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Electric Hot Tuna - Live at the Fillmore, San Francisco, California, December 7, 1994
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James Williamson & DenizTek - Two to One (Dirty Rock US 2020)
Size: 99.2 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included
2 legendary proto-punk guitar heroes join forces for the first time ever on this odds-defying, razor sharp album!
Rock N Roll Hall of Famer James Williamson was the guitarist for one of the most iconic and influential albums of all-time, Iggy & The Stooges “Raw Power”, while Deniz Tek launched what became Australia’s ground zero for the forthcoming punk movement, the revered Radio Birdman!
Features 11 all-new original compositions highlighted by the first single “Stable” and the explosive lead-off track “Jet Pack Nightmare!”
When two major guitar wielders with the rock ‘n’ roll pedigrees of James “The Skull” Williamson and Deniz “Iceman” Tek join forces, it is a time for celebration, especially in these dark times. The pair have done it again on Two To One, a new album released this week. James “The Hound” Marshall spoke with both James and Deniz for PKM.
In these days of diminished expectations when anyone over 40 who can still hold a guitar gets labeled “legendary”, it’s nice to hear a new record that actually delivers the goods.
You can’t argue the credentials of the players here: James “The Skull” Williamson, bad ass Stooges guitar slinger, the man who wrote and wielded guitar on Raw Power, Kill City and other stone cold Stooges’ masterpieces turned tech wiz turned comeback kid of the century. Then there’s Deniz Tek guitarist/songwriter from Australia via Ann Arbor, Michigan who led Radio Birdman from birth through their 21-century reunion, made a half dozen classic solo albums (the last four Detroit, Mean Old Twister and the instrumental “soundtracks for imaginary films”- Lost For Words,and Fast Freight I think are his best work ever), not to mention the Soul Movers, the Visitors, New Race (with Ron Asheton), Dodge Main (with Wayne Kramer), Powertrane (with the Rationals’ Scott Morgan and Stooges drummer Scott Asheton). He has also worked with the Lipstick Killers, Angie Pepper, the Flamin’ Groovies’ Roy Loney, Jeff Dahl, and innumerable other one offs. I’m out of breath just listing his musical accomplishments but he also found time to join the Navy and become both a jet pilot and Emergency Physician, holding the latter job until 2017.'
Two To One (Cleopatra Records) really does deliver the goods. On his last album, James Williamson & the Pink Hearts’ Behind The Shade, James spread his musical palette wide. Here, he focuses it on what he’s best known for—powerful guitar riffs and explosive solos. The opener, “Jet Pack Nightmare,” acts as a mission statement with one of those thundering Williamson riffs that would be at home on any Stooges record. Deniz Tek brings his A-game, writing half and singing all the songs, and gets his share of guitar glory. It’s all blood, guts and fire from beginning to end and I can’t imagine any fan of the Stooges or Radio Birdman (is there anyone who is a fan of one and not the other? I think not…) being disappointed. I spoke with Deniz and James via Facetime recently to get the scoop and context of the eve of the release of Two To One.
01. Jet Pack Nightmare 03:36
02. Progress 02:42
03. Take A Look Around 03:25
04. Good As Gone 03:28
05. Stable 04:01
06. Climate Change 03:41
07. Birthday Present 03:18
08. Small Change 03:28
09. Liar 02:52
10. No Dreams 04:14
11. Melissa Blue 03:55
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Masters of Reality - Roadburn Festival Germany 2001 (Bootleg) Soundquality A
Size: 258 MB
Bitrate: 320
mp3
Found at OuterSpace
Some Artwork
Notably the band has close ties to the Palm Desert scene with Goss being a producer and key player in that circle, working with Kyuss and Queens of the Stone Age (Along with Josh Homme and Nick Oliveri joining Masters of Reality for a period of time.) among others. While the band's name is taken from the Black Sabbath album of the same name the band's early influences were heavily derived from Sabbath and early King Crimson among a host of other classic rock acts.
Early Years and Masters of Reality (1981 - 1990)
Prior to Masters of Reality's formation Chris Goss started out with a band covering heavy 1970s rock acts (New York Dolls, Aerosmith, David Bowie, Blue Öyster Cult, Alice Cooper, Led Zeppelin) and writing his own songs since circa 1975. After getting into punk rock for a while (including performing at CBGB's in 1978), he didn't play guitar for a few years, instead preferring electronic music like Kraftwerk and becoming a club DJ.
In 1981 Goss and Tim Harrington started to make experimental home recordings with lo-fi, cheap and/or borrowed equipment that included a Sanyo boombox Rhythm Ace drum machine, a Korg, synthesizers and a Fender Vibroverb amp. The rhythm tracks of synths and a beat recorded on cassette would be played back to "overdub" vocals, guitar, more synthesizers, et cetera. They considered Manson Family as a name for their act, but never actually used it for their performances. They played regularly at CBGB's with a sound reminiscent of Suicide or somewhat like how Nine Inch Nails or Marilyn Manson would sound in the 1990s. Early original songs included "Building the Kingdom,""Voodoo Doll,""Metal Entity,""Cash,""Anchor,""Stones in Every Field" and "Doraldina's Prophecies."
By the late 1980s Masters of Reality would grow into a quartet with the addition of Googe on bass and Vinnie Ludovico on drums, developing a sound with less electronics and more of a rock sound drawing from blues and seventies metal such as Black Sabbath, Cream, Led Zeppelin and King Crimson. A demo tape would reach producer Rick Rubin, who would see the band live in late 1986 and sign the band to Def Jam. According to Goss it was Rubin who would bring out more of that blues rock side. During the recording for the band's debut album Rubin would quit Def Jam and take the band with him to his new label, Def American.
Also known as The Blue Garden, the eponymous Masters of Reality saw release on 24 January 1989 to critical acclaim at the time. According to an interview with Kyuss World, Goss would have many issues and frustrations with the recording of the album. Goss got frustrated with the band while touring the debut album. He quit the tour after Matt Dike invited him to come to Los Angeles and to get signed to his Delicious Vinyl label. They bought the rights from Rubin and released a newly sequenced version of the album with Doraldina's Prophecies as an extra track. Notably the band also played a show with Megadeth and Motorhead as part of BAM Magazine's anniversary. The band even made an appearance in 1990 Steven Seagal movie Marked For Death as Seagal was a fan of the band and personally requested them, which also led to the band interacting with Jimmy Cliff.
Sunrise on The Sufferbus (1992 - 1997)
In 1992 Masters of Reality would resurface with Goss and Googe alongside drummer Ginger Baker of Cream notoriety. Though initially Baker expressed dread thinking it was going to be a "loud and awful" heavy metal band, Baker warmed up to working with the band once he got to jamming with them. Recording in various studios in California, Masters of Reality would sign to Chrysalis Records and release their second album Sunrise on The Sufferbus on 9 February 1993. Despite their sound being altered to a degree the album was also critically acclaimed, even spawning a top ten hit in "She Got Me (When She Got Her Dress On)". Notably another song on the record was "T.U.S.A.", a rap by Baker describing the inability of Americans to make a proper cup of tea to which some American radio shows allegedly used this when a British guest would be involved.
Despite this new lineup Baker would not stay with the band and leave shortly after with Victor Indrizzo (Circus of Power, Samiam) taking over on drums. Masters Of Reality recorded the song "Climb Inside My World" for a 1994 Ren & Stimpy episode entitled "Jerry the Bellybutton Elf." The song was written by Steve Mellor who also wrote the episode in which it appeared.
The lineup of Goss, Googe and Indrizzo would then record a full-length in 1994, later titled as The Ballad of Jody Frosty, intended for release in 1995 via Epic Records. However the album would be outright rejected by the label and ultimately shelved, with live and studio versions of the songs surfacing on later albums (And ultimately the entire album leaking on the internet in 2004). In an
“The Ballad Of Jody Frosty!? The record company just refused to put it out... I'm glad that they showed their stupidity before the record came out... I mean... I look at it as a fine record... But... I think that the versions of the songs on the live record beat the versions of the studio record... All in all the public got the best versions of songs like 'Alder Smoke Blues'... I just want to put my best foot forward all the time, and the way the songs ended up on the live album are the best ones.”
— Chris Goss, Masters of Reality Official
Masters of Reality were quiet for several years as Goss was occupied producing music for other bands in California, working extensively with bands that would shape the desert rock scene among others. However, the band did appear at Johnny Depp's Viper Room night club on 22 and 23 September 1996 for a two-night stand. The end result would be How High The Moon: Live At The Viper Room, released on 10 June 1997 via Malicious Vinyl. Notably this live album also featured Scott Weiland (Stone Temple Pilots) on the song "Jindalee Jindalie".
Welcome To The Western Lodge and Deep In The Hole (1998 - 2002)
Masters of Reality would establish a new lineup in 1998 to tour Europe surrounding an appearance at Dynamo Festival. This lineup of would consist of Goss, drummer John Leamy (Who would end up becoming the longtime drummer for the band), guitarist Brendon McNichol and bassist Paul Powell. Goss and Leamy would work together to record an album of new material and Welcome To The Western Lodge saw release on 21 June 1999. The same touring lineup would return to Europe that year, adding Mathias Schneeberger on keyboards. Throughout 2000 Goss would work with the likes of Queens of The Stone Age and Ian Astbury among others.
Give Us Barabbas (2003 - 2008)
In 2003 Masters of Reality would notably cover "Devil's Radio" for the tribute album Songs From The Material World: A Tribute to George Harrison. Masters of Reality would perform once that year at the Greek Theatre in Los Angeles that November (With Tomahawk, The Cramps and Queens of the Stone Age).
The band would sporadically tour in the meantime, largely in Europe and with occasional festival appearances such as Azkena Rock Festival in Spain circa 2005. Goss would largely keep busy through this time recording and engineering for the likes of Melissa Auf Der Maur and Queens of The Stone Age along with participation in a side project known as Goon Moon.
Pine/Cross Dover and Recent Activities (2009 - Present) Goss would begin work on a sixth studio album (And the first album of new material in a decade) through late 2007 and early 2008 at Rancho De La Luna and The Hacienda with a wide range of collaborators. After a year's worth of delays on 1 June 2009 it would be announced that this new album would be set for an August release via European label Brownhouse and Mascot Records, described by Goss as a "rock n' roll record". This album would see release in the United States via Cool Green Records on 12 October 2010. In a 2010 interview with The Aquarian, Goss would explain the recording process of the album and it's delays:
“We do our records very spontaneously. I get together with John Leamy, our drummer, who lives in New York, and in the meantime a few years go by. I accumulate little bits and pieces of ideas on the mini-recorder and have riffs and beats and ideas, blah blah blah, and bring John to the desert—this is what’s happened the last three albums of new material—and we jam.
We expound on these ideas and in the process of jamming, come up with 20 more ideas in addition to the 20 or 30 I may have had in the first place. It’s wonderful. It said in the press release, we both were so busy with production all the time of other people’s stuff, that when we get in a room together and we just go, we’re playing ourselves, and for the pure joy of it. It’s just wonderful.
It’s us, and it’s what we want to do, and there’s no one dictating anything to us. Totally by instinct. So he comes out for a few years, and we get drum tracks out of the jams, and then I finish the record with vocals and overdubs. This last record that just happened, to answer your question, we got a lot of great drum tracks, and also a lot of jams down on tape, and the task of getting those sorted and edited and made into songs took a little bit longer than I thought.
In my world, three or four months for me is a long time to do a Masters record. In “normal world,” most bands take a year or two to garner enough material to put together a cohesive record. Even though it was delayed over and over again, it really only took, in physical studio time, maybe three months, four months, spread out over a little bit of time.
For example, the last song on the record, that long jam session. We had so many of those kinds of jams for these sessions, that to actually go through and say, “Okay, what here is cohesive? What here is enjoyable and is representative of how we feel at that moment?” what we’re proud of, I guess—took longer than it would, normally.”
Pine/Cross Dover, through both it's release cycles, saw praise from the likes of The Obelisk, Under The Radar and Rock Sound[26] among others. In support of the record Masters of Reality would tour the West Coast in November 2010, followed by a tour of Europe that next January and February with the Cult and finishing with a show in New Orleans that June with Earthlings?.
Masters of Reality would tour Europe again two years later, with several festival appearances and dates supporting Queens of The Stone Age. The band would tour Europe again two years later but would go dormant afterwards. In 2019 and 2020 Masters of Reality would announce a tour of Europe for that May, including headlining appearances at Desertfest London, DesertFest Berlin, Kristonfest and Sonic Whip along with a marquee appearance at Stoned and Dusted. However with the CO-VID19 pandemic that would take place through the Spring of 2020 this tour would likely be canceled.
Studio Albums
◉ Masters of Reality (1989, Def Jam)
◉ Sunrise on The Sufferbus (1993, Chrysalis)
◉ Welcome To The Western Lodge (1999, Brownhouse)
◉ Deep In The Hole (2001, Brownhouse)
◉ Give Us Barabbas (2004, Brownhouse)
◉ Pine/Cross Dover (2009, Brownhouse)
Other Releases
◉ How High The Moon: Live At The Viper Room (Live Album) (1997, Malicious Vinyl)
◉ Flak 'N' Flight (Live Album) (2001, Brownhouse)
◉ The Ballad of Jody Frosty (Unreleased Studio Album) (2004; Recorded 1995)
Tracks:
01 - Deep in the Hole 07:02
02 - Third man on the Moon 06:21
03 - Doraldina's Prophecies 08:53
04 - Annihilation of the Spirit 03:32
05 - Rabbit One 06:15
06 - Time to Burn 03:28
07 - Blue Garden 07:28
08 - Alder Smoke Blues 08:17
09 - Why the Fly 09:40
10 - Band Intro 03:47
11 - Wish for a Fish 07:03
12 - 100 Years of Tears on the Wind 03:40
13 - Twilight Zone 02:40
14 - High Noon Amsterdam 11:29
15 - She Got Me 07:08
16 - John Brown 16.17 (Talk)
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The Illinois Speed Press - Selftitled & Duet (BluesRock US 1969-70) (2CD)
The Illinois Speed Press was an American rock band formed - originally, in 1965, as The Rovin' Kind - in Chicago, later relocating to California. The band was formed by Paul Cotton - later of Poco - and Kal David. According to Allmusic, their sound "combined elements of R&B and country music in a powerful double-lead-guitar attack." Cotton and David have occasionally reunited in recent years to perform together under the name.
The Capitols were a local group formed by schoolmates at Thornton Township High School in Harvey, Illinois in 1958, including Norman Paul Cotton (then known as Norm "King" Cotton) and Keith Anderson. They became The Mus-Twangs in 1961, primarily an instrumental outfit who released a single, "Marie" on the local Nero label, which was picked up for national distribution by Smash, a subsidiary of Mercury Records. The band next became The Starfires, and Cotton also performed around 1963 as a member of the Carol Vega Trio. Around the same time, Kal David (b. David Raskin) fronted another band in Chicago, The Exceptions, who also included Peter Cetera (later of Chicago).
In early 1965, Cotton formed a new group, The Gentrys, with bassist Frank Bartell and drummer Fred Page (b. Frederick Pappalardo). They were soon joined by Kal David and keyboard player Mike Anthony, and later that year they changed their name to The Rovin' Kind to avoid confusion with the Memphis band who had a hit with "Keep On Dancing". They released their first single, "Everybody", on the Contrapoint label, and recorded several further singles for the Roulette and Dunwich labels. In 1966 they won a regional "battle of the bands" contest and, as a prize, appeared on American Bandstand. In 1967, Bartell left and was replaced by Keith Anderson. Back in Chicago, The Rovin' Kind became the house band at the Whisky A Go Go, where they were seen by producer James William Guercio, who signed them to a contract with the Columbia Records subsidiary label Epic, and persuaded them to change their name to Illinois Speed Press in February 1968. Norm Cotton changed his stage name to Paul Cotton at the same time, and the band moved to Los Angeles.
Before the album's release, Guercio fired Page, Anthony, and later Lewine; Page died shortly afterwards. They were replaced for performances by Jimmy Rogers (bass) and Rick Allen (drums), but the band recorded their second album, Duet, essentially as a duo of Cotton and David, supported by studio musicians including Joe Osborne (bass), Hal Blaine (drums) and Michael Lloyd (keyboards). The album was released in spring 1970, but shortly afterwards Kal David left to form The Fabulous Rhinestones with bassist Harvey Brooks. Cotton was then approached by Richie Furay to join Poco as a replacement for Jim Messina, which he did a few months later.
In 2009, Cotton and David reunited for some performances as Illinois Speed Press.
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The musical style and dual lead guitar format of Illinois Speed Press have been credited as inspiring Ronnie Van Zant and Gary Rossington to form Lynyrd Skynyrd. The band's two original albums, together with bonus tracks, were reissued on CD in 2003.
Originally known as "The Rovin Kind," ISP toured the country from 1966 to 1971 playing with such prolific musicians and bands as Jimi Hendrix, Janis Joplin, The Byrds, The Grateful Dead, Chicago and many more. Though much of the personnel changed over the years, Paul Cotton (of Poco fame) and Kal David remained as the driving force. Though the band only released two records, ISP remains an underground favorite for those who were privileged enough to see this band perform.
This is a limited edition remaster of Illinois Speed Press' two releases: "Illinois Speed Press" released in 1969, and "Duet" released in 1970. Bonus tracks, including singles, have been added to the first disc. Flash files providing band information, reviews, timelines, liner notes, have been added to the second disc. The remaster captures the music as the band meant for it to be heard. NOTE TO PURCHASERS: the original source tapes were close to unusable.
As result, Futuredge was faced with the dilemma as to whether to cut out certain horrible sections or clean them as best as it could to preserve the integrity of the original music. Futuredge opted for the latter. You may hear in one or two songs a short digital glitch. There is nothing wrong with your CD player. Futuredge is continuing to use additional technologies to see if we can restore those few seconds to a more perfect quality.Also note that there were no source materials available for the bonus tracks. As a result, while Futuredge has made every attempt to "clean" these tracks, some noise will be heard.
The Illinois Speed Press - Selftitled US-69
01. Get in the Wind
02. Hard Luck Story
03. Here Today
04. Pay the Price
05. P.N.S.- When You Come Around
06. Be A Woman
07. Sky Song
08. Beauty
09. Free Ride
10. Right on Time [Bonus]
11. Night People [Bonus]
12. G.I.T.W (Instrumental version) [Bonus]
The Illinois Speed Press - Duet US-70
01. Country Dumplin'
02. Sadly Out Of Place
03. The One Who Knows
04. Dearly, ii. Bittersweet, iii. Random Roads (And His Big Band), iv. Dearly Theme Reprise
05. Morning Blues
06. Bad Weather
07. The Life
08. The Visit
09. Seventeen Days
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B.U.S. - The Unknown Secretary (Heavy Rock Italy 2016)
Size: 114 MB
Bit Rate: 320
mp3
Ripped by: ChrisGoesRock
Some Artwork Included
Bus The Unknown Secretary is a four-piece Heavy Rock group hailing from Athens, Greece, simply known as B.U.S.
The band was formed in 2011 and have since then released two EP’s and two full length albums: “The Impious Tapes” EP (2014) and “The Cross” EP (2014), followed by “The Unknown Secretary” LP (2016) and “Never Decide” LP, released back in March 2019.
Influenced by tunes and bands that emerged from the 60’s up to the 90’s, B.U.S are heavily inspired by artists such as The Who, Alice Cooper, Sex Pistols, King Diamond, Kyuss, Nirvana and many more. The band incorporates all these influences into a deeply unique and personal style, creating a genuinely special musical identity.
During the past years the band has toured extensively throughout Greece and other European countries such as Italy, Austria, Czech Republic, Germany, Serbia and Bulgaria. They also held special shows as an opening act for Uncle Acid & The Deadbeats (UK) in Athens, for Blood Ceremony (USA) during two back to back shows in Athens and Thessaloniki, as well as for Orchid (USA), again in Athens. B.U.S. have also appeared at Athens Desert-fest in 2017.
“The Unknown Secretary” comes to further unsettle the turbulent waves of music and burn its own mark in history.
Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case. In the beginning, there was chaos…
A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can.
Angelic chants, Demon’s screams, witches dancing and woeful mortal suffering are recounted in this album’s songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil.
01. Fallen 03:33
02. Masteroid 04:45
03. New Black Volume 04:53
04. Forever Grey 03:28
05. Don't Fear Your Demon 05:04
06. Rockerbus 07:38
07. Withered Thorn 04:49
08. Over The Hills 04:56
09. Jimi 05:20
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Fuzz - Levitation Sessions Live (Classic Early 70's Sound Hardrock US 2021)
Size: 132 MB
Bit Rate: 320
mp3
Some Artwork Included
Levitation Sessions -- FUZZ! Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years to bring listeners and viewers a full set spanning their entire discography.
In October of 2020, FUZZ released their first album in half a decade, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that’s meant to be heard and experienced live, and their Levitation Session is the set fans have all been waiting for.
Fuzz is an American rock band from San Francisco, California, United States, formed in 2011. The band consists of Charles Moothart, Ty Segall and Chad Ubovich.
Created as an outlet for Moothart's affection for hard rock riffs, Fuzz began as collaboration between Moothart and Segall, while Moothart performed in Segall's live band. In 2012, the pair released two singles, "This Time I Got a Reason" and "Sleigh Ride", and were joined by bass guitarist Roland Cosio.
In October 2013, the band released its self-titled debut album, Fuzz. While touring the album, Chad Ubovich replaced Cosio on bass. In October 2015, Fuzz released their second album, entitled II, written in a more collaborative manner than the band members were used to. In October 2020, their third album, entitled III, was released.
01. Earthen Gate 03.56
02. Sleigh Ride 03.51
03. Rat Race 02.54
04. Returning 03.03
05. Time Collapse 05.59
06. The 7th Terror 06.08
07. Jack The Maggot 05.09
08. Pipe 04.46
09. Split 02.49
10. Raise 03.28
11. Hazemaze 05.40
Bonus:
12. Ty Segall & Freedom Band - Manipulator (Levitation Sessions) 02.40
13. Ty Segall & Freedom Band - Squealer (Levitation Sessions) 02.19
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Green Lung - Black Harvest (Heavy Underground Rock UK 2021)
Bitrate: 320
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Ripped by: ChrisGoesRock
Some Artwork Included
In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe.
This brought the band to the attention of the wider music industry, and after multiple offers from a variety of labels, the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch, sold out several pressings.
Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful reimagining of the band’s sound – Dawn of the Dead to its predecessor’s Night of the Living Dead.
Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail. All samples were sourced from the local countryside and from instruments found in the studio, including the haunting opening vocal of ‘The Harrowing’ which was recorded on a whim after the band broke into the local church (the organ can be heard creaking in the background). The album was recorded in late autumn, and the seasonal atmosphere seeped into the music, which is redolent of mists, falling leaves, and the crumbling glory of the Magnificent Seven cemeteries of London, the city the band call home.
The album also soaks in new sonics beyond the ‘Black Sabbath meets Brian May’ blueprint of what went before. ‘The Harrowing’ takes the band’s tradition of instrumental opening tracks to dizzy new heights, like Atomic Rooster jamming with Boston, while ballad ‘Graveyard Sun’, based on the folklore around the ‘Highgate Vampire’, adds gothic synth lines that would give Type O Negative pangs of jealousy. That’s not to say the hooks n’ heaviness approach that made the band’s name isn’t here in abundance, as the Sabbath-meets-Purple chug and groove of revolutionary lead single ‘Leaders of the Blind’ and the Hammer Horror riff frenzy of ‘Upon the Altar’ prove. Closer ‘Born to a Dying World’ is unlike anything the band have written before; an endtimes ballad with an almost gospel feel, tying the band’s omnipresent nature themes to the Anthropocene.
Mastered by John Davis at Metropolis (Led Zeppelin, Royal Blood), Black Harvest comes packaged in stained glass artwork by renowned artist Richard Wells (Doctor Who, Dracula, Ben Wheatley’s In the Earth), and is available in gatefold vinyl and CD formats.
01. The Harrowing 02:20
02. Old Gods 03:59
03. Leaders of the Blind 04:42
04. Reaper's Scythe 04:24
05. Graveyard Sun 05:42
06. Black Harvest 02:40
07. Upon the Altar 04:38
08. You Bear the Mark 04:13
09. Doomsayer 05:27
10. Born to a Dying World 05:10
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Appalooza - Live at Smoky Van Sessions (US 2021)
Size: 46 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Some Artwork Included
APPALOOZAis a long-gone stallion speeding after a lost freedom. Formed in Brest, France, in 2012,they take their cue from the alt-heavy firepower of Alice in Chains, the rock'n'roll stampede of the likes of Queens of the Stone Age or Them Crooked Vultures, propelling themselves with a creativity and sense of direction that are only the essence of great bands. Spirituality and ancient myths color a spacious sound that nonetheless worships at the altar of modern and unwaveringly hard-hitting heavy rock.
APPALOOZA released their first two demos “Squamata” and “Chameleon” respectively in 2013 and 2014, further to which they embarked across the pond for their first ever US tour, taking them to Colorado, Nevada and California. Fired up by a brand new energy ensuing from this successful experience, the band officially released their eponymous debut in2018, quickly followed by a second North American taking them from the Midwest lands to the Pacific Coast. Some hundred shows later, they signed to Californian powerhouse Ripple Music for the release of their sophomore album "The Holy Of Holies" on February 5th,2021. The beginning of a new era driven by an album that perfectly embodies the trio’s musical and visual reincarnation, through an intense sonic escape and ultimately, freedom.
Says APPALOOZA: “‘The Holy Of Holies’ is an ironic comment on religion. A storm is coming and ready to send mankind to a certain death. They are deprived and punished for their individualism, appearing already dead. They accept it and seek a new being to venerate, then send a scapegoat to the desert with all their sins, to find the demon Azazael, the Holy of Holies. This fallen angel takes possession of mankind. He reincarnates them into a half-man half-beast species by transplanting a horse skull, symbol of a lost freedom. Our lyrics deal with subjects such as the lie of religion, the failure to assist a person in distress, the exploitation of man by man, the disappointment that one may have in general towards people, the eternal questioning about our existence and the universe.”
Appalooza gifts us with an unforgettable live under a blazing sun.
Defend their new album “The Holy of Holies” (2021) is not even a challenge for them as it is effective and gripping. With an effortless virtuosity, the Breton trio delivers a sharp set in this corn amphitheater.
Watch the band performing the tracks Nazareth, Conquest and Azazael for the 5th Smoky Van Session.
01. Conquest 07:05
02. Nazareth 05:03
03. Azazael 06:00
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Van Der Graaf Generator - Aerosol Grey Machine (UK 1969)
Size: 175 MB
Bitrate: 320
mp3
Ripped by ChrisGoesRock
Source: Japan SHM-CD Remaster
The Aerosol Grey Machine is the debut studio album by English progressive rock band Van der Graaf Generator. It was first released in the United States in 1969 by Mercury Records.
The album was originally intended as a solo album by the band's lead singer and main songwriter, Peter Hammill. When the band signed with Charisma Records, a deal was worked out whereby The Aerosol Grey Machine would be released under the Van der Graaf Generator name, in return for Mercury releasing Hammill from his earlier contract
The Aerosol Grey Machine was released in September 1969 by Mercury, in the US only. An initial edition contained the song "Giant Squid" on the cover but that was a mis-print (on the record "Necromancer" was featured instead), later pressings corrected the mis-print. This version of the LP was later released in Europe by Fontana Records.
'The Aerosol Grey Machine' was initially planned as the first Peter Hammill solo-record, but was finally released under the group name 'Van Der Graaf Generator', a device for producing high electrostatic potentials up to 15 million volt and quite a good name for such an energy loaden band. Now, VDGG owns as much to Byron, Shelley, Keats and E.A.Poe as to Chuck Berry. Peter Hammill is like Bob Dylan in the first place a poet, who composes music for his poems, supported by a great band .
Hammiill has an expressive vocal range (from lamantations to cries and whispers) and on 'The Aerosol Grey Machine' one can already find the major elements of VDGG's music : Hammills expressive vocal style and poetry, Banton's classical inspired keyboard playing and Guy Evans' subtile drumming. The first five tracks (four songs) have a similar structure, the instruments enter one after the other (first the guitar, [on 'Afterwards' organ] than the bass, the piano or organ, Evans enters on drums establishes a medium tempo groove and Hammill starts singing , with small variations throughout the track.
It is already typical VDGG, but the dynamic of the later records is still missing. The most interesting track of the four is 'Into a Game', the song starts the same way as the others, but in the middle there is an instrumental break starting with bass and drums joined by Banton, who delivers a nice piano solo and then Hammill joins and sings ad-libitum "into a game.." over the groove, until the track fades. 'Aerosol Grey Machine' is a funny publicity spot followed by a short instrumental 'Black Smoke Yen', where Evans establishes an interesting drum pattern joined by the bass and another piano solo by Banton.
Now comes the best part: 'Aquarian' is a fantastic Prog-Pop-Song! It is the only track on the record (a part from the Bonus tracks) that follows a classical song structure with verse & chorus. [with the band joining on vocals for the chorus]. It starts with a great groove by Evans heavily phased drums and a pumping bass line joined by Hammill's vocals, a great chorus and a final organ frenzy.'Necromancer' is a nice stop and go rocker and 'Octopus' a heavy rocker with a ostinato bass line, organ washes and a nice organ solo in the second half, reminding Jon Lord. The record misses the dynamic tension of the later records, but is nevertheless a great record.
01. Afterwards (4:58)
02. Orthenthian St. (Part I) (2:23)
03. Orthenthian St. (Part II) (3:53)
04. Running Back (6:32)
05. Into a Game (5:56)
06. Aerosol Grey Machine (0:56)
07. Black Smoke Yen (1:18)
08. Aquarian (8:27)
09. Necromancer (3:30)
10. Octopus (7:41)
11. Firebrand (Single B-side) (4:08)
12. Firebrand [Demo] (3.33)
13. Sunshine [Demo] (4.04)
14. Ferret And Featherbird (4.33)
15. Giant Squid (3.19)
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Hamana - Hamana (Great Psychedelic Folkrock US 1974)
Size: 76.6 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
A v.rare debut album recorded in 1974, originally issued on the local Phoenix label, Canyon Records. To most 60´s psychedelic rock/folk fans this is almost an unknown album, with only a few copies known to exist. Hamana was a native American, who went in 1969 to college in the white man's world, and the album expresses perfectly the sunny California peace, love & freedom feeling,
The music itself is emotive with strong vocals, lots of West coast psychedelic guitar flashes, a bit garage feeling but also loner folk style with native American elements.
The appeal of this album reminds one of Quicksilver Messenger Service, The Byrds, X.I.T, Neil Young, Buffalo Springfield, Garrett Lund - Near unbelievable that on these recordings all instruments, bass, guitars, vocals and drums have been played by Hamana himself, later to be overdubbed into a tasty and atmospheric stereo acoustic/electric mix. This CD-reissue is a mastertape release licensed by Canyon Records, and contains an 8 page booklet + 2 unreleased bonus tracks. Highly recommended!
01. The Meek Shall Inherit The Earth - 2.35
02. Whu Can't I Understand - 3.39
03. Be Free With Me - 2.46
05. On The Road - 2.17
04. I Remember - 3.13
06. One Night - 3.07
07. Future Goodbyes - 2.57
09. Message To The Crystal - 3.40
10. Shine On (Bonus 1965) - 5.36
11. Peace In Within You (Bonus 1965) - 5.33
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Victoria - Victoria (Private Pressed US Psychedelia 1971)
Size: 118 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Locally New Jersey demo release (200 made), beyond rare fantastic concept psych beauty, maybe 5 or 6 known copies. 3 girls 1 guy. They tried to get attention from big labels but this never happend. They wanted him to sound like Blood Sweat & Tears. But this was not Greg's idea of music. The music has everything you need, like a wild version of early Moby Grape combined with New Dawn and C.A. Quintet, sometimes dreamy sometimes totally wild underground-psych, with female vocals and splattering leads, Titanic horns & destorted guitars. Sweet tunes turn into dark psychpower. TOTALLY STONED!!
Super rare US psych concept album that has a Neighbr'hood Childr'n feel. This psych beauty, sometimes dreamy sometimes totally wild has female vocals, titanic horns & distorted guitars. Sweet tunes turn into dark psych-power. Greg Ruban, the composer and front-man of Victoria recorded this album just before he had to go to Vietnam. When he returned from War, obviously mentally fucked, he took his unreleased album on a 3 month trip to Europe on a motorbike to promote it, but unfortunately that did not work out at all. The album was unreleased until only a few years ago.…
01. Peace - 2.44
02. Cumberland - 4.41
03. Gevaro - 4.11
04. Ride A Rainbow - 2.50
05. Never Knew Blues - 4.58
06. Down To The Park - 2.57
07. Village Of Etaf - 12.23
08. Core Of The Apple - 8.09
09. Mister Let Me Go (Bonus Acetate) - 3.37
10. Johny & Lisa (Bonus Acetate) - 3.02
11. Peace (Bonus Acetate) - 2.52
12. Cumberland (Bonus Acetate) - 2.51
13. Child Of Princess (Bonus Real-To-Real Track) - 3.07
14. Sundance (Bonus Real-To-Real Track) - 1.46
15. Wheels (Bonus Real-To-Real Track) - 2.02
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Spirits And Worm - Selftitled (Great J.Airplane Styled Rock US 1969)
Size: 61.9 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
This album is well worth searching out. Adrianne's powerful vocals are certainly an asset and although brass makes an occasional and unwelcome intrusion on the album it contains some fine guitar work, which on the title cut and Sunny Please Hold Me becomes quite psychedelic.
Other highs include You And I Together and the final cut, She's So Good. Recommended. Both 45 tracks feature on the album, which was recorded at Ultra-Sonic Studios in Long Island, New York.
01. You And I Together
02. Every Little Bit Of Love
03. She
04. Fanny Firecracker
05. Sunny Please Hold Me
06. Spirits And Worm
07. All I Need Is A Little You
08. Shes The One
09. You're Dynamite
10. Shes So Good
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Function Underground - The Black and Brown American Rock Sound 1969-1974
Size: 103 MB
Bitrate: 320
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Ripped by ChrisGoesRock
Some Artwork Included
Nearly everyone in the world can rattle off the great African-American musical forms. Jazz, blues, R&B, soul, hip-hop, house, gospel. One influential genre is always left off of the list: a folk music known as rock n’ roll. Rock n’ roll was a term originally coined to market the white-friendly version of a genre that already existed; prior to 1965, the line between rock n’ roll and R&B was thin: Ike Turner recorded and released “Rocket ‘88’ ” in 1951 and, while its Chess Records release reached number one on the Billboard R&B chart, it is regarded by many as the first rock n’ roll record.
The Great Divide between R&B and rock n’ roll came after the Beatles and the British Invasion decimated the Top 40 chart in 1964. Simultaneously, R&B entered a new phase, soon to be labeled “soul,” which upped the music’s gospel quotient and turned its frantic twang. So somewhere in the mid to late-1960s, rock n’ roll became perceived as something for the Caucasian kids. When Jimi Hendrix and Arthur Lee made the scene, they were said to be black musicians entering into a white world. While that couldn’t be farther from the truth, that false dichotomy has existed in America’s popular conscious ever since, to the point where the idea of a black rock musician is on the level with the idea of a black cowboy.
In the mid-1960s, funk replaced soul as the rhythm that was going to move the world. We know all its progenitor – James Brown, The Meters, Kool & The Gang – and their innovations: the syncopated, 4/4 dance between the bass and drums, horns repurposed as percussion, chicken-scratch and wah-wah guitar. We can trace where they came from. But there is one crucial funk influence that no one seems to want to acknowledge – a devil-may-care attitude we can attribute to rock n’ roll. It’s not a stretch to say that funk is the African-American answer to psychedelia and hard rock rolled into one.
The idea of “progressivism” that took over rock music after psychedelia’s heyday in the late 1960s belatedly spilled over to funk. In the early 1970s, as the underground/psychedelic fire burnt out in the white rock world, it roared to a blaze in the black musical community. Nearly every American city with a large black population boasted self-contained funk bands that didn’t consider themselves simply revues or backup groups, but rather fully-operational ensembles In these bands, everything from composing, arranging, record production and distribution, was handled in house by band members. These are the bands whose music comprises this anthology, and while they’re all different, they’re unique in one way: they kept their ears open for new developments in funk and rock music.
This anthology presents earnest questions as to why we know so little about these bands and the movement of which they were a part. While we don’t anticipate that we’ll ever find a definitive answer as to what these ensembles’ true goals were, then, we do know that they took their charges seriously. And they knew they were onto something different, something that, though only they and their immediate kin might recognize it, was more interesting than the status quo. Function Underground shines light on an important and overlooked part of rock n’ roll’s history and talented ensembles that toiled in the shadows, derided by their peers
"Do you realize that Hendrix was dead before most black people in America knew he was a black man?” Ebony Rhythm Band drummer Matthew Watson questions rhetorically. “We was scorned. In that era, everybody else in the black community was wearing three-piece suits, processes and Afro wigs and that shit. We was the first guys to wear bell bottoms. The first guys to wear big hats. We were off into a whole other thing.”
01. 1984 - There's A Wrinkle In Our Time 02:40
02. Purple Snow - Down By The River 03:55
03. Jimi Macon - Jimi's Guitar Raps With The Bass 02:39
04. Creations Unlimited - Corruption Is The Thing 03:00
05. We The People - Function Underground 02:53
06. Michael Liggins And The Super Souls - Loaded Back 04:02
07. Stone Coal White - Stone Coal White 02:42
08. Blacklites - BL Movement 02:22
09. Ebony Rhythm Band - Drugs Ain't Cool 02:45
10. Cisneros And Garza Group - I'm A Man 02:46
11. L.A. Carnival - Blind Man (45 Version) 02:51
12. The Revolution - The Siesta Is Over 04:25
13. Black Conspirators - Just Got To Be Free 03:17
14. Black Maffia - I Want To Take You Higher 04:06
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Witchwood - Litanies From The Woods (Superb Hardrock Italy 2015)
Size: 212 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included
The Buttered Bacon Biscuits were a band from Faenza, a town located in an area called Romagna, that had been active from 2008 to 2013 with a style rooted in the seventies and consisting in a mix of psychedelia, hard rock and a pinch of progressive. They had a good live activity and in 2010 released a debut album entitled From The Solitary Woods that was distributed by the independent label Black Widow Records and got some good reviews but the band did not last enough for a follow up.
After the band split up, in 2014 from their ashes came to life a new band called Witchwood, a quintet featuring three former members of the Buttered Bacon Biscuits, Riccardo Dal Pane (vocals, guitars, mandolin, percussion), Stefano Olivi (Hammond, piano, synth, Moog) and Andrea Palli (drums, percussion) along with Samuele Tesori (flute, harmonica) and Luca Celotti (bass).
In 2015 this new band, with the help of some guests, released an interesting debut album on the independent label Jolly Roger Records, Litanies From The Woods, where they managed to mix hard rock, progressive, psychedelia and southern rock in a personal way adding fresh ideas to vintage sounds and obscure atmospheres borrowed from the past. Their love for bands such as Uriah Heep, Jethro Tull, Deep Purple, Hawkwind or Lynyrd Skynyrd is apparent but the songwriting is good and the overall sound is full of energy and passion. The result is a nice example of what now is called classic rock and in my opinion it is really worth listening to...
The opener "Prelude" is just a short electric guitar intro that leads to the caustic "Liar", a heartfelt complaint against a world where appearances are more important than real values and democracy is nothing but an illusion conjured up by cynical politicians, a world where the lies of the media hide the dirtiest sins and where dreams fill the graves...
On the following "A Place For The Sun" the music and lyrics evoke the cathartic power of music and invite you to live day by day to tackle the adversities of life, always looking for the hidden place in your soul where the sun always shines...
The hypnotic, psychedelic "The Golden King" conjures up the image of a caravan coming from a distant planet, sailing through endless skies... Listen to the litanies for the mysterious Golden King and let him take you away for a ride to his palace to celebrate a strange Sabbath!
The following "Shade Of Grey" is a dark, haunting track evoking Gothic atmospheres and a disquieting creature from an hidden world moving through the woods. You can listen to the songs soaring from the woods as you get lost in a starry night...
Next comes the romantic ballad "The World Behind Your Eyes" that is dedicated to Laura, the lovely muse of lyricist and composer Riccardo Dal Pane. It leads to the long, complex instrumental "Farewell To The Ocean Boulevard" featuring many changes in rhythm and atmosphere, a real epic where the band showcase all their musicianship and creativity swinging from calm, relaxed acoustic passages to fiery electric rides and vice versa. A wonderful track!
Litanies From The Woods is Witchwood's first album. The band came into existence in 2014 out of a group called Buttered Bacon Biscuits that I haven't heard of, but they released an album in 2010, From The Solitary Woods, on Black Widow Records. Basically most members came from BBB with only a new bass player.
A bit more like Led Zep is the 9 minute Song Of Freedom that starts bluesy with harmonica and initially has acoustic guitar. This then explodes in typical Deep Purple style (and even the singing here reminds me of Gillan). Cool roaring organ. The 10 minute Handful Of Stars brings soaring progressive hard rock that shows what Deep Purple would have sounded like if they had enlisted a flute player.
Actually, the man on the flute takes over halfway through and leads us again into Tull-inspired realms. Even longer are the two very long tracks on the album, Shade Of Grey and the 15 minute Farewell To The Ocean Boulevard. I'm not going to describe those - just experience for yourself. All in all great stuff and no weak moments.
Although I do have the CD version, this kind of music should actually be enjoyed on vinyl, and so it's only just that it's also released as a double LP in a gatefold sleeve (Jolly Roger Records JRR 063). In two versions even; an ordinary black one and a limited numbered purple vinyl. Good luck finding the latter as it's limited to 100 copies only and sold out already...
Line-up / Musicians
- Riccardo "Ricky" Dal Pane - lead vocals, backing vocals, electric guitar, slide guitar, acoustic guitar, mandolin, percussion
- Stefano "Steve" Olivi - Hammond C100, Leslie 760, Moog Voyager, piano
- Andrea Palli - drums, percussion
- Samuele Tesori - flute, harmonica
- Luca Celotti - bass
01. Prelude - Liar (7:23)
02. A Place for the Sun (7:11)
03. Rainbow Highway (5:54)
04. The Golden King (6:24)
05. Shade of Grey (11:04)
06. The World Behind Your Eyes (5:43)
07. Farewell to the Ocean Boulevard (15:27)
08. Song of Freedom (9:31)
09. Handful of Stars (10:09)
Part I : Witchwood I
Part II : Witchwood II
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If you've bored, try this: Card Throwing Tutorial | Rick Smith Jr.
Hi all.
If you have nothing to do right now, become an expert at throwing cards. When you have learned to throw cards (after a lot of practice), you can train as in the videos below. Good luck!
Learn How to Throw Cards with Mark Rober | Behind the Scenes | Rick Smith Jr.
Card Throwing Trick Shots | Dude Perfect
Card Throwing Tutorial | Accuracy & Power | Rick Smith Jr.
Now just practice and practice, and you will be able to throw cards with great precision.
// ChrisGoesRock
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The Spirit of Christmas - Lies to Live By (ProgRock Canada 1974)
Size: 106 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Source: Japan SHM-CD Remaster
Artwork Included
In 1969, Bob BRYDEN (vocals, keyboards, guitar), Rich RICHTER (drums, percussion), Robert BULGER (lead guitar), and Tyler RAIZENNE (bass) joined forces in Oshawa, Ontario to become a band known as CHRISTMAS. After releasing two psychedelic albums under that name, the band recruited vocalist and pianist Preston WYNN and made a slight adjustment to their name to become THE SPIRIT OF CHRISTMAS also releasing a new album called "Lies to Live By". This change was accompanied by a change in style to a more eclectic style.
The music on the only album released under this name is a combination of hard, guitar-driven rock with folk and progressive rock elements added in with a healthy dose of fusion to become a band with a more varied and accessible style.
The album itself has mostly been forgotten over the years, however, it was reissued in 1999 and since then has managed to become a sought after gem thanks to the excellent progressive sound that the band had created. Yes, it is an odd name for a band, but the music speaks for itself.
Lies to Live By is essentially the third album release by the Canadian band Christmas. After the release of the Heritage album, they were beset with management and label problems over the direction of the band's next album. The music scene in Canada was in disarray and bands such as April Wine, the Guess Who, BTO, and Chilliwack had hits with commercial hard rock songs. The Heritage album was a start in the right direction and the label wanted the band to continue with hard rock but make it more radio friendly.
Christmas had other ideas about where their music was heading. In 1973, a new album was recorded that was a radical change from the hard rock sound of Heritage. The album ended up being tied up in legal wrangles and was not released until 1975 when the band decided on a name change to the Spirit of Christmas to avoid legal complications associated with the "Christmas" name and to release the album. This time out (The Spirit Of) Christmas went totally toward a guitar-fronted progressive sound complete with Mellotron, a chamber orchestra, special effects, intricate piano work, and lush backing choruses. In the similar vein of such acts as Genesis, Gentle Giant, and Yes, Lies to Live By was a total departure in sound from anything recorded by a Canadian band to date.
The six songs on the album are broken into conceptual chapters, each with a different theme that intertwines throughout the song while half of the songs clock in at close to nine minutes or more. The album was an instant hit with critics and progressive music fans worldwide. Despite the critical acclaim of the album, Daffodil Records was in trouble and the album did not receive the promotion and support it deserved. Soon after release of the album, the label folded and with it the hopes of (The Spirit Of) Christmas.
Left without a label, the band also decided to call it a day and broke up. In the late '80s and '90s the Lies to Live By album became a highly sought after collector's item with originals changing hands for hundreds of dollars. As a direct result of the interest in the band's early albums, Christmas re-formed in the mid-'80s for a couple of local concerts. Still regarded as one of the best progressive rock albums to come out of Canada, this release by Unidisc is a straight reissue of the original album at a budget price complete with original artwork, but, unfortunately, it contains no bonus tracks.
Recorded at Manta Sound Studios, Toronto, Ontario, Canada, circa 1972-1974
Line-up / Musicians
◉ Preston Wynn - vocals, piano, Mellotron, guitar, organ
◉ Bob Bryden - rhythm guitar, composer
◉ Robert Bulger - lead guitar
◉ Tyler Raizenne - bass
◉ Rich Richter - drums, percussion
01. All the Wrong Roads (3:19)
02. Stay Dead Lazarus (4:06)
03. Graveyard Face / All Is Light (4:19)
04. War Story (8:53) :
- a. Ballad of Jack Boot
- b. Requiem-War's Peace
05. Factory (8:33)
- a. Where the People Are Made
- b. Everything's Under Control
06. Beyond the Fields We Know (11:26)
- a. Prelude (I Don't Know Where I Am)
- b. Thermopylae
- c. Heaven's Lost
- d. In Closing
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The Spaniels - Selftitled (Vee-Jay R&B US 1960)
Size: 120 MB
Bit-rate: 320
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
The story of how the Spaniels came to prominence begins in late 1952, when lead singer Hudson was convinced by four of his Roosevelt High classmates -- Ernest Warren (first tenor), Opal Courtney, Jr. (baritone), Willie Jackson (second tenor), and Gerald Gregory (bass) to join them for a school talent show.
They had debuted as Pookie Hudson and the Hudsonaires for the Christmas show and fared so well they decided to continue. Not wanting to join the bird group club (Orioles, Ravens, etc.), they decided on the name Spaniels.
In the spring, the group visited the local record shop owned by James and Vivian Bracken, who had begun developing a record label called Vee-Jay Records. They soon moved their operation to Chicago, in a garage off 47th Street (later they would relocate to offices at 1449 South Michigan Avenue). The Spaniels were one of the first two artists signed to the label (the other was blues guitarist Jimmy Reed). On May 5, 1953, the Spaniels recorded "Baby It's You," released in July. On September 5, "Baby" hit number ten on the national R&B best-seller charts.
The Spaniels' next session produced additional singles, including "Goodnight, Sweetheart, Goodnight," which took off in March 1954, but it took about six months for the record to break nationally, charting at number five on the R&B charts. Its success prompted the McGuire Sisters to cover it for the "white" market, stealing a lot of the Spaniels' thunder when their version landed in the Top Ten (number seven).
After Opal Courtney, Jr. was drafted, Vee-Jay A&R man and Spaniels producer Calvin Carter was pressed into service during their road trips for a few months until James "Dimples" Cochran took over permanently.
Shortly thereafter, Ernest Warren was drafted and the group continued recording as a quartet. Two subsequent Spaniels singles failed to connect. Disappointed, Pookie Hudson and Willie Jackson both decided to leave the group.
The Spaniels bravely continued on, with Carl Rainge (lead), Gerald Gregory (bass), James Cochran (baritone), and Don Porter (second tenor). This contingent lasted for only one single until Pookie rejoined.
In April 1957, Vee-Jay released the first full-length album, Goodnight, It's Time to Go. By mid-summer, the group was back to turning out terrific singles. Incidentally, around this same time Hank Ballard (of Hank Ballard & the Midnighters) had just re-written the Drifters' 1955 number two pop hit "What'cha Gonna Do" -- already a revision of an old gospel tune, "What're You Going to Do" -- and offered his rewrite, called "The Twist," to the Spaniels, but they passed on it.
It later became a number one hit for Ernest Evans, who recorded it under the name Chubby Checker.
By 1960, the Spaniels were Hudson, Ernest Warren, Gerald Gregory, Bill Carey, and Andy McGruder (former lead of the Five Blue Notes). They recorded the group's last Vee-Jay single "I Know" in 1960; it reached number 23 R&B that summer. Meanwhile, Vee-Jay Records issued a second full-length album.
01. I Know 02:15
02. Bus Fare Home 02:39
03. One-Hundred Years From Today 02:27
04. Crazy Baby 02:11
05. Heart And Soul 02:38
06. Stormy Weather 02:30
07. Everyone's Laughing 02:52
08. Little Joe 02:33
09. The Posse 02:19
10. So Deep Within 02:48
11. Baby Sweets 02:14
12. I Lost You 02:40
Bonus Tracks
13. Goodnight, It's Time To Go (Goodnight Sweetheart, Goodnight) 02:42
14. Bounce 02:06
15. Baby It's You 02:33
16. Jesse Mae 02:28
17. Hey Sister Lizzie 02:10
18. You Painted Pictures 02:25
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Various Artist - The Warner-Reprise 'Record Show' (US 1969)
Size: 193 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included
Warner Bros. Records was one of the hippest and most progressive record companies on the West Coast in the late 1960s. In order to accurately target their consumers, as well as to introduce a great many cool records, they created an ingenious series of budget-priced sampler albums. 1969 Record Show was the first of these efforts, and easily one of the finest. Over thirty artists spread out over two LPs and priced at a then-very comfortable $2.00, this release introduced a whole lot of people to the fun, freewheeling creative spirit that defined the Burbank offices. Many high-quality sides -- from Neil Young & Crazy Horse, Van Dyke Parks, Jethro Tull, and the Pentangle to Ella Fitzgerald and Fats Domino -- provide an excellent representation of a company that cared about its artists as well as its customers.
Another one from the US Warner Bros. "Loss Leader" serie (concept referring to a sales strategy where an item is sold under marketing cost to promote more profitable articles - in this case single samplers for $1, doubles for $2 and triples for $3). This 2-LP set was the second of thirtythree such from the label issued between 1969-80. The four sides each present a theme - country style, soft pop, mixed pop and what they call "Hippie Creep Rock'n'Roll" - showing on the label's amazing musical width at the time.
Here's the whole spectra - from non household acts as Mothers Of Invention, Fugs, Grateful Dead and Mephistopheles over contemporary teen idol names like KInks, Neil Young, Joni Mitchell, Peter Paul & Mary and Jimi Hendrix to older artists Ella Fitzgerald, Fats Domino and Everly Brothers.
All high quality so no need for the acceptive music lover to jump tracks - just turn sides and take it in. You also get a couple of rare cuts. As far as I know Geoff & Maria Muldaur's "All Bowed Down" and Hamilton Camp's "Star Spangled Bus" have remanied unissued otherwise and this may still be the only place for them. Everly Brothers "Empty Boxes" was a 45 only cut. Kinks "Nothing To Say" from the "Arthur" album is presented as mono on the info sheets (explained by - "...that's the only kind of tape we got from Granada TV, which commissioned the project").
The cut here is the mono version, but slightly enhanced for better width. Pressing the mono button narrows it down a little, but whichever you choose it sounds better than the one on the UK "Arthur" mono album. Fats Domino's cover of Everybody*s Got Something To Hide Except For Me And My Monkey" also an enhanced mono version - probably from the 45 edit. Rare or not there's enough here to get me through the day -checking track history, reminicing and enjoying all the good music. Audio shifts a little depending on original recordings, but it's pleasant listening all through. First had label as shown here, thick glossy fold/out cover with info sheets and custom artist pic inners.
The multi-page Loss Leaders inserts are a fantastic read… quick, irreverent andto the point, holding lots of surprises in the form of composers, producers andauxiliary musicians. At the time of its release, in 1969, all this was merely informative. Now it’s more like a history book, alerting us to hidden tidbits like; session guitarist Louie Shelton’s offering is produced by Tommy Boyce & Bobby Hart; The Blue Velvet Band features members Eric Weissberg and Sea Train’s Richard Greene; and those spoken word excerpts from Joni Mitchell are from a Carnegie Hall concert.
The liners also take the hot air out of the typical promotional hype usually associated with record labels. Like this excerpt regarding Van Dyke Parks: “We’ve discovered that people either dig Van wildly or find him, as one disgruntled ad-reader and self-appointed critic put it, ‘pretentious and boring.’ Make up your own mind. In the face of the unbelievable commercial failure of Song Cycle, Van has been keeping himself busy by composing
music for commercials, rather like Buckminster Fuller tightening bolts in an aircraft factory.” Edited tracks from The Grateful Dead and David Blue, as well as non-LP tracks, b-sides and mono versions from Geoff & Maria Muldaur, The Everly Brothers and The Kinks are included. And, yes… that’s Theodore Bikel (of Frank Zappa’s 200 Motels fame, not to mention “seventeen albums of exotic folk songs”) tackling The Beatles’ “Piggies”
Warner/Reprise's Country & Western, Cowboy Provincial, And Twangy Americana Side; Or Jumpin' On The Country Bandwagon With Warner/Reprise
01. Neil Young (With Crazy Horse)* – Cinnamon Girl Written-By – Neil Young 02:58
02. The Grateful Dead –Doin' That Rag (abridged) Written-By – Garcia*, Lesh*, Hunter* 02:20
03. Geoff Muldaur & Maria Muldaur – All Bowed Down Written-By – Geoff Gutcheon* 02:42
04. The Everly Brothers* – Empty Boxes Written-By – Ron Elliot* 02:40
05. Doug Kershaw – Son Of A Louisiana Man Written-By – Doug Kershaw 02:14
06. David Blue–Atlanta Farewell (abridged) Written-By – David Blue 01:47
07. Arlo Guthrie – Every Hand In The Land Written-By – Arlo Guthrie 02:19
08. The Blue Velvet Band – Weary Blues From Waitin' Written-By – Hank Williams 03:02
Warner/Reprise's Soft Arty Underbelly Side: A Collection Of Unamplified And Other Delights
09. Theo Bikel* – Piggies Written-By – George Harrison 03:16
10. Joni Mitchell – My American Skirt (live) 00:40
11. Joni Mitchell – The Fiddle And The Drum Written-By – Joni Mitchell 02:45
12. John Renbourn – Transfusion Written-By – Charles Lloyd 01:58
13. Bert Jansch – Poison Written-By – Bert Jansch 03:13
14. The Pentangle* – Once I Had A Sweetheart Written-By – Jansch*, Thompson*, McShee*, Renbourn*, Cox* 04:40
15. Joni Mitchell – Spoony's Wonderful Adventure (live) 00:40
16. Peter, Paul & Mary – Going To The Zoo Written-By – Tom Paxton 03:09
The Many Faces Of Pop
01. Sweetwater – Day Song Written-By – Nansi Nevins 01:45
02. Louie Shelton – A Walk In The Country Written-By – Louie Shelton 01:58
03. Lorraine Ellison – Stay With Me Written-By – George Weiss*, Jerry Ragovoy 03:29
04. Van Dyke Parks – Music For Ice Capades TV Commercial Written-By – Van Dyke Parks 02:00
05. Randy Newman – Yellow Man Written-By – Randy Newman 02:13
06. Pearls Before Swine – These Things Too Written-By – Tom Rapp 03:24
07. Hamilton Camp – Star Spangled Bus Written-By – J. D. Souther* 02:34
08. Ella Fitzgerald – The Hunter Gets Captured By The Game Written-By – Wm. Robinson* 02:55
The Irreverent Hippie-Creep And Rock 'N' Roll Side
09. The Fugs – Yodellin' Yippie Written-By – Ed Sanders 02:14
10. The Mothers – Electric Aunt Jemima Written-By – Frank Zappa 01:58
11. Jethro Tull – Fat Man Written-By – Ian Anderson 02:48
12. Mephistopheles (3) – Take A Jet Written-By – Siller*, Tackett*, Mosher*, Simone 02:39
13. The Jimi Hendrix Experience – Stone Free Written-By – Jimi Hendrix 03:33
14. The Kinks – Nothing To Say Written-By – Ray Davies 03:15
15. Fats Domino – Everybody's Got Something To Hide Except Me And My Monkey Written-By – John Lennon and Paul McCartney* 02:30
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Various Artist - The Warner-Reprise 'Looney Tunes' (US 1970)
Probably one of the more fondly remembered releases in the Loss Leader series… for those who acted fast enough to snag one, anyway. A big, colorful, 3LP box set, with some of the era’s best new music, all for 3 bucks… postage paid!
It lavishly spoke to the inherent greed in all record collectors and music lovers. And just look at that track list. There’s barely an unknown name or non-classic in the bunch (well, a few… but not many). As usual, the liner notes are a great read from a historical perspective, as Warners reports that the “recently emerged” Black Sabbath (with singer John Osbourne) “has made our sales department very happy.”
And an advance, non-LP single from The Faces (“Real Good Time”) isn’t even officially penciled in for the band’s next album yet. One record that caught my attention is John Simon’s album (that’s the name of it, by the way, John Simon’s Album). The famed producer for Big Brother, BS&T, Leonard Cohen, The Band and a slew of others, is joined by Leon Russell, Jim Gordon and Delaney Bramlett for his 1970 debut LP.
Side 1: 5.5 Richter and Above
01. FM Radio Spot It’s The Plastic (1:03)02. Faces Real Good Time (5:52)
03. Black Sabbath Paranoid (2:48)
04. Little Feat Strawberry Flats (2:22)
05. Hard Meat Smile As You Go Under (3:04)
06. Fleetwood Mac Tell Me All The Things You Do (4:13)
07. Jimi Hendrix Stepping Stone (4:15)
03. Black Sabbath Paranoid (2:48)
04. Little Feat Strawberry Flats (2:22)
05. Hard Meat Smile As You Go Under (3:04)
06. Fleetwood Mac Tell Me All The Things You Do (4:13)
07. Jimi Hendrix Stepping Stone (4:15)
Side 2: Resident Writers and Reapers Of Wry Kudos
01. John Simon The Elves’ Song (4:31)
02. Ry Cooder Alimony (2:56)
03. Randy Newman Let’s Burn Down The Cornfield (3:02)
04. Gordon Lightfoot Me And Bobby McGee (3:42)
05. Jimmy L. Webb P. F. Sloan (4:05)
06. Performance Soundtrack (Jack Nitzsche) Harry Flowers (4:03)
01. John Simon The Elves’ Song (4:31)
02. Ry Cooder Alimony (2:56)
03. Randy Newman Let’s Burn Down The Cornfield (3:02)
04. Gordon Lightfoot Me And Bobby McGee (3:42)
05. Jimmy L. Webb P. F. Sloan (4:05)
06. Performance Soundtrack (Jack Nitzsche) Harry Flowers (4:03)
Side 3: Breadwinners and Other Staples
01. FM Radio Spot Chip Dip (1:02)
02. Little Richard I Saw Her Standing There (3:29)
03. The Grateful Dead Sugar Magnolia (3:17)
04. Van Morrison Call Me Up In Dreamland (3:54)
05. The Kinks Apeman (3:52)
067. Arlo Guthrie Valley To Pray (2:47)
07. The Beach Boys It’s About Time (3:01)
01. FM Radio Spot Chip Dip (1:02)
02. Little Richard I Saw Her Standing There (3:29)
03. The Grateful Dead Sugar Magnolia (3:17)
04. Van Morrison Call Me Up In Dreamland (3:54)
05. The Kinks Apeman (3:52)
067. Arlo Guthrie Valley To Pray (2:47)
07. The Beach Boys It’s About Time (3:01)
Side 4: California Antacid Rock
01. The Youngbloods It’s A Lovely Day (2:37)
02. Jeffrey Cain Houndog Turkey (2:51)
03. Lovecraft Love Has Come To Me (3:05)
04. Sweetwater Just For You (9:39)
01. The Youngbloods It’s A Lovely Day (2:37)
02. Jeffrey Cain Houndog Turkey (2:51)
03. Lovecraft Love Has Come To Me (3:05)
04. Sweetwater Just For You (9:39)
Side 5: Avant and National Guard
01. Captain Beefheart & The Magic Band Lick My Decals Off, Baby (2:39)
02. The Mothers Of Invention Directly From My Heart To You (5:18)
03. Alice Cooper Return Of The Spiders (4:30)
04. Frank Zappa Would You Go All The Way? (2:30)
05. Beaver and Krause Spaced (3:51)
06. Pearls Before Swine The Jeweler (2:46)
01. Captain Beefheart & The Magic Band Lick My Decals Off, Baby (2:39)
02. The Mothers Of Invention Directly From My Heart To You (5:18)
03. Alice Cooper Return Of The Spiders (4:30)
04. Frank Zappa Would You Go All The Way? (2:30)
05. Beaver and Krause Spaced (3:51)
06. Pearls Before Swine The Jeweler (2:46)
Side 6: Electric Jesus
01. Beaver and Krause Sanctuary (1:46)
02. James Taylor Lo And Behold (2:35)
03. Harpers Bizarre If We Ever Needed The Lord Before (2:56)
04. Van Dyke Parks On The Rolling Sea When Jesus Speak To Me (2:28)
05. The Persuasions It’s All Right (3:28)
06. Turley Richards I Heard The Voice Of Jesus (6:59)
01. Beaver and Krause Sanctuary (1:46)
02. James Taylor Lo And Behold (2:35)
03. Harpers Bizarre If We Ever Needed The Lord Before (2:56)
04. Van Dyke Parks On The Rolling Sea When Jesus Speak To Me (2:28)
05. The Persuasions It’s All Right (3:28)
06. Turley Richards I Heard The Voice Of Jesus (6:59)
Part 1: Looney Tunes
Part 2: Looney Tunes
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Mott The Hoople - Live (Great Live Performance UK 1974 + Bonus Tracks)
Size: 256 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Mott The Hoople Live is a 1974 album by British band Mott the Hoople. A remastered and expanded 30th Anniversary Edition was released by Sony BMG on the Columbia label (516051). The release of the album in its original form in 1974 coincided with the announcement of the band's demise and it was, therefore, their final release. It was a single disc album in its original format but the addition of thirteen extra tracks has seen it expand to a double CD package.
By 1974, Mott the Hoople was quite possibly the greatest concert band in the world, a blur of high-energy rock, high content poetics, and high camp costuming — Ian Hunter the tough guy in leather and shades; Ariel Bender the street kid, all satin hat flash; Overend Watts, the freakoid in skyscraper thigh boots; and a live show which out-dressed the lot of them. If any band deserved a live album, it was Mott. And if any live album failed to deliver, it was this one. Today, the album's deficiencies seem less severe.
Though the band's Bender era remains considerably less well-documented than the earlier Mick Ralphs period, still live material has poured out from a variety of sources, from the Shades of Ian Hunter compilation to the All the Young Dudes box set, and onto the spring 2001 reissue of Bender's own Floodgates solo album (an excellent version of "Here Comes the Queen").
There's even a quasi-legal fan club release for the 1974 King Biscuit broadcast which remains the highpoint of the band's live career. Live, however, remains the only official document of the glory, and the problems commence on the back cover — a great shot of the band performing "Marionette" on a stage hung with puppets, when the song itself is nowhere in sight. Two shows recorded five months and two continents apart (London's Hammersmith Odeon in December 1973; New York's Uris Theater in May 1974) are highlighted by just seven songs and one medley.
The hits "All the Young Dudes" and "All the Way From Memphis," of course, are present, but the remainder of the track list is bizarre to say the least — the ballads "Rest in Peace" and "Rose" were British B-sides only, while "Sucker,""Walking With a Mountain," and "Sweet Angeline" were never much more than filler on their own original albums (Dudes, Mad Shadows, and Brain Capers, respectively).
The medley is mightier, spanning both Mott's own history, and rock & roll's in general — who, after all, would deny the band their own exalted place in the lineage which stretches from "Whole Lotta Shakin'" to "Get Back" and beyond (the uncredited snatch of Bowie's "Jean Genie")? But even here, one cannot help but think more must have happened that night than a breakneck assault on a handful more cuts — and sure enough, it did. The Hammersmith show was the night when the management tried to halt the gig during the closing number, and wound up causing a riot.
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| Single 1971 |
The liner notes remember it well, but the "Mountain" here was found in New York. It is a great album in its own way, the band are in terrific form, and Bender plays the guitar hero better than anyone else of his entire generation. But Mott gigs, like their albums, were about more than simple snapshots — that was what made the band so important, that's what made their music so memorable. And that's what the fearfully episodic Live completely overlooks.
CD1 Broadway
01.Intro - "Jupiter" from "The Planets" (Holst) – 0:46
02."American Pie"/ "The Golden Age of Rock'n'Roll" (McLean / Hunter) – 4:16
03."Sucker" (Hunter, Ralphs, Watts) – 5:59
04."Roll Away the Stone" / "Sweet Jane" (Hunter / Reed) – 3:52
05."Rest in Peace" (Griffin, Hunter, Watts) – 6:01
06."All the Way from Memphis" (Hunter) – 5:02
07."Born Late '58" (Watts) – 4:51
08."One of the Boys" (Hunter, Ralphs) – 5:32
09."Hymn for the Dudes" (Allen, Hunter) – 5:46
10."Marionette" (Hunter) – 5:04
11."Drivin' Sister" / "Crash Street Kidds" / "Violence" (Hunter, Ralphs) – 9:06
12."All the Young Dudes" (Bowie) – 3:49
13."Walking with a Mountain" (Hunter) – 4:54
CD2 Hammersmith
01.Intro - "Jupiter" from "The Planets" (Holst) – 0:46
02."Drivin' Sister" (Hunter, Ralphs) – 3:51
03."Sucker" (Hunter, Ralphs, Watts) – 6:03
04."Sweet Jane" (Reed) – 5:10
05."Sweet Angeline" (Hunter) – 6:47
06."Rose" (Buffin, Hunter, Ralphs,...) – 4:42
07."Roll Away the Stone" (Hunter) – 3:31
08."All the Young Dudes" (Bowie) – 3:53
09."Jerkin' Crocus" / "One of the Boys" / "Rock'n'Roll Queen" / "Get Back" / "Whole Lotta Shakin' Goin On" / "Violence" (David, Hunter, Lennon, McCartney, Ralphs, Williams) – 16.16
10."Walking with a Mountain" (Hunter) – 9:09
Part 1: Mott
Part 2: Mott
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