greenwich/Jeff Barry composition "River Deep – Mountain High" in late 1965. Released in 1966, the song failed to become a hit in the United States. However, in Europe, the song became a hit, reaching the top three in the United Kingdom. Its UK success prompted Spector to state in interviews, "Benedict Arnold was quite a guy", in regards to the United States' indifferent reaction to the song. Later that year, The Rolling Stones offered Ike and Tina a chance to be one of their opening acts on their fall tour in the United Kingdom, which they accepted. The duo took the opportunity afterwards to book themselves tours all over Europe and Australia where they attracted audiences. The audiences' appreciation of the band's sound stunned Ike Turner, who noted that "there wasn't anything like my show."
Following this, the band returned to the United States in demand despite not having a big hit. By 1968, they were performing and headlining in Las Vegas. That year, they signed with Blue Thumb Records and released the first of two albums with them, the first of which, Outta Season, included their modest hit cover of "I've Been Loving You Too Long" (a song originally sung and written by Otis Redding). The second Blue Thumb release, The Hunter, followed in 1969, and included their modest hit cover of the Albert King hit as well as an original composition titled "Bold Soul Sister".
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Tina's rendition of "The Hunter" led to the singer receiving her first solo Grammy nomination in 1970. Prior to the Ike & Tina Turner Revue, Ike had lived a teetotal, drug and alcohol free life. Following the success of the Revue, however, Ike began smoking marijuana and, later, cocaine, after being introduced the drug by, he says, "two famous Las Vegas headliners". In 1968, after another violent confrontation with Ike, Tina bought 50 Valiums and swallowed them all in an attempt to end her life before a show in Los Angeles; Tina eventually recovered.
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Late in 1970, the band recorded their cover of Creedence Clearwater Revival's "Proud Mary". The song was released the following January and became the duo's best-selling single to date, reaching #4 on the Billboard Hot 100 and selling well over a million copies, later winning them a Grammy Award for Best R&B Vocal Performance by a Duo or Group. The song's parent album, Workin' Together, became their most successful studio release, peaking at #25 on the Billboard 200. Later in 1971, a live album, Live at Carnegie Hall: What You Hear Is What You Get, was released, later being certified gold in the U.S.
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That year, they were reassigned to Liberty's parent label, United Artists Records, after Liberty folded, releasing their later albums on United Artists. Ike Turner later bought his own studio, naming it Bolic Sound, in 1972, where they would record the rest of their material. In 1973, the duo released the hit "Nutbush City Limits", which reached #25 in the U.S. and #4 in the UK. The duo's work on their 1974 album, The Gospel According to Ike & Tina, led to the duo receiving several Grammy nominations. One of the Turners' final R&B hits together was a funk oriented single titled "Sexy Ida (Pt. 1)".
Between 1972 and 1975, Ike and Tina also released either solo or side projects, with Ike producing three albums of material with his band The Family Vibes (formerly the Kings of Rhythm). Tina relied on outside production on her first two albums, Tina Turns the Country On and Acid Queen. The former album, consisting of country songs, resulted in Tina receiving her second Grammy solo nomination, while the latter album was released to build on the hype of Tina's well received performance in the musical film version of The Who's Tommy.
01. Come Together 03.4502. It Ain't Right (Lovin' To Be Lovin') 02.3803. Too Much Woman (For A Henpecked Man) 02.3704. Unlucky Creature 02.2705. Young And Dumb 02.5506. Honky Tonk Woman 03.1207. Why Can't We Be Happy 03.5708. Contact High 02.1809. Keep On Walkin' (Don't Look Back) 02.1410. I Want To Take You Higher11. Evil Man 03.3012. Doin' It 02.431.
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November 16, 2018, 12:32 am
Size: 136 MBBitrate: 320mp3Found in OuterSpaceArtwork Included
The Pope Smokes Dope is the third album by David Peel and The Lower East Side, released on April 17, 1972 through Apple Records.
Peel, along with John Lennon and Yoko Ono, performed Peel's "The Ballad of New York", on The David Frost Show, with Lennon playing tea-chest bass. The trio, joined by The Lower East Side Band, played several songs by Lennon and Ono. This episode was recorded on December 16, 1971 and broadcast on January 13, 1972.
Formed to support David Peel in 1967, the Lower East Side Band originally consisted of Harold C. Black and Billy Joe White. They soon became popular enough in New York City's then thriving downtown counterculture that they were signed to Elektra Records in 1968. With the addition of Larry Adam and George Cori to the line-up, the band recorded with David Peel on the Have a Marijuana album conceptualized by Danny Fields as a collection of drinking songs for pot smokers.
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In 1970 The Lower East Side Band recorded their second album, The American Revolution, which was also released by Elektra Records (now part of Warner Music Group) on the Sire Records imprint. In 1971, after the record was released and the band toured in support of it, Harold C. Black and Billy Joe White left to form the glitter rock band Teenage Lust. Harold went on run New York City's after-hours nightclub the 210 Club. They were replaced by Tommy Doyle, Frank Lanci and Billy Minelli. In the mid-seventies, the Lower East Side band was produced by its long-time friend and admirer John Lennon for Apple Records. Lennon then produced David Peel's The Pope Smokes Dope, which was banned in several countries outside the United States and Canada.
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The Pope Smokes Dope managed to push the buttons of almost everyone in authority around the world back in 1972, with the result that it was ultimately banned almost everywhere except the United States, Canada, and Japan. David Peel & the Lower East Side open the album with the upbeat "Everybody's Smoking Marijuana" - which starts out with a goof/homage to Country Joe & the Fish - and the vicious Merle Haggard/"Okie from Muskogee" parody/answer song "The Hippie from New York City," both still as laugh-out-loud funny in the 21st century as they were back when, and leading into the catchy and delightful "Ballad of New York City."
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And from there, listeners plunge into a phantasmagoria of countercultural images, sensibilities, phrases, and humor, and this album is arguably the finest piece of musical agitprop ever to emerge from the '60s counterculture (even if it took till 1972 to appear). Under John Lennon and Yoko Ono's production, Peel is presented without compromise with the most rudimentary of guitar and percussion accompaniment, none of it amplified, yet it does hold together as a coherent and cohesive statement, musical and otherwise.
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It's funny where it should be, serious in all the right places, scary sometimes, and the result is a listening experience that's ultimately laugh-provoking and savage. Some elements of the album recall Lennon and Ono's Sometime in New York City, but there's a much greater resemblance to the Country Joe & the Fish Rag Baby EPs from mid-'60s Berkeley, only with some more subtle edges and quietly sophisticated attributes - and other parts of this album will recall the work of rival/contemporary Lower East Side denizens the Fugs.
Perhaps the high point (so to speak) is "F Is Not a Dirty Word," in which Peel goes through the origins and usages of the word in question, and he's not only etymologically correct throughout but musically adept and engaging - and damned funny. And he almost tops himself with "The Birth Control Blues," an account of youthful ingenuity and improvisation concerning the subject at hand set in an early-'60s rock idiom -- specifically recalling "Papa-Oom-Mow-Mow" - that evolves into a stunning spoken word piece with musical accompaniment.
And after all of that, "The Pope Smokes Dope" is almost anticlimactic, except that it's so outrageous a song and filled with such irreverent conceits that it carries listeners to the end successfully.
01. "I'm a Runaway" - 3:3902. "Everybody's Smoking Marijuana" - 4:0603. "F Is Not a Dirty Word" - 3:1204. "The Hippie from New York City" - 3:0105. "McDonald's Farm" - 3:1306. "The Ballad of New York City/John Lennon • Yoko Ono" - 3:1907. "The Ballad of Bob Dylan" - 4:1208. "The Chicago Conspiracy" - 3:4709. "The Hip Generation" - 1:5010. "I'm Gonna Start Another Riot" - 2:3711. "The Birth Control Blues" - 4:4812. "The Pope Smokes Dope" - 2:15
Bonus Tracks 13. "Amerika" with Yoko Ono – 4:1514. "How Did You Meet David Peel?" interview with John Lennon – 2:0715. "Everybody's Smokin'" (Remix) – 7:411,
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November 25, 2018, 9:59 am
Size: 234 MBBitrate: 320Found in DC++ WorldArtwork Included
When it comes to The Stooges’ place in rock history, there’s more or less a consensus among rock critics – or as close to a consensus as you’re ever going to get with rock critics, anyway – that they’re among the greatest rock bands of all time.
As such, if a director was going to put together a documentary – or “rockumentary,” if you will – about the life and times of The Stooges, one would hope that it would prove to be as memorable and historic as the band itself. Given that Jim Jarmusch’s Gimme Danger currently sits with a 94% rating on RottenTomatoes.com, it would seem that the film has delivered exactly what Stooges fans wanted, and you may rest assured that the soundtrack succeeds equally well.
GIMME DANGER: MUSIC FROM THE MOTION PICTURE is now available on both CD and LP, and while the track listings vary slightly between the two, the quality of the music contained within both is still solid from start to finish. With songs selected by Jarmusch and Iggy Pop himself, the soundtrack focuses on tracks from The Stooges’ first three studio albums, along with a few songs by Iggy’s pre-Stooges bands The Iguanas (“Again and Again”) and Prime Movers Blues Band (“I’m a Man”) as well as the MC5’s classic “Ramblin’ Rose.” It’s a great compilation, and if you’ve never owned a Stooges album, it’s also the perfect gateway drug into their catalog.
01. Iggy & The Stooges - Gimme Danger (Bowie mix) 03:2902. The Stooges - No Fun 05:1803. The Stooges - I Wanna Be Your Dog 03:1204. The Stooges - 1969 04:0905. The Stooges - Little Doll 03:2406. The Stooges - Down on the Street 03:4607. The Stooges - Loose 03:3608. Iggy & The Stooges - I Got a Right (Outtake from early aborted Raw Power session) 02:5009. Iggy & The Stooges - I'm Sick of You (Outtake from early aborted Raw Power session) 06:5310. MC5 - Ramblin' Rose 04:1811. The Iguanas - Again and Again 02:2112. Prime Movers Blues Band - I'm a Man 02:4713. The Stooges - Lost in the Future (Take 1) 05:5214. The Stooges - Asthma Attack 06:28Part 1:
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December 2, 2018, 2:36 am
Size: 86,7 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Art Included
Southern California psychedelic savages JOY have signed to Tee Pee! The sound of JOY has been described as “a spaced-out sonic groove-ride" and "outer reach freak out."
JOY are a blues based heavy psychedelic rock band from San Diego, California. If you are into "heavy" acid rock sounds like Blue Cheer, MC5, The Stooges, The Amboy Dukes from the late 60's, then you will like JOY.
One listen to the song, "Lovin' Man", will tell you what ride you are in for. If you are looking to fry your brain, or plaster your ass against the wall, then look no further than this bundle of "JOY" from 2012!
Warning: You will be deaf after listening to this album! Just thought I'd warn ya..... A MUST HAVE, believe me.
♫♪ Zachary Oakley - Guitar, Vox♫♪ Justin Hulson - Bass♫♪ Thomas DiBenedetto - Drums
01. Save My Soul 07:5302. Help Me 02:5603. Lovin' Man 05:1904. Cadillac Blues 02:0305. Evil Woman 04:0906. Long Time Blues 05:1707. I Need You 03:5408. Been So Long 06:091.
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December 2, 2018, 2:55 am
Size: 110 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
The gnarly flows like wine all through Joy‘s Tee Pee Records debut, Under the Spell Of…, and the trio rip into an assortment of classic heavy rock jams comprised of tripped out explorations, psychedelic and organic in kind. A trio based out of San Diego, the bluesy circles they run offer a touch of earlier Radio Moscow, but with longer songs — all but two over six minutes and one of those is the album’s intro — Joy distinguish themselves with a raw sense of killing it for the sake of killing it, and the only real question is whether they named themselves after the joy they get in creating this sonic thrust or the joy they give crowds lucky enough to watch them do it. Maybe both.
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Guest spots show up throughout Under the Spell Of…‘s eight tracks/46 minutes including Hawkwind‘s Nik Turner, Parker Griggs of the aforementioned Radio Moscow and Astra‘s Brian Ellis, who also produced, and each of them mesh smoothly with the classic power trio dynamic of guitarist/vocalist Zach Oakley, bassist Justin Holson and drummer Paul Morrone, honed over the two years since they made their self-titled, self-released debut in shows alongside the likes of Earthless, Harsh Toke and Mystery Ship.
To wit, an early groover like “Evil” subtly draws back the initial charge of “Miles Away” and “Confusion,” setting up the later boogie of “Driving Me Insane,” which smooths progressive shifts in tempo and rhythm with tossoff-style ease.
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Southern California psychedelic savages JOY have signed to Tee Pee Records! The sound of JOY has been described as "a spaced-out sonic groove-ride" and "outer reach freak out", but that hyperbole alone doesn't do justice to the group's measured mode of attack.
JOY puts a premium on establishing both structure and dynamics, its kaleidoscopic flurry and full-throttle riffage is anchored by both subtle detail and surprising textural depth. Record Collector says that JOY "take the blues about as far out as they can stretch 'em and they're far more psychedelic than a band like Blue Cheer ever was, even in their most lysergic moments," a claim that can be debated by those whom have seen JOY share the stage with acts such as Dead Meadow, Harsh Toke, Hot Lunch, Sacri Monti and at last year's well-documented west coast tour with psychedelic giants (and new labelmates) Earthless.
The sound of JOY has been described as "a spaced-out sonic groove-ride" and "outer reach freak out", but that hyperbole alone doesn't do justice to the group's measured mode of attack. JOY puts a premium on establishing both structure and dynamics, its kaleidoscopic flurry and full-throttle riffage is anchored by both subtle detail and surprising textural depth.
Record Collector says that JOY "take the blues about as far out as they can stretch 'em and they're far more psychedelic than a band like Blue Cheer ever was, even in their most lysergic moments," a claim that can be debated by those whom have seen JOY share the stage with acts such as Dead Meadow, Harsh Toke, Hot Lunch, Sacri Monti and at last year's well-documented west coast tour with psychedelic giants (and new labelmates) Earthless.
01. Under The Spell Of 01:3602. Miles Away 07:0303. Confusion 07:4004. Evil 06:3105. One More Time 06:1606. Driving Me Insane 06:0307. Death Hymn Blues 03:3608. Back To The Sun 07:151.
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December 2, 2018, 3:17 am
Size: 98.5Bitrate: 320mp3Ripped by ChrisGoesRockArtwork Included
San Diego trio Joy made their debut on Tee Pee Records in 2014 with their second album overall, Under the Spell of…, a jammy, boogie-loaded outing that seemed to distill much of what has become identified with the boom in Californian heavy, particularly centered around San Diego in bands like Radio Moscow and Earthless. Joy‘s exclamatory third LP, Ride Along!, continues the thread, features contributions from members of those two outfits as well as labelmates Sacri Monti, and refines the band’s approach both in its making — guitarist/vocalist Zach Oakley also stepping up to produce at San Diego’s Audio Design Studios — and in style, Oakley, returning bassist Justin Hulson and new drummer Thomas DiBenedetto (also Sacri Monti) stripping away some of the expanse songs on their last outing offered in favor of a more straightforwardly structured approach, if one still presented through torrents of winding blues riffs, fervent psychedelic boogie and heavy-minded grooves.
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The elements are familiar — guitar, bass, drums, vocals, a flash of organ on “Red, White and Blues” and elsewhere, acoustics on “Peyote Blues,” etc. — but it’s the energy Joy bring to their delivery and the turns their material makes that ultimately distinguish them from the crowded West Coast heavy sphere, and in accordance with being of their place and of the heavy ’10s pastiche, Ride Along! issues an invitation that’s hard to refuse as it careens through its 10-track/40-minute run with little care for what or whom it leaves in its dust.
Joy is an honest to goodness, blown-out blues band. They’re like a ZZ Top tribute band sucked through a time warp vacuum and then played at warp speed. And what do you know; the album’s centrepiece is a cover of “Certified Blues,” which Joy nail’s like Steven Tyler did his groupies. The solos run wild and literally scream to be set free.
Aside from this, Joy’s sound leans heavily on the fact that they constantly feel as if they’ll fishtail off the road, but always manage to regain control of the vehicle right before it happens. Indeed, whether it is their singer Zachary Oakely and his apparent mission from God to blow out his voice, or how the guitars flirt with the idea of diving headfirst into self-absorbed freak outs, or how the band is trying really, really hard to damage every speaker they get played through, drummer Thomas DiBenedetto underpins things, by pounding out a temperamental shuffle in an attempt to hold this whole shebang together.
So yeah, take Death Alley, mash it up with ZZ Top, and drop Joy like an atomic bomb in our modern age of upbeat, fuzzy blues rock and you’ve got an idea of what’s going on. Joy‘s fleet-footed turns, their catchy songs, their balance between tripped-out effects and air-tight performances assure that, once again, they live up to their name.
The sound of JOY has been described as “a spaced-out sonic groove-ride" and "outer reach freak out,” but that hyperbole alone doesn't do justice to the group’s measured mode of attack. JOY puts a premium on establishing both structure and dynamics, its kaleidoscopic flurry and full-throttle riffage is anchored by both subtle detail and surprising textural depth.
Record Collector says that JOY "take the blues about as far out as they can stretch 'em and they're far more psychedelic than a band like Blue Cheer ever was, even in their most lysergic moments," a claim that can be debated by those whom have seen JOY share the stage with acts such as Dead Meadow, Harsh Toke, Hot Lunch, Sacri Monti and at last year's well-documented west coast tour with psychedelic giants (and new labelmates) Earthless. Prepare to fall under the spell of JOY!
JOY are a band whose stylistic agenda is very pure: they live to re-create the sound of some reefer-addled dude's record collection in 1972. And between the buzzy guitar heroics, the deep bubbling bass, and the flanged drum tracks, JOY not only match their obvious inspirations, they occasionally beat them at their own game.
After drafting their statement of purpose with their 2014 debut, Under the Spell of JOY, the group is back and once again in powerful form. There isn't a massive degree of creative growth on JOY's second long-player, Ride Along!, but the band does sound notably tighter and hotter this time out. JOY's attack is no less heavy here, but the songs are a bit shorter and they get to the point with improved speed and precision.
Zachary Oakley's guitar is full of flash and thunder, but he also riffs with a decisive sense of wah-wah-infused purpose. And the feisty bark of his vocals fits the songs like a tube sock. Justin Hulson's animated bass patterns fill their space beautifully, and new drummer Thomas DiBenedetto can hit hard while staying limber, rolling and tumbling without losing the backbeat. JOY's performances on Ride Along! are busy, but busy with deliberate focus, sending their collective noise-making skills down the highway like a biker gang looking for some scary fun.
(They also had the good sense to bring along some like-minded pals for the trip. Parker Griggs of Radio Moscow and Brenden Deller of Sacri Monti join Oakley for additional guitar swagger, while Mario Rubalcaba from Earthless adds his percussion knowhow.) If Ride Along! isn't necessarily better than Under the Spell of JOY, at the very least it's just as good, and more ambitious too. JOY may prefer the sounds of the past to the present, but they also have enough skill to have a future in it. In short, Ride Along! rocks; listen loud and you'll like it.
◊ Zachary Oakley - Guitar, Vox◊ Justin Hulson - Bass◊ Thomas DiBenedetto - Drums
01. I’ve Been Down (Set Me Free) 02. Misunderstood 03. Evil Woman 04. Going Down Slow 05. Certified Blues (ZZ Top) 06. Help Me 07. Red, White and Blues 08. Peyote Blues 09. Gypsy Mother’s Son 10. Ride Along! 1.
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December 7, 2018, 11:26 am
You, yes YOU. Just you who always download from blogs and never have used ours comment section.
Do you think it's funny for us Blog owners to add album after album just FOR YOU and nobody, will write a little word, like "THANK'S".
We have the original album, rip it, scan the artwork, looking for a review and upload it on our Blogs.
This take alot of time, so a comment is a nice thing to do for us, remember that.
//ChrisGoesRock
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December 7, 2018, 11:34 am
Size: 93.8 MBBitrate: 320Ripped by: ChrisGoesRockSource: Japan SHM-CD RemasterArtwork Included
A classically influenced, and keyboard driven band from Germany. The lineup consisted of Thomas Molin (keyboards, vocals), Andreas Gross (bass, guitar, vocals), Lutz Ludwig (drums).
Their only release remains 1973’s ‘First Key.” To show their reverence for the masters, the album was dedicated to Bach, Beethoven, and Shumann. They are mostly compared to Eskeption and The Nice.
Unlike many of their contemporaries, they favored shorter songs over longer epics. Around 1975 Amos Key again entered the studio to record another album. Unfortunately it was not to be. The album was never finished, but a few demos have come to light. Since that time, little is known about the band members.
“First Key” is another one of those obscure, one-album gems. It is keyboard, bass, and drum, with emphasis on keyboards. There is some sparsely used guitar, but you’ll have to listen closely to find it.
The obvious influences are Deep Purple (they even do a little homage in the middle of “Got the Feeling”), and especially E.L.P. Where E.L.P. would lighten the mood with an occasional novelty song, this band is able to maintain a bit of lightheartedness throughout.
This is not to say it isn’t serious music. There are times that even get a bit dark. The overall sense is that these guys refuse to take themselves too seriously. What all this means is that “First Key” is a lot of fun to listen to.
The music is complex, but very accessible. These are three talented musicians. The keyboards are immediately obvious, but the drums and bass almost take you by surprise. The music flows along, and then suddenly I notice how tight the drum part is. In the next moment, a machine gun bass line grabs my attention. The vocals could be stronger.
Sometimes the accent is a bit heavy, and the mix is too low. However, it doesn’t detract from the enjoyment. But enough of that, it’s not wise to dissect it too much. As I said, this is fun stuff. Best to let the whole experience flow over you.
The basic sound may be derivative, but the attitude is genuine. It’s too bad they only recorded one album. An entire career by Amos Key could have been something special. Try to find it if you can. It may not be essential, but it would definitely enhance any prog collection.
■ Thomas Molin - keyboards, vocals ■ Andreas Gross - guitar, bass, vocals■ Lutz Ludwig - drums
01. Shoebread 04:0502. Ensterknickstimmstamm 03:2803. Knecht Ruprecht 04:5004. Sometimes... 01:5505. Got The Feelin 03:1006. Escape 04:0007. Important Matter 05:5508. Dragon's Walk 05:2509. First Key 02:561.
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December 7, 2018, 11:17 pm
Size: 68.4 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Zalman "Zal" Yanovsky (December 19, 1944 – December 13, 2002) was a Canadian rock musician. Born in Toronto, he was the son of political cartoonist Avrom Yanovsky. He played lead guitar and sang for the Lovin' Spoonful, a rock band which he founded with John Sebastian in 1964. According to Sebastian, "He could play like Elmore James, he could play like Floyd Cramer, he could play like Chuck Berry.
He could play like all these people, yet he still had his own overpowering personality. Out of this we could, I thought, craft something with real flexibility." He was married to actress Jackie Burroughs, with whom he had one daughter, Zoe.
One of the early rock and roll performers to wear a cowboy hat, and fringed "Davy Crockett" style clothing, Zal helped set the trend followed by such 1960s performers as Sonny Bono, Johnny Rivers and David Crosby.
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| 1971 Front Cover |
Mostly self-taught, he began his musical career playing folk music coffee houses in Toronto. He lived on a kibbutz in Israel for a short time and was supposedly asked to leave after having driven a tractor through a building. He returned to Canada and teamed with fellow Canadian Denny Doherty in the Halifax Three. The two joined Cass Elliot in the Mugwumps, a group made famous by Doherty's & Cass's later group the Mamas & the Papas, in the song "Creeque Alley". It was at this time he met John Sebastian and they formed the Lovin' Spoonful with Steve Boone and Joe Butler.
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He also appeared in the Off-Broadway show "National Lampoon's Lemmings" at New York's Village Gate. Although not an original cast member, he contributed a musical number "Nirvana Banana", a Donovan parody.
After leaving the music business, he became a restaurateur, alongside his wife Rose Richardson, establishing Chez Piggy restaurant in 1979 and Pan Chancho Bakery in 1994, both in Kingston, Ontario. The success of Chez Piggy prompted the publication of a companion cookbook (The Chez Piggy Cookbook, Firefly Books, 1998) that was collected by fans.
After Zal's death of congestive heart failure in December 2002, and his wife's death in 2005, his daughter Zoe Yanovsky (with actress Jackie Burroughs) took over the ownership of both eateries. She also completed and launched another cookbook that Zal was working on, The Pan Chancho Cookbook (Bookmakers Press, 2006). Wikipedia
After parting ways with the Lovin' Spoonful in 1967, co-founder Zalman Yanovsky — better known to fans and friends simply as "Zally"— surfaced the following year on his lone solo long-player Alive and Well in Argentina (1968). The effort returned the artist back to the early rock as well as country & western roots that had inspired him. Plus, he was able to modernize, if not counter the weepy and introspective direction the Spoonful was continually drifting toward as John Sebastian scored the easier listening "Darling Be Home Soon" and "Younger Generation." Bearing his trademark sense of humor — and help from none other than Jerry Yester — his replacement in the Spoonful — and former bandmate Joe Butler (drums), the platter has the feel of a Lovin' Spoonful side project. The opening rave-up "Raven in a Cage" is preceded by a surreal composite of farmyard audio effects and "Oh, Canada!"— the Canadian National Anthem.
The song's heavier execution instantly recalls the Spoonful's "There She Is" and "4 Eyes" with just a hint of Yanovsky's jug band roots and overtones. With electric guitars wailing, the lethargic and definitely sardonic update of one-hit wonder Joe Jones' 1960 "You Talk Too Much" is Yanovsky at his irreverent best.
Yet he manages to turn it into a commendable performance before the bottom literally falls out of the groove. Continuing with the trip down memory lane are impressive interpretations of the Floyd Cramer instrumental "Last Date" as well as the Bobby Day-penned "Little Bitty Pretty One"— a hit for Thurston Harris in 1957. Yanovsky's impassioned and slightly out of tune vocal plea inoculates it with a shot of soul, while the thoroughly echoplexed chorus has a gritty lo-fi feel.
The banjo-fralin' title track "Alive and Well in Argentina" adopts a rural flavor and melody comparable to Dave Dudley's 18-wheeler ode "Six Days on the Road." The lyrics demonstrate the artist's tweaked funny bone, not to mention a not-so-subtle reply to the question that Spoonful fans and reporters were asking in the wake of Zally's departure. The 1971 reissue of the LP on Kama Sutra added the single "As Long as You're Here"— which was written by the team of Garry Bonner and Alan Gordon who are perhaps best-known for the Turtles' hits "Happy Together,""She's My Girl," and "Cat in the Window." In due time they would also provide the Joe Butler-led incarnation of the Lovin' Spoonful "('Till I) Run with You" and "Amazing Air" on their Revelation Revolution '69 collection.
Equaling if not surpassing the earlier covers are Yanovsky's raw reading of George Jones' divorce ode "Brown to Blue" and a honky tonkin' take of Ivory Joe Hunter's "I Almost Lost My Mind." The upbeat poppish spin of John Sebastian's "Priscilla Millionaira" comes on the heels of the Lovin' Spoonful's version from Everything Playing. An attempt at full-blown (or, perhaps more accurately overblown) psychedelia is heard on the pseudo-heavy "Hip Toad." It stands in contrast to the overt mixture of trippy electric guitars and orchestrated jamming titled "Lt. Schtinkckhausen"— ultimately sounding more like Frank Zappa than the Spoonful. The colorful jacket artwork collage is credited to Peter Max, while the dimestore novel-esque liner notes are courtesy of Carl Gottlieb — a writer for the Smothers Brothers TV Show among numerous other credits. (AMG)
01. Raven In A Cage 02:5102. You Talk Too Much 02:3203. Last Date 03:0104. Little Bitty Pretty One 02:5205. Alive And Well In Argentina 03:2506. Brown To Blue 02:2507. Priscilla Millionaira 02:1708. I Almost Lost My Mind 03:0409. Hip Toad 02:0410. Lt. Schtinckhausen 06:03
Bonus Tracks11. As Long As You're Here 02:1912. Ereh Er'uoy Sa Gnol Sa 02:18 1.
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December 9, 2018, 12:16 am
Size: 165 MBBitrate: 320mp3Found in DC++ WorldArtwork Included
The New York Rock & Roll Ensemble was a rock band active in the late 1960s and early 1970s, whose music was described as "classical baroque rock". The group was known for performing in white tie and tailcoat (not tuxedo), as typically worn by classical musicians.
The band was formed by three Juilliard students (Michael Kamen, Marty Fulterman – now known as Mark Snow – and Dorian Rudnytsky) as well as two rock musicians, Brian Corrigan and Clif Nivison.
Rudnytsky indicated that while students at Juilliard, Kamen and Fulterman played in a rock band named "Emil & The Detectives" while he played in a rock band named Invicta with Corrigan and Nivison, all of whom hailed from Toms River, New Jersey. A mutual friend and record producer suggested that all five drop their current bands and form a new band. After the new group's first gig at a Juilliard Halloween dance in 1967, they were signed by Atlantic Records where Ahmet Ertegün was quoted by one of the members as having said in jest, "You play all the right notes on all the wrong instruments."
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Their recording debut was the 1968 self-named album The New York Rock & Roll Ensemble, which broke the tradition by using classical music instruments in rock songs and rock instruments in classical pieces. This fusion, daring at the time, impressed Leonard Bernstein so much that he invited the group to appear at one of his Young People's Concerts with the New York Philharmonic Orchestra, where they performed their signature song "Brandenburg" which was based on the first movement of Bach's Fifth Brandenburg Concerto. This track showed the group at their best, starting off with a straight rendition of Bach's music (featuring two oboes, guitar and cello), then migrating into a rock song, while continuing to use Bach's original music for its basis.
Because Brandenburg was the one song that showed the widest range of their musicianship, the group typically performed that song when they made television appearances on The Tonight Show, The Steve Allen Show and other TV shows of that era.
Brandenburg appeared on the group's second album Faithful Friends, which had higher production values than their first and contained many of the songs that were part of their live act.
Their third album, Reflections, was actually recorded prior to Faithful Friends and was a collaboration with Greek composer Manos Hatzidakis as a score for a film that was never produced. The group decided to use this already recorded but unreleased music for their last Atlantic album. Because this album was such a great departure from their "classical/rock" roots, it apparently sold poorly when released and at least one member of the group believed that it hurt their popularity by confusing their fan base. This album is now the group's biggest selling album because it was re-released in Europe and has sold well since that time. In 2005 the Greek band Raining Pleasure released its own interpretation of this album.
Rhythm guitarist Brian Corrigan departed after the third album and after being part of the only movie appearance by the group, Zachariah which featured an extended version of Kamen's song "Gravedigger". The band then shortened its name to New York Rock Ensemble and switched to Columbia. Released in 1971, Roll Over was their most overtly rock album to date and, at that time, their biggest seller. The band's tour to support this album was unique in that in addition to their usual college dates, the band also played with leading symphony orchestras across the country including the Boston Pops and the St. Louis Symphony Orchestra.
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When playing these gigs, the group played a set alone and then joined up with the orchestra to perform an orchestral version of Kamen's rock song "Anaconda," and Kamen's song "Winter Child", based on the Aria from Bach's Goldberg Variations. Kamen's efforts at orchestral composing (and fusing rock and orchestral music) set the stage for his later work as a movie composer as well as a composer, conductor and performer with Metallica, Eric Clapton and Pink Floyd.
Their last album was Freedomburger in 1972. Soon after the tour supporting this album, the band dispersed.
Kamen, joined by Rudnytsky and other musicians, gave it one last try when he released New York Rock in 1973. "Winter Child" appears on that album. Band membership at this time was Kamen and Rudnytsky, joined by David Sanborn on saxophone, Larry Packer (formerly of Cat Mother and the All Night News Boys) on guitar and violin, Dennis Whitted (later of Paul Butterfield and Bonnie Raitt) on drums and Hank DeVito (later of Emmylou Harris'"Hot Band") on pedal steel.
Michael Kamen later gained fame for his many film scores and for his aforementioned "fusion" efforts. He died in 2003.
Marty Fulterman later adopted the name of Mark Snow and gained renown for his many scores and themes for TV shows, most notably, The X Files.
♣ Bass, Cello, Vocals -- Dorian Rudnytsky♣ Keyboards, Oboe, Vocals -- Michael Kamen♣ Lead Guitar, Vocals -- Clifton Nivison♣ Rhythm Guitar, Vocals -- Brian Corrigan♣ Drums, Oboe -- Martin Fulterman (Mark Snow)
01. I'm Too Busy 3:0402. City 3:1603. Asking Too Much 2:4504. Trio Sonata No. 2 in G Major 0:5205 Kite Song 2:2006 Wait Until Tomorrow 3:5007. Sing Lady Sing 3:1508. Nel Cox 2:5209. Thinking of Mary 3:0510. Faithful Friends (And Flattering Foe) 3:0711. Aria 1:0412. Lazy Man 2:4813. Brandenburg 5:20
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December 26, 2018, 10:43 pm
Here is 16 copies of "SHINDIG MAGAZINE in PDF file. Adobe Acrobat is included for install.
Enjoy
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December 28, 2018, 1:21 pm
Size: 191 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork Included
A "twofer" if you will from progressive, folk rockers from Louisiana. This collection combines the albums "Years Before the Wine" (1974), "Agonistes" (the unreleased 1973 album), and bonus material/home demos that have not seen the light of day in years! Also contained is a 28 page booklet with extensive liner notes and photos!
"Third Estate's Years Before the Wine is an ambitious and intricate psychedelic concept album from 1974 about the French Revolution which blends warm Southern summer sounds (the band were from Baton Rouge, Louisiana) with baroque song structures. Never fear, the serious subject matter is no match for the strong songwriting and light, flowing music. Stunning vocals from Fae Ficklin on the title track are lovely, but even without them, this album would richly deserve its status as a psychedelic classic.
Stark, intimate production, with tasty fuzz guitar, backwards tape-loop soundscapes and beautifully treated acoustic guitar, puts one in mind ofthe Ithaca/Agincourt/Friends trilogy from England. The sound of exploration is evident everywhere, as the band spreads its wings, and glorious harmonies flow forth.
The previously unreleased album recorded as Agonistes (1973) shows that the later recordings were no fluke. It can stand alone as one of the most beguiling folk/psych albums we've ever heard. Additional bonus tracks include singles and home demos. Budget-priced double disc package includes a 28-page color booklet, with histories of both groups by band co-leader Robert Everett, as well as lyrics for all the songs included herein."
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THE THIRD ESTATE were another in a fairly long line of brief collaborations resulting in obscure, private-label albums spawned from college campuses the world over in the late sixties and early seventies. In Third Estate's case the campus was Southeastern Louisiana University, and the music is rather difficult to classify. The 'band' (if it can even be called that) consisted of composer/vocalist/guitarist/bassist Robert Everett, composer/guitarist Chas Harrell, and drummer/percussionist Jerry Lang. This was less of a traditional band, and more of an on-going friendship between Everett and Harrell that involved other musicians when necessary, although the two of them had previously recorded unreleased material as THE ZEALOTS (later changed to AGONISTES).
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The band's music is equally balanced between acoustic and electric guitar, with heavy emphasis on picking and strumming but also highly rhythmic and melodic compositions. The lyrical themes range from nostalgic to historical, with the primary theme of their one album being of an historical bent.
That album is the 1976 release "Years Before the Wine", produced with either 500 or 800 copies depending on who is telling the story, and with each cover hand-labeled and unique. The reissued 2006 (vinyl) album is accompanied by a single containing two other Everett compositions from 1968 and 1971, and the tracks on their album were recorded between 1973 and 1975, though not released until 1976. The stated theme of the album is a reflection on the French Revolution of 1789 in which the 'third estate' actually represented virtually the entire country outside of the clergy and nobility; but some of the lyrics on the first side are more introspective and poetic, and seem only vaguely related to those on the back side.
There is no record that the band toured or otherwise existed in any notable fashion after the release of their album. Everett, Lang and Harrell continued for a few years in different lineups of various regional cover bands, but all have moved on to other careers since. Today Everett is a professor of science at the University of Central Florida and is still records occasionally.
♦ Robert Everett: 6-String Electric, Acoustic Guitars, Bass, Piano, Organ, Maracas, Wind Chimes, Vocals♦ Chas Harrell: 12-String Acoustic Guitars, 6-String Electric Guitars, Saws, Hammers, Vocals♦ Jerry Lang: Drums, Guiro, Bells, Claves♦ Fae Ficklin: Vocals
CD1: (Years Before Wine 1974)1a. Years Before the Wine - Destiny (4:44)1b. Years Before the Wine - Overcast (5:35)02. Useless Things (3:34)03. Look at Me (8:42)04. Kings (2:32)05. Puppet City (8:07)06. Think It's Time (4:40)07. The Third Estate (5:31)
CD2: (Agonistes Unreleased Album 1973)01.Agonistes Funeral02.Sing His Song03.Think About That04.Sorrow's Death05.The Sun and The season06.Searching07.Thought I Heard You Calling08.Resurrection
Bonus09.Thought I Heard You Calling (Single 1973)10.Sing His Song (Single 1973)11.Years Before Wine (Demo 1973)12.Teenage Love (Recorded 1968)13.Brand New Day (Recorded 1971)14.Death of A Musican (Recorded 1971) 1.
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