December 10, 2015, 10:42 am
Size: 454 MBBitrate: 320mp3Found on the RadioSome Artwork Included
Twenty years after the Grateful Dead wrapped up their 1995 summer tour at the same venue, the group took the stage at Soldier Field for the second of three Fare Thee Well shows in Chicago. The band showed they’d come a long way in just one week.
Joined again by guests Bruce Hornsby, Jeff Chimenti, and Phish‘s Trey Anastasio, the Grateful Dead was tighter, brighter and more dynamic last night (July 4) than their tentative start in Santa Clara. Anastasio continued to impress in his role as lead guitarist, but everyone in the Grateful Dead got their chance to shine, especially Bob Weir.
The “core four” of Mickey Hart, Bill Kreutzmann, Phil Lesh and Weir kicked off an energetic first set with the funky groove of “Shakedown Street.” Weir nailed the vocal while Anastasio emulated Jerry Garcia’s old “Mutron” guitar sound.
“Liberty” was an obvious choice, considering the date. A much later entry in the Robert Hunter and Jerry Garcia songbook, “Liberty” was one of the new batch of songs that the Grateful Dead played in 1993-1994. Weir’s vocal delivery was strong as the band delivered a near-flawless backing.
The Jerry Garcia ballad “Standing on the Moon” was next. Anastasio took the lead vocal, and while very competent, it lacked the emotive weight that one of the elder statesmen could have brought to the delivery. After “Moon,” the Grateful Dead dipped into its road-tested songbook with “Me and My Uncle,” “Tennessee Jed,” “Friend of the Devil” and the first repeat from last weekend’s shows in Santa Clara – “Cumberland Blues.”
Bob Weir led the band through an impressive rendition of Willie Dixon’s “Little Red Rooster,” a staple of the Grateful Dead’s repertoire that did their host city proud with a sleek slide guitar from Weir and bluesy licks from Anastasio. Keyboardist Jeff Chimenti then stole their thunder as he lit up the crowd with a smoky organ solo.
The second set opened with a sublime version of “Bird Song,” a song that Jerry Garcia and Robert Hunter originally wrote upon the death of Janis Joplin.
Phil Lesh changed the original lyric – “all I know is something like a bird within her sang …” – to the masculine pronoun for the entire song. There was a brief jam in the center of the tune, comprised of rolling guitar notes over Lesh’s bass and Hornsby’s delicate piano.
The band’s 1967 party hit “The Golden Road (To Unlimited Devotion)” followed. The entire band were grinning ear to ear as they harmonized the classic “Hey hey! Come right away!” refrain. Bruce Hornsby and Anastasio took the lead vocals and the band fired on all cylinders until its spacey finale.
Bob Weir’s two-parter “Lost Sailor” / “Saint of Circumstance” followed. Weir quickly swapped guitars for the custom Stratocaster design that he’s been using for the majority of these concerts. The dour “Sailor” had been booted from Grateful Dead setlists in the mid-1980s (others in the band reportedly hated it), but its sister composition – the joyful and upbeat “Saint of Circumstance” – stuck around.
In the hands of Bob Weir’s longtime Ratdog project, “Lost Sailor” would have been just a fan-service curio. On this night, however, “Sailor” became nothing short of mesmerizing. This was the tightest we have heard the band yet. The Grateful Dead dropped into “Saint of Circumstance” without missing a beat. While it wasn’t played with the frenetic pace of shows in the 1980s, it still had plenty of power and drive.
Bruce Hornsby took the reins on a snarling rendition of “West L.A. Fadeaway.” The Grateful Dead had stumbled across the riff the previous night coming out of the “Playing in the Band” jam, but tonight’s payoff was an absolute delight punctuated by Hornsby hammering the piano keys and Chimenti following with that funky Hammond sound.
Before the “Drums” and “Space” improvisations of the night, the band launched into another later-period Garcia song, “Foolish Heart” from 1989’s Built to Last.
Coming out of “Space,” Bob Weir tried several times to get the rest of the band to follow his lead into “Stella Blue,” but it seemed like everyone else was having way too much fun utilizing their guitar-effects boxes.
Finally, “Stella” began with Weir at the lead. If Trey Anastasio shone the night before, July 4th was Bob Weir’s turn. His voice sounded fairly ragged, but he delivered this beloved Garcia ballad with so much emotion and grace that it was hard to find fault.
The show-closing “One More Saturday Night” and “U.S. Blues” encore weren’t surprises to anyone, but both songs were bursting with energy.
As “U.S. Blues” reached its climax, fireworks filled the night sky over Soldier Field just as they had done 20 years prior.The Grateful Dead - Fare Thee Well Show 4Soldier's Field Chicago, IllinoisJuly 4, 2015 WXRT FM
Disc 1 01. WXRT Intro02. Shakedown Street03. Liberty04. Standing on the Moon05. Me & My Uncle06. Tennessee Jed07. Cumberland Blues08. Little Red Rooster
Disc 2 01. Friend of the Devil02. Deal03. WXRT Outro04. WXRT Intro05. Bird Song06. The Golden Road07. Lost Sailor >08. St. of Circumstance
Disc 3 01. West L.A. Fadeaway02. Foolish Heart >03. Drums >04. Space >05. Stella Blue06. One More Saturday Night
Encore07. Donor Rap08. U.S. Blues09. Fireworks (Stars and Stripes Forever)10. WXRT OutroPart 1:
Grateful 2015Part 2:
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Grateful 2015 (changed, thank you)
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December 11, 2015, 10:32 pm
Size: 93.9 MBBitrate: 256mp3Ripped by ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Writer is the debut album by Carole King and was released in 1970. King already had a successful career as a songwriter, and been a part of The City, a short-lived group she formed after moving to Los Angeles in 1968. Tracks on the album include "Up on the Roof" which was a number 4 hit for the Drifters in 1962, and "Child of Mine", which has been recorded by Billy Joe Royal, among others. The album did not receive much attention upon its release, though it entered the chart following the success of King's next album, Tapestry, in 1971.
Reviewers rate it positively if not as highly as Tapestry, one noting that it was the "most underrated of all [her] original albums". And, in a review that also covered Tapestry in Rolling Stone, Jon Landau wrote, "Writer was a blessing despite its faults" and that though the "production was poor", King herself made the album "very worthwhile".
Writer is the most underrated of all of Carole King's original albums, in that it was completely ignored when it came out in 1971 and didn't really start to sell until Tapestry whetted everyone's appetite for her work. It's an album of its time, in both King's life and career, and the music of its era -- singer/songwriters were still something new, and in 1970, it was assumed that anyone in rock had to tend toward the extrovert and flashy to attract attention. Thus, Writer has a somewhat louder sound than the relatively lean, introspective strains of Tapestry which followed.
"Spaceship Races," which opens the record, features Danny Kootch Kortchmar playing full-out electric guitar, chopping and crunching away with his amp turned way up, and King belting out a number behind his bluesy licks that makes her sound like Grace Slick and the song come off like a pounding (and good) Jefferson Airplane number of the same era, with a great vocal hook at the end of the verses. "No Easy Way Down," with its soulful instrumental and backing arrangement, calls to mind not only her own "Natural Woman" as done by Aretha Franklin, but also (in terms of New York white women belting out soul) Laura Nyro at her best, and it's also a great tune with a killer performance by King, whose wailing voice is extraordinarily powerful here.![]()
"Child of Mine" is the closest that the album gets to the voice that she found on Tapestry, while "Goin' Back" gives a more personal and elegant take to a song that is otherwise thoroughly identified with the Byrds; and "To Love" has King diving into country music, which she pulls off with exceptional grace, the song's title referring to a beguilingly innocent and free-spirited chorus that, once heard, stays with you. Even the least interesting of the songs here, "What Have You Got to Lose," is unusual in the context of King's overall work, with its heavy acoustic rhythm guitar, soaring backing vocals, and King's bold near-falsetto on the choruses.
And that's just Side One of the original LP -- Side Two opens a little more slackly with the beautiful, reflective, but slightly too languid "Eventually," and the delightful "Raspberry Jam," which offers a soaring guitar showcase for Kortchmar (whose playing intersects the sounds of Roger McGuinn and David Crosby off of the Byrds'"Eight Miles High"), and a head-spinning, swirling organ from Ralph Schuckett weaving below and around King's piano, plus one of King's most playful vocals on record. The album ends on a special high note, King's singer/songwriter-styled reinterpretation of "Up on the Roof," which anticipates the sound she would perfect for Tapestry, emphasizing words and their feeling and meaning as much as music, and expressing herself principally through her voice and piano, moving the band out of the way.
Ironically enough, if Writer had been released by almost any other artist, it would command a near-top rating and probably be a fondly remembered period cult item today; instead, for all of its merits, it must stand in the shadow of King's more accomplished and distinctive work that followed -- but even slightly "off-brand," under-developed Carole King music from 1970 is still worth hearing today.
Personnel:♣ Carole King - piano, vocals, backing vocals, and arrangements♣ Ralph Schuckett - organ♣ John Fischbach - Moog synthesizer♣ James Taylor - acoustic guitar and backing vocals♣ Daniel Kortchmar - acoustic guitar, electric guitar, conga♣ Charles Larkey - Fender bass♣ Joel O'Brien - drums, percussion, vibes♣ Abigale Haness and Delores Hall - backing vocals
01. "Spaceship Races"– 3:0902. "No Easy Way Down"– 4:3603. "Child of Mine"– 4:0504. "Goin' Back"– 3:2005. "To Love"– 3:3906. "What Have You Got to Lose"– 3:3307. "Eventually"– 5:0108. "Raspberry Jam"– 4:3509. "Can't You Be Real"– 3:0010. "I Can't Hear You No More"– 2:4611. "Sweet Sweetheart"– 2:4612. "Up on the Roof"– 3:371.
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December 15, 2015, 11:43 pm
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December 17, 2015, 10:30 pm
Size: 71.4 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Carl “Sherlock” Holmes started gigging in the early sixties forming Carl Holmes & the Commanders with whom he recorded a full length album for Atlantic in 1962 entitled Twist Party At The Roundtable. Later on he recorded a couple of 45’s for the Parkway and Verve labels.
In May of 1966 a pre-Experience Jimi Hendrix gigged with the group but never recorded with them. After a final 45 for the local Philly label Black Jack, the group disbanded and Carl formed the Sherlock Holmes Investigation a solid outfit backed by a strong rhythm section packed with congas, vibes, flute, organ and sax. Philly’s Sigma Sound Studio was the place they recorded their sole album and Curtis R. Staten’s CRS Records was the label that released it.
This album has it all! Smokin funk breaks in Black Bag, Investigation, Get Down Philly Town, It Ain't Right and some syncopated latin-inspired jams in Modesa. All these coupled nicely by some fine mellow numbers in Close To You, Think It Over and Your Game . And all but one (Bacharach/David's Close To You) written by a guy named Len Woods, a remarkable songwriter, no doubt!
After Tramp Records has released four songs of this album on two 45RPM singles recently, the entire Investigation No.1 album is now available on CD. It even comes with a bonus track which has been originally released on 45RPM single only.
A funky holy grail, one of the rarest of the rare, and the only album ever cut by funky guitarist Carl “Sherlock” Holmes! Carl’s work on the guitar is incredible fast riffing and jazzy, with a style that’s dirtier and messier than some of his 70s jazz funk contemporaries, but which also lays back on a few tracks so that Carl can deliver a sweetly soulful vocal. The album’s a real blend of styles, all handled pretty darn well from the hard funk of “Black Bag” and “Investigation“, to the Latin jamming of “Modesa“, the fast grooving of “Get Down Philly Town“, and the mellow soul of “Think It Over” and “Your Game“. Great stuff.
This is a super rare soul/funk record where Carl tries to close “the gap between R&B, jazz and psychedelic rock by the creation of a sound that is funky, mellow, intricately soulful and explosive, yet uniquely disciplined in its complexity!
Well, well, well.. It’s time now for some to the dirtier side of funkiness grooves of the early seventies, painted with some to the mellower side soul touches of the same era. And it’s a fine little record from one of the less familiar names around, Philly guitarist and vocalist Carl “Sherlock” Holmes.
Carl started gigging in the early sixties forming Carl Holmes and The Commanders with whom he recorded a full length album for Atlantic in 1962 entitled «Twist Party At The Roundtable», and a couple of 45’s for Parkway and Verve later on. They even gigged with one Jimi Hendrix in 1966 but alas never recorded. After a final 45 for the local Philly label Black Jack, the group disbanded and Carl formed the Sherlock Holmes Investigation, a solid outfit backed by a strong rhythm section packed with congas, vibes, flute, organ and sax.
Philly’s Sigma Sound Studio was the place they recorded their sole album and Custis R. Staten’s CRS Records was the label that released it. And here we are.
Smokin funk breaks in «Black Bag», «Investigation», «Get Down Philly Town», «It Ain’t Right» and some syncopated latin-inspired jams in «Modesa» all coming out of the legendary Philly studio?… Yeah, why not? Music is One, or isn’t it? Ouch.
All these coupled nicely by some fine mellow numbers in «Close To You», «Think It Over» and «Your Game» . ouch again! And all but one (Bacarach/David’s «Close To You») written by a guy named Len Woods. A remarkable blend of styles, no doubt!
This is the first official re-issue of the sought-after "Investigation No.1" album. It comes with a bonus track which has been originally released on 45RPM single only. All songs have been digitally remastered to ensure the highest quality possible.
Personnel:♦ Backing Vocals – Chubby Brown♦ Bass – Chico Green, Jimmy Towns♦ Drums – Charles Harris♦ Flute – John Daves♦ Guitar – Art Grant♦ Piano – John Hammond (2)♦ Producer – Curtis R. Staten♦ Saxophone – Middy Middleton, Ray Wright, Cupit♦ Written-By – Len Woods* (tracks: 01, 03 to 07)♦ Recorded at Sigma Sound Studio Philadelphia, PA
01. Investigation 04.0502. Close To You 05.0703. Black Bag 03.2004. Think Is Over 03.2505. Modesa 04.5906. Your Game 04.1607. Get Down Philly Town 02.5908. It Ain’t Wright 03.07
Bonus Track From CBS Single [CRS-000005]09. The Pot's Hot 02.311.
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December 20, 2015, 9:27 am
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| Are you Psychedelic? |
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December 20, 2015, 11:43 pm
Size: 75.2MBBitrate: @320mp3Found in OuterSpaceSome Artwork Included
The Boy Wonder Session Tapes are not raw studio takes and false starts, as has often been assumed by collectors; rather, they are derived from one or more post-production reels of mono mixes and incomplete mixdown takes.
In 1966 there was no sense that rock 'n' roll outtakes would one day have commercial or historical value. Session tapes were commonly wiped and re-used as a cost-cutting measure. This practice was widespread in television also; perhaps the most important reason that Monty Python's Flying Circus seems to come out of nowhere historically is that the BBC systematically wiped tapes of Python's predecessors. Tom Wilson's spoken references to takes 4B, 4C, 11A, 11B, 18 and 29A show that these tapes document only a fraction of the original sessions - but this fraction is probably all that survives.
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The Boy Wonder Session Tapes circulate among collectors in many different track sequences. They are presented here in the sequence in which they were probably recorded, which is also the sequence in which they were likely archived on T.T.G. post-production reels and, hence, the order in which they were retrieved for mixing.
Two tracks are often omitted from circulating versions of these tapes: an incomplete mixdown of Teenage Bill Of Rights, and what purports to be an alternate take or mix of Variant I. Close listening reveals that the Variant I 'alternate' is in fact the same take and mix as the more common version of the track — a fact disguised by the inclusion, at the take's beginning, of a snippet of the end of I Love.
This snippet is easily explained: When the MGM 7" single was mastered, the tape segments containing the end mixes of Boy Wonder, I Love You and Orange Colored Sky were undoubtedly physically sliced out of the master reel — a common practice in those pre-digital days — and the remainder was spliced back together for the T.T.G. archives.
This explains why the end of I Love — the last song from 9 June to be mixed — is found back-to-back with the 'alternate' take of Variant I — the second song to be mixed from 10 June, but the next song in order on the post-production reel after Orange Colored Sky was excised. The so-called 'alternate' version of Variant I is therefore identical to the more common version, and has been omitted from this upload.
Further evidence from the tapes suggests that the recording sequence given in Román Garcia Albertos's wonderful FZ chronology is slightly incorrect, as a snippet of Variant I appears at the end of the incomplete mixdown take of Teenage Bill Of Rights - indicating that Teenage Bill Of Rights was probably recorded first.
Burt Ward claims in Boy Wonder: My Life In Tights that Orange Colored Sky was recorded at his first session with FZ, and that MGM then insisted on vocal lessons prior to his next recording date. Ward goes on to say that MGM's vocal coach dismissed him after two weeks of lessons at $1,000 per week.
This is sheer fantasy — Orange Colored Sky was recorded on the second day, not the first, and there certainly was no two-week gap between sessions. Burt Ward's book is hugely entertaining — Spy magazine memorably lampooned it under the title I Couldn't Keep It In My Pants And I Can't Stop Talking About It — but clearly, serious researchers must look elsewhere for their facts.
Burt Ward - The Boy Wonder Session Tapes 18.20 Recorded at T.T.G. Studios, Los Angeles, 9 and 10 June 1966
Sessions Produced by TOM WILSONArranged and Conducted by FRANK ZAPPA
Core musicians (9 and 10 June):♫♪ Burt Ward - lead vocals♫♪ Dennis Budimir - guitar♫♪ Elliot Ingber - guitar♫♪ Eugene DiNovi - piano♫♪ Plas Johnson - saxophone♫♪ Benjamin Barrett - cello(Plus unknown backing vocalists)
Additional musicians (9 June):♫♪ James Zito - French horn, trumpet♫♪ George Callender - tuba♫♪ Justin Gordon - bass clarinet, clarinet♫♪ Roy Estrada - bass♫♪ Jimmy Carl Black - drums
Additional musicians (10 June):♫♪ Lou Morell - guitar♫♪ William Pitman - guitar♫♪ Anthony Terran - trumpet♫♪ John T. Johnson - tuba♫♪ Jack Nimitz - bass clarinet, clarinet♫♪ Frederick Dutton - contra bassoon, bassoon♫♪ Kenneth Watson - tympani, traps, mallets♫♪ John Guerin - drums
Tracks recorded 9 June:01. Boy Wonder, I Love You (Zappa) [mono end mix]02. Gotta Fall In Love (a.k.a. I Love, a.k.a. Autumn Love) [complete mono mix]
Tracks recorded 10 June:03. Orange Colored Sky (a.k.a. Oranged Colored Sky - DeLugg / Stein) [mono end mix]04. Teenage Bill Of Rights (John / Regan) [mono mixdown take]05. Teenage Bill Of Rights (John / Regan) [complete mono mix]06. Variant I (a.k.a. The Comedian) [mono mixdown take]07. Tears Come From Loving You [complete mono mix]
+ Bonus
This tape has circulated in many different forms. Sometimes an off-air recording of the show intro and "Plastic People" are included at the start. Sometimes there is a jam from the Detroit 1968 tape at the end. Sometimes there is some stage banter before the music starts, and sometimes it cuts off early. The source for this seed is the tape originally posted by walk, with the last minute patched with the "Time Sandwich" boot. I have also included a remastered version that has been re-equalized, cleaned of dropouts and corrected to true mono. The switch to the fill source is very obvious in the raw version, but virtually undetectable in the remastered version.
FRANK ZAPPA & THE MOTHERS OF INVENTIONJune 24-25, 1966Fillmore Auditorium San Francisco, CA
The Mothers Of Invention, June 1966: ♫♪ Frank Zappa ♫♪ Ray Collins ♫♪ Elliot Ingber ♫♪ Roy Estrada ♫♪ Jimmy Carl Black
08. Banter, Tuning (00:20)09. Toads Of The Short Forest (00:47) 10. I'm Not Satisfied (2:18) 11. Wedding Dress Song, Handsome Cabin Boy Medley (11:02)1.
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December 29, 2015, 10:31 pm
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Variety of Beer
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Why do we care about beer styles? What difference does it make if a beer is a Porter or Stout? An Amber Ale or a Red? A Russian Imperial or an American Double? The Aleheads are as guilty as anyone of focusing on what pigeonhole a specific beer is supposed to fall into. Does it really matter?
Martyn Cornell would say “absolutely not”. The British beer historian is one of the most respected beer writers working today. His blog, Zythophile, is a must-read for any beer enthusiast. Now, I’ll grant you that being one of the most respected beer writers is like being one of the most venerable porn stars. It’s not exactly a field that inspires reverence.
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Beers World Cup
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“You write about beer? Good for you! And what’s your actual job?” But for those of us who care about beer, Cornell is a voice that commands respect. To be sure, he can be a bit of a crank. And sometimes his opinions just blatantly piss me off.* But he’s a true beer historian who relies on primary sources and never lowers himself to superficial on-line searches or Wikipedia quotes (like, umm, us). He’s a challenging, obstinate writer who likes to push buttons and illuminate the masses. If his posts sometimes read like he thinks he’s better than you, well…in terms of beer knowledge, he probably is.
*For an example of a Cornell post that I find infuriating, check out his “you’re not using the word ‘ale’ correctly” post. Essentially, since ale used to mean something different in centuries past, Cornell is peeved that the word’s definition has been altered over the years to mean “any warm/top-fermenting malt beverage”. He doesn’t like to have to explain the true etymology of the word over and over again and he is clearly frustrated that the term no longer means what it used to. My take? He sounds like an old man bitching about how much better everything was back in the day. The word “gay” doesn’t mean what it used to either. Get over it.
Cornell recently took up the debate about the proliferation of beer styles and the overwhelming importance they seem to command in the brewing industry today. He points out something I think most of us were superficially aware of but never put much thought into. Namely, the whole concept of “beer styles” is an extraordinarily recent invention. He traces it back a mere 33 years when the most celebrated beer writer of all time, Michael Jackson (not the pedophile one), coined the term “beer styles” in his seminal work, The World Guide to Beer.
Since that time, beer style differentiation has become a cottage industry. Today there are debates over whether a brew is a Cascadian Dark Ale or a Black IPA. Double, Triple, even Quadruple IPAs stock our package store shelves. There are multiple types of Imperial Stouts, a variety of Wild Ales…even a style called “Wheatwine” which is basically just a Barleywine made with 50% or more wheat malt. The whole concept of beer styles sometimes seems to threaten to strangle the entire brewing world. Why not just sit back, crack open a beer, and enjoy it without worrying about whether it meets the industry’s rigid standards for the style?
I’m fairly certain that Martyn Cornell blames the proliferation of beer styles on one thing: Americans. Spend some time perusing his posts (and particularly his responses in the comments sections after the posts) and you’ll see that he doesn’t hold us Yanks in the highest regard.*
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The Most Bizarre and Strongest Beers Ever
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*Here’s a choice anti-American quote from the “ale” article I referenced before. “It may seem dumb to you, matey, but that’s because you’re too dumb to have the imagination to realise that words didn’t always mean what a 21st century American thinks they should mean.”
I get the impression that he thinks our obsession with styles and guidelines stems from Americans’ deep-seated need to categorize and judge things. We need to proclaim “winners” and “losers” which means that beer judging has reached its zenith (or nadir, depending on your POV) in the States. As beer judging and beer competitions have started to dominate the brewing landscape, a concrete rubric for how to judge beers has developed along with it. After all, you can’t judge a beer unless you know what it’s “supposed” to taste like. Thus, beer styles have become more rigidly defined and their specific characteristics are being constantly debated and challenged by Aleheads.
Whenever I read one of Cornell’s (and other, mainly British, beer writers) frequent digs at American beer style obsession, I bristle a bit. This is for two reasons. One, while I like to mock America and all of our faults on an almost daily basis, I don’t like it when people from other countries do it. You have a Queen you crumpet-eating, loo-user…so stop throwing stones. And two, it bothers me because he’s correct. The recent focus on beer styles IS almost 100% due to America’s influence on the industry. We really ARE the culprit. But why?
I’m going to say something controversial that really isn’t: America is the best brewing nation on Earth. It sounds like fighting words, but it shouldn’t be. England invented most of the styles we take for granted today. Porters, Stouts, Brown Ales, IPAs. Germany has a horse in the race…it’s the birthplace of lager, wheat beers, and the Bavarian Purity Laws which essentially defined what beer was in Continental Europe for the past 500 years. And then there’s Belgium…a country whose sole purpose seems to be the production of high-quality brew. Even their monks brew beer. But all of those countries pale in comparison to the US these days. Why? Two reasons…
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The Top 10 Most Expensive Beers in The World
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First, there’s the obvious answer. Volume! The US is the third most populated nation on Earth behind only China and India and we’re far and away the biggest beer-drinking nation. India isn’t exactly a hotbed of brewing since any grains produced in that country are generally used to feed their perennially starving populace. As for China, while their beer production is steadily increasing every year, beer culture is still fairly nascent in the world’s largest country. No matter how you slice it, America produces more beer than any other nation. We also have more breweries than any other country…roughly 1,500 with more and more cropping up every year.
The second major reason: America’s culture of innovation. I know, I know…we’re falling behind. Our schools are getting worse. We buy our cars and electronics from Japan. We buy our toys from China. We buy our clothes from El Salvador and Thailand. We call India when our computers break. We’re not what we used to be. But in the brewing industry, the US is still on top in terms of innovation and pushing the envelope. There are a few European ale factories like BrewDog that are making bold, exciting choices. But they’re the outliers. In the US, there are hundreds of craft brewers pushing the field to the next level. Breweries like Dogfish Head, Stone, Founders, Allagash, Avery…they’re exploring, experimenting, and completely changing the boundaries of beer-making. It’s an exciting time for American Aleheads!
All that variety and innovation leads to a couple of problems though. First is the issue of consumer confusion. Pop into a well-stocked package store and your head will start spinning. The options available sometimes seem limitless. It’s like walking down the cheese aisle at Whole Foods…it can feel like you’re just throwing darts at a board. If you’re just selecting beers based on the label or name, you’re not making a very informed decision.
BUT, if the beer style is prominently displayed, life becomes a little easier. A Founder’s Dirty Bastard? That doesn’t sound very good. Oh wait…it’s a Scotch Ale! I love Scotch Ales! I’m definitely grabbing a four-pack of that. There’s no such thing as a perfectly informed consumer, but every little bit of information helps. When grabbing a beer at the bar or package store, knowing the beer style can mean the difference between finding something you love or being stuck with a six-pack you’ll never finish.
That first concern is universal, but the second is pretty uniquely American…our need to determine a “winner”. As I said earlier, we have a desire…an obsession really…to turn everything into a competition. Americans CRAVE winners. Everything has to be ranked.
Everything has to be in a Top Ten list. We need to know who the best sports teams are. The best restaurants.
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29 Interresting Facts of Beer
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The best colleges. The richest people. The same is true with beer. The most popular posts we write on Aleheads are lists. When we rank beers and beer names, our hits jump up. It’s bred into our genetic code as Americans.
Determining the best beers is an immensely subjective undertaking. Personal tastes rule the day. If a beer has a dominant flavor (say grapefruit hoppiness) that I love and you hate, we’ll clearly rate those beers differently. It’s not “fair” to judge all beers equally since our own personal tastes will always win out. But if we start listing beer styles and determining the characteristics that define those styles, we begin to eliminate some of that subjectivity.
Maybe I prefer Dubbels to Witbiers, but if I can separate those two styles into two wholly separate categories, I can judge them on their own merits. No one is going to change the American need to determine a winner. But beer styles at least make that process a little more fair…it makes the world of beer judging a little more meritocratic. Clearly a delicate Kölsch can’t stand up to a robust Russian Imperial Stout. Thanks to beer styles, it doesn’t have to.
So Martyn Cornell and his ilk are right, as he usually is. Americans ARE the problem when it comes to the recent beer style obsession. And focusing too much on beer styles can certainly be detrimental. Sometimes it’s better to just pop the cap and sip than it is to fret too much about whether your Double IPA has the proper amount of IBUs for the style. That being said, I think Cornell (as he often does) is living a bit too much in the past. When he was a wee lad, the term “beer style” didn’t even exist. Contrast that with the Aleheads…we were all born AFTER Michael Jackson coined the phrase in ’77. None of us existed in a world where “beer styles” weren’t something brewers thought about. How can we be expected to ignore the categorization of beer when it’s been part and parcel with our culture since we first put pint glass to mouth?
I’ve been taught to think of beer styles since I first started drinking. We all were! I can’t stop thinking about them any more than I can stop silently judging the merits of a beer when I’m drinking it. To be honest, the whole idea of beer styles and beer judging is a big part of WHY I love beer. Just skim our site. Every tasting note talks about styles. Every Podcast has some discussion of styles. Every lengthy diatribe touches on how well certain beers fit into certain categories. The idea of beer styles practically defines our blog and the beer culture we’re a part of. It is what it is, Mr. Cornell. You can fight it all you want, but as I once described the act of arguing with the Commander, it’s like punching the ocean.
I will still read Martyn Cornell’s blog religiously, of course. He is a better historian than me. He is a better writer than me. He has forgotten more about beer than I will ever know. Reading his blog shames me into realizing just how bad I am at beer writing, but it also inspires me to keep learning and growing as a beer drinker and thinker. He is almost always right when I am wrong… but when it comes to beer styles, I’m not bowing to him.
I say that beer styles are important. I say that with the amazing variety of beer options available to us today, they are entirely necessary. I recognize the problems with worrying too much about which narrow pigeonhole every single beer needs to fit into, but I think the good far outweighs the bad.
When I drink a beer, I want to know what it “should” taste like before I sip it. That’s important to me as a drinker. It’s important to me as an American. Hell, it’s important to me as a human being! If wanting a mental template to refer to before I consume something is wrong…well…then I don’t want to be right. I love beer styles…and I’m glad they’re here to stay.
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December 30, 2015, 9:16 pm
Size: 96.2 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Deep Purple evolved out of Roundabout who had been set up when two London businessmen, Tony Edwards and John Coletta decided to invest in a pop group. The name change to Deep Purple took place in April 1968 and coincided with their live debut in Tastrup, Denmark. The following month they recorded The Shades Of Deep Purple album. Musically they followed a pretty straight-forward pop format and the album peaked at No 24 in the US, although it didn't make the UK Charts at all. Similarly, their first single, Hush, a revival of a Joe South song with lots of great guitar work, rose to No 4 in the US singles Charts but failed to gain a Chart placing over here. A cover of Neil Diamond's Kentucky Woman gave them another minor US hit, but over here it was withdrawn shortly after its release.
In 1969 they were signed by EMI's then new progressive Harvest label. They had Exposition/We Can Work It Out and Wring That Neck included on the very rare promo-only Harvest Sampler album. Their first album for Harvest, The Book Of Taliesyn, followed a similar format to their first album. Again, it fared better in the States, climbing to No. 54. A cover of Ike and Tina Turner's River Deep, Mountain High culled from the album, gave them another minor US hit, peaking at No 53. Other versions included The Beatles' We Can Work It Out and a version of the theme from 2001.
Deep Purple, released in 1969, marked the end of their pop phase. It included a good version of Donovan's Lalena. The Painter and Why Didn't Rosemary certainly hinted at the heavier sound to come. Most of side two was taken up by the experimental and classically-influenced extended track April. After this the Tetragrammaton label folded and Simper and Evans were sacked departing for Warhorse and Captain Beyond respectively.
Ian Gillan and Roger Glover from Episode Six came in as replacements to form what is generally considered to be the strongest of the band's four line-ups. Musically this new line-up veered towards a much heavier sound. However, Concerto For Group And Orchestra, the new line-up's first album, attempted to merge rock and classical music with the band being supported by the Royal Philharmonic Orchestra at the Albert Hall. It gave the group their UK Chart debut, peaking at No 26 and, unusually for them did much better than in the US, where it only got to No 143.
They worked immensely hard in this phase of their career and gradually it began to pay off with Black Night, a superb slice of heavy rock, rising to No 2 to give them their first UK hit single.
Deep Purple In Rock was really their magnum opus. It became a million seller, climbing to No 4 in the UK (but only managing No 142 in the US). This album really is worth checking out with tracks like Speed King, Into The Fire, Living Wreck and Hard Lovin' Man epitomising all that was good about their frenetic brand of heavy rock.
However, there were signs that Ian Gillan, at least, was becoming restless. On 27 October he played the part of Jesus in a live performance of Tim Rice and Andrew Lloyd Webber's 'Jesus Christ Superstar' at St Peters Lutheran Church in New York and he'd also played Jesus on the original album.
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1971 saw the release of a new album, Fireball, which was similar in style to its predecessor. It topped the UK Album Charts and reached No 32 in the US. The title track peaked at No 15 in the UK 45 Charts at the end of the year, to give them their second Top 20 hit. Strange Kind Of Woman had made the UK Top Ten back in March. On 3 December Montreux Casino in Switzerland burnt down during a Frank Zappa set whilst the band were recording there, this led the band to write another classic song, Smoke On The Water, which was included on their next album, Machine Head. This was another mega seller, topping the UK Charts for three weeks and later climbing to No 7 in the US. In April 1972 Never Before from the album gave them a minor UK hit, climbing to No 35. The same month Jon Lord released an album, Gemini Suite, with the London Symphony Orchestra.
By now the band was deservedly one of the top live attractions in the World - playing the first night at the resurrected Rainbow Theatre in June 1972 and touring Japan in August of that year, where they were extremely popular. Material from some of the concerts on this tour was later released on the Live In Japan album, which later climbed to No 16 in the UK and No 6 in the US. Towards the end of 1972 Warner released Purple Passages, a US-only compilation of material from their three Tetragrammaton albums, and it peaked at No 57.
By now Gillan had made up his mind to leave the group because he felt the band was ceasing to progress, although he remained with the band until 29 June 1973 to honour touring commitments in Japan, where the band members were idolised. He later formed his own band. Roger Glover followed him shortly after, initially becoming the Purple label's A&M man and later pursuing a solo career. The following month their classic song, Smoke On The Water (from Machine Head) was released as a 45 in the US, becoming a million-seller and peaking at No 4.
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The previously unknown David Coverdale, who'd been working in a menswear shop in Redcar, Yorkshire, was brought in, along with ex-Trapeze bassist Glenn Hughes, after responding to an advert placed by the band. This new line-up were responsible for the Burn and Stormbringer albums, which were both successful commercially, but this particular incarnation of the band was brought to a conclusion when Ritchie Blackmore announced his departure to form Rainbow on 7 April 1975. His replacement was Tommy Bolin, formerly with The James Gang.
This final line-up recorded a studio album, Come Taste The Band, and embarked on a World Tour of Australia, New Zealand, Hawaii, Japan, Hong Kong, America and Europe. However, it was proving increasingly difficult for the band to harness the undoubted talent of its individual members to best effect and they finally split in June 1976. Inevitably there have been several posthumous releases and compilations.
Upon their demise Coverdale embarked on a solo career later forming Whitesnake; Lord and Paice became two of the trio known as Paice, Ashton and Lord; Hughes rejoined Trapeze and Tommy Bolin formed his own band back in the US. He later died of a heroin overdose on 4 December 1976.
For a good retrospective collection try The Anthology, released in 1985. This doesn't just follow the 'greatest hits' type format - it mixes the best known material with the obscure. In the latter category are three previously unissued tracks:- Freedom, recorded as a follow-up single to Strange Kind Of Woman in 1971, which never saw the light of day until 1985 and two tracks from the 'Roundabout' acetate in 1968 (Love Help Me and Shadows), before the group had chosen the Deep Purple name. Some of their rare 45s (Hush, Emmaretta and Hallelujah) are included, too, and there are plenty of stage favourites like Woman From Tokyo, Black Night, Child In Time and Strange Kind Of Woman. Appearances on Various Artists' compilations have included Into The Fire (from the Deep Purple In Rock album) on Harvest's 1970 Picnic (Dble LP) compilation; Hush on Harvest Heritage - 20 Greats (LP) and, more recently, Shield on the CD The Age Of Enlightenment - Prog Rock, Vol. 1.
As for Deep Purple, they're lovingly remembered as one of the finest and most influential heavy rock bands in the World.
2nd reunion album 1986
01. Bad Attitude - 04.4602. The Unwritten Law - 04.3703. Call of The Wild - 04.5304. Mad Dog - 04.3305. Black & White - 03.4406. Hard Lovin' Woman - 03.2507. The Spanish Archer - 04.5908. Strangeways - 05.5809. Mitzi Dupree - 05.0510. Dead or Alive - 04.431.
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December 30, 2015, 9:32 pm
Size: 83.4 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
(Not easy to find a biography about this album) Veteran session keyboardist Stu Gardner assumes the spotlight for Stu Gardner & the Sanctified Sound, a solid if unspectacular funk outing indicative of its creator's journeyman status.
Gardner and his band (including bassist Charles Fletcher) are undoubtedly gifted players, but his songwriting is pedestrian at best, drawing obvious inspiration from early-'70s icons like Sly & the Family Stone, James Brown, and Stevie Wonder but never reaching the same heights.
A soulful, nuanced "Home on the Range" and the self-explanatory "Funky Neighborhood" nevertheless make for engaging listening, and DJs in search of sample fodder will find a number of funky breaks to plunder.
01. Devil In A Man 04:1802. Added To A Broken Heart 03:5003. Funky Neighborhood 03:1404. Home On The Range 04:5505. Mathilda (Instrumental) 03:0606. Sanctified Sound 05:5107. Sister Matilda 03:5508. Leave Him Alone 02:5309. The Sweetest Song 05:1410. The Sweetest Song (Part 2) 02:041.
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January 1, 2016, 10:55 pm
Size: 94.5 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Great Speckled Bird is a country rock album by Great Speckled Bird, a band formed in 1969 by Canadian musicians Ian and Sylvia Tyson. The other group members at the time of recording were Buddy Cage, on pedal steel guitar, Amos Garrett, on guitar and backup vocals, and N.D. Smart, on drums. Nashville session musicians David Briggs and Norbert Putnam sat in, with Briggs on piano and Putnam on bass guitar. Although founding member Ken Kalmusky is listed in the original liner notes, he had actually departed the group prior to recording.
Historically, it is one of those albums that should have been re-released years ago on CD, as should discs by bands like the Amazing Rhythm Aces (hooray to Stony Plain for finally doing it!). And it still stands up as a good album. It is not the perfect album, but when you realize it was made in 1969, and the great courage it took for these two folksingers to follow their instinct and make this album, you appreciate it even more.
There is a good and intelligent storyline in the lyrics, and some great music comes from the speakers. Listen to the interplay between Amos Garrett's (yes, the same musician who went on to fame with Paul Butterfield's Better Days and Maria Muldaur, and is still causing big guitar ripples) multiple string-bending guitar tones and Buddy Cage's (your memory is correct -- New Riders of the Purple Sage) steel guitar.
The solid rhythm section provides a solid rock bastion from which to leap about and playfully take chances. It is a solid effort all the way through. Most of all, it should be listened to because it is an excellent album.
The album is notable for being the first album to be produced by Todd Rundgren.
Great Speckled Bird was a country rock group formed in 1969 by the Canadian musical duo Ian & Sylvia. Ian Tyson sang, played guitar and composed. Sylvia Tyson sang, composed and occasionally played piano. The other founding members were Amos Garrett on guitar and occasional vocals, Bill Keith on steel guitar, Ken Kalmusky on bass and Ricky Marcus on drums. They were named after the song, "The Great Speckled Bird", as recorded by Roy Acuff.
The group was featured in the film Festival Express, a documentary about the music festival of the same name that took place in 1970. The shows were scheduled, and the performers traveled by train, across Canada. In the film, Great Speckled Bird performs "C.C. Rider", along with Delaney Bramlett and members of Grateful Dead. A performance of the Dylan/Manuel song "Tears of Rage", without the aforementioned accompaniment, is included in the extra features of the DVD release.
In 1970, the group became the house band for the television show Nashville North, produced by the CTV network and filmed at the CFTO-TV studios in Toronto, which, after one season, became the Ian Tyson Show. The show ran until 1975.
Great Speckled Bird, led by the famous 1960s folk and folk-rock duo Ian & Sylvia, made a self-titled country-rock album at the end of the 1960s that has maintained a cult following over the years, though it didn't sell well. Some discographical confusion still surrounds the record.
Often it is listed as an Ian & Sylvia release, though Great Speckled Bird were indeed a band, not just an Ian & Sylvia album title. The confusion was perpetuated by a 1972 album credited to Ian & Sylvia with the Great Speckled Bird.
Ian & Sylvia had included country material in their eclectic repertoire from the time they began performing and recording in the early '60s. By the late '60s, they were leaning decidedly more toward a country-rock direction, recording the 1968 album Nashville in Nashville itself.
Great Speckled Bird, however, differed from that effort in that it was the work of a real band, not just Ian & Sylvia with session musicians. The pair founded the band in 1969, though there were some lineup changes before the album, including the replacement of ex-Bill Monroe sideman Bill Keith with pedal steel guitarist Buddy Cage. Also in the band was drummer N.D. Smart, who had played with the Remains and Mountain, and would later work with Gram Parsons and Emmylou Harris.
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Great Speckled Bird toured as well, but got a mixed reception, in part because those expecting straight folk from Ian & Sylvia weren't prepared for a full band with electric instruments. They were part of the Festival Express tour in 1970, which had them cross Canada with a traveling rock festival of sorts that also included the Grateful Dead, the Band, Janis Joplin, and Delaney & Bonnie. The band continued for a while, but it became uncertain whether they were their own entity or an adjunct to Ian & Sylvia, especially when Cage and Garrett left, and the Columbia Ian & Sylvia album was credited to Ian & Sylvia with the Great Speckled Bird. The record was more subdued than Great Speckled Bird, and the band dissolved in the early '70s, with Ian & Sylvia parting ways themselves by the middle of the decade.
The group backed Ian & Sylvia until the duo parted ways in 1975. They also backed Ian Tyson as a solo artist, for his 1973 debut solo album and his live performances, until 1976. Highly Recommended
Personnel:♣ Ian Tyson - guitar, vocals♣ Sylvia Tyson - vocals♣ Buddy Cage - pedal steel guitar♣ Amos Garrett - guitar, background vocals♣ N.D. Smart - drums♣ David Briggs - piano♣ Norbert Putnam - bass guitar
01. "Love What You're Doing Child" (Ian Tyson) – 3:3902. "Calgary" (Ian Tyson, Sylvia Tyson) – 3:0303. "Trucker's Cafe" (Ian Tyson) – 3:2204. "Long Long Time to Get Old" (Ian Tyson) – 3:0705. "Flies in the Bottle" (Ian Tyson) – 3:4706. "Bloodshot Beholder" (Ian Tyson) – 2:5807. "Crazy Arms" (Chuck Seals, Ralph Mooney) – 2:5408. "This Dream" (Ian Tyson) – 3:4009. "Smiling Wine" (Sylvia Tyson) – 3:1110. "Rio Grande" (Ian Tyson, Amos Garrett) – 3:5111. "Disappearing Woman" (Sylvia Tyson) – 2:1012. "We Sail" (Sylvia Tyson) – 4:371.
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January 6, 2016, 10:16 pm
Size: 153 MBBitrate: 256mp3Ripped by: ChrisGoesRockFound in OuterSpaceArtwork Included
It must have been great to be a rock fan living in England in the late 1960s. London was swinging, and the British blues-rock scene was veritably exploding, thanks to the more sophisticated of the British invasion bands (most notably the Stones and the Yardbirds), who had first gotten the scene on its feet by incorporating a distinct blues element into their own respective pop music. Soon after, Cream, Free, Savoy Brown and the mighty Led Zeppelin took over and brought the fusion of traditional American blues and guitar-based hard rock to a whole new level.
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And Humble Pie was at the forefront of the whole scene, one of the most compelling acts during one of rock's most exciting and creative periods. This live recording of Humble Pie was made at San Francisco's Winterland Ballroom in May of 1973, during what many consider to be the band's creative peak. This Winterland show, In addition to being only the fifth show recorded for the then brand-newly syndicated King Biscuit Flower Hour radio concert series, features a blistering set of material. From "I Don't Need No Doctor" to the infectious Top 10 hit "Hot 'N Nasty," this recording features all the essential music from the Humble Pie catalogue. And since the band built their reputation on legendary live shows, this King Biscuit collection is arguably better than anything the band ever did in the recording studio.
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The band made its debut in April of 1969, but almost collapsed at the onset. Despite the media hoopla surrounding their supergroup status and a slew of critical raves, Humble Pie's early albums (As Safe as Yesterday Is and Town and Country - both on Oldham's Immediate label) were not commercial hits. Marriott and Frampton couldn't decide if the band should move in an acoustic or electric direction, a dilemma that made the initial records hard to market. The band also had to hit the road before they really had time to work out their live show, and early tours were mostly lackluster as a result. Then, in 1970, the tides began to turn.
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The band hired Dee Anthony as its manager, who promptly signed them to A&M Records. The band recorded Humble Pie and Rock On in 1970 and '71, respectively. Both albums forged the band into a solid - and very electric - blues/rock machine. The critics got behind the band en masse, and records began selling in large numbers. By the time the band had recorded and released Rockin' The Fillmore in 1971, the word had spread: Humble Pie was the hottest live band since the Jimi Hendrix Experience.
Just then, Frampton decided he didn't feel comfortable in the band's hard rockin' blues direction and left to pursue a solo career. While the most memorable material from Rockin' The Fillmore ("I Don't Need No Doctor,""4 Day Creep" and the soulful remake of Ray Charles'"Hallelujah I Love Her So") also appear on this King Biscuit LP, but the versions differ dramatically, as Frampton had since been replaced by Dave "Clem" Clempson.
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This concert was recorded while the band was promoting Eat It!, a double LP that featured three sides of studio songs and one side of live material. Though Eat It! went to the Top 15, and Humble Pie had firmly established themselves as a powerful live act, the band's powers (and their popularity) seemed to gradually decline following this tour. The band returned in 1974 with Thunderbox, but the constant focus by the media and the fans on Steve Marriott began taking its toll within the group.
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During 1970, Humble Pie switched to A&M Records and Dee Anthony became their manager. Anthony was focused on the US market and discarded the acoustic set, instigating a more raucous sound with Marriott as the front man. The group's first album for A&M, Humble Pie, was released later that year and alternated between progressive rock and hard rock. A single, "Big Black Dog", was released to coincide with the album and failed to chart, however the band was becoming known for popular live rock shows in the US. In 1971 Humble Pie released their most successful record to date Rock On as well as a live album recorded at the Fillmore East in New York entitled Performance Rockin' the Fillmore. The live album reached No. 21 on the US Billboard 200 and was certified gold by the RIAA. "I Don't Need No Doctor" was an FM radio hit in the US peaking at No. 73 on the Billboard Hot 100, propelling the album up the charts. But Frampton left the band by the time the album was released and went on to enjoy success as a solo artist.
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The trio consisted of Venetta Fields, Clydie King and Sherlie Matthews who was later replaced by Billie Barnum. They had performed with Ike and Tina Turner as The Ikettes and with Ray Charles as The Raelettes. This new line-up included Sidney George on saxophone for the recording of Eat It, a double album released in 1973 made up of Marriott originals (some acoustic), R&B covers, and a Humble Pie concert recorded in Glasgow. The album peaked at No. 13 in the US charts. Thunderbox was released in 1974, and Street Rats a year later. In 1975, joined by keyboardist Tim Hinkley, Humble Pie conducted their 'Goodbye Pie Tour' before disbanding.
Lineups:♦ Steve Marriott - guitar, vocals, keyboards, harmonica♦ Clem Clempson - guitar, vocals, keyboards♦ Greg Ridley - bass, vocals, guitar♦ Jerry Shirley - drums, keyboards
01. Up Your Sleeves 03:5802. 4-Day Creep 03:3503. C'mon Everybody 07:2204. Honky Tonk Women 06:3805. Stone Cold Fever 01:0706. I Believe to My Soul 05:2107. Thirty Days in a Hole 07:4908. (I'm a) Road Runner 12:2809. Hallelujah (I Love Her So) 07:3610. I Don't Need No Doctor 13:0511. Hot n' Nasty 07:211.
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January 10, 2016, 11:27 pm
Size: 112 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
A very cool, really rare soul album from the Philly scene– one that was written, produced, and arranged by Hammond organist Charles Earland – but which is a sweet soul album with a really great feel! There's definitely a touch of Earland's keyboard work on the set – especially some of those non-organ lines he brought to his records for Mercury – and there's a jazzy groove that really sets The Diddys apart from other east coast groups of the time – a more complex approach to rhythm and instrumentation that almost makes some of the tunes feel as if they came from the James Mason side of the spectrum! The whole thing's wonderful – as unique as it is rare – and titles include "Intergalactic Love Song", "Strange Love", "Your Love Is Like A See Saw Baby", "How Long Have You Loved Him", and "My Special Love". CD features lots of bonus tracks – alternate takes of nearly every number on the record!
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Rare groove Classic! Cult Soul album organist Charles Arland has left the world's first reprint. Masterpiece Cosmic Soul, which is known as Gilles Peterson FAVORITE "Intergalactic Love Song", there is no so much heart songs that are dissolved. The alternate mix of the world's first appearance it was 7 version add recording. Soul album with a fascinating a centripetal force in the rare album that was left on the small label Bam-Boo of Philadelphia.
In jazz organist Charles Arland was produced in late 70's who had crowded blow the Cosmic Fusion album on Mercury work, I will think that those in the group name that relationship on a di Deeds of exclusive contract. Featuring the page Douglas made male vocalist, and showcase original songs on the theme of LOVE in the whole volume. Cross Over, disco, boogie feeling and spacey effects are rare groove enough feeling.
The Diddys featuring Paige Douglas and lifted from the Agony And Extasy album from 1977 produced by Charles Earland for the Bam Buu label. Soulful Disco Funk with tight drums and an overload of lead guitar and that killer vocal melody that will stick in your brain for weeks...
01. My Special Love (Disco Mix)02. Intergalactic Love Song03. I Love You Baby04. My Special Love05. Strange Love06. Your Love Is Like A See-Saw Baby07. I Love You Girl08. How Long Have You Loved Him
Bonus Tracks:09. My Special Love (Alternate Take)10. Intergalactic Love Song (Alternate Take)11. I Love You Baby (Alternate Take)12. Strange Love (Alternate Take)13. Your Love Is Like A See-Saw Baby (Alternate Take)14. I Love You Girl (Alternate Take)15. How Long Have You Loved Him (Alternate Take)
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January 14, 2016, 3:50 am
Size: 186 MBBirate: 320mp3Found at OuterSpaceArtwork & Posters, etc. Included (Alot)The cliché about David Bowie goes that he was a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated a remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an all-around music hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, yet he wasn't content to continue to churn out glitter rock. By the mid-'70s, he'd developed an effete, sophisticated version of Philly soul that he dubbed "plastic soul," which eventually morphed into the eerie avant pop of 1976's Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno.
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I Dig Everything: The 1966 Pye SinglesDavid Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star.
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The Man Who Sold the WorldBowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring "Space Oddity." The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael "Woody" Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention. Bowie followed the album in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.
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Low Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year. Not only did Bowie record two solo albums in 1977, but he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist.
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Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in the stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an extended break from recording, appearing in Christiane F (1981) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, "Under Pressure," and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance.
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Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to its stylish, innovative videos for "Let's Dance" and "China Girl," which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight.
Tonight Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit "Blue Jean," it received poor reviews and was ultimately a commercial disappointment. He stalled in 1985, recording a duet of Martha & the Vandellas'"Dancing in the Street" with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies -- Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) -- that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claiming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla.
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The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early-1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. In 2002, Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews. He continued on with Visconti for Reality in 2003, which was once again warmly received.
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Entitled The Next Day and once again produced by Visconti, the album was released in March of 2013. Greeted with generally positive reviews, The Next Day debuted at either number one or two throughout the world, earning gold certifications in many countries. The following year, Bowie released a new compilation called Nothing Has Changed, which featured the new song "Sue (Or in a Season of Crime)." This song turned out to be the cornerstone of Bowie's next project, Blackstar. Arriving on January 8, 2016, the album found Bowie re-teaming with Tony Visconti and exploring adventurous territory, as signaled by its lead single, "Blackstar." Just two days after its release, it was announced that David Bowie had died from liver cancer. In a Facebook post, Tony Visconti revealed that Bowie knew of his illness for at least 18 months and created Blackstar as "his parting gift" for us.
David Bowie - Absolutely RareNew York, Carnegie Hall 28.09.1972 London, Marquee Club 18-20-10.1973 Young Americans outtakes & studio mixes.
The Music Hall, Boston on 10 January 197201. My Death
NBC Midnight Special at the Marquee, London on 18-20 October 197302. Sorrow03. Time04. Everything's Alright05. Space Oddity06. I Can't Explain07. The Jean Genie08. 1984-Dodo
With Marianne Faithfull09. I Got You Babe
BBC Version: Special Dry Mix made for Top of the Pops broadcast in 197410. Rebel Rebel
With Lulu, original full length version recorded in late 197311. Dodo
Young Americans recording sessions in 197512. Can You Hear Me?13. Right14. Somebody Up There Likes Me
BBC Version: Another Dry Mix made for Top of the Pops in 197515. Golden YearsPart 1:
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January 18, 2016, 9:36 am
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| Adolf Hitler? |
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| Atlantic Records? |
The end for now.
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January 20, 2016, 7:27 pm
Size: 134 MBBitrate 256mp3Found in DC++ World
David Bowie was an English rock star known for dramatic musical transformations, including his character Ziggy Stardust. He was inducted into the Rock and Roll Hall of Fame in 1996.
David Bowie was born in South London's Brixton neighborhood on January 8, 1947. His first hit was the song "Space Oddity" in 1969. The original pop chameleon, Bowie became a fantastical sci-fi character for his breakout Ziggy Stardust album. He later co-wrote "Fame" with John Lennon which became his first American No. 1 single in 1975. An accomplished actor, Bowie starred in The Man Who Fell to Earth in 1976. He was inducted into the Rock and Roll Hall of Fame in 1996. Bowie died on January 10, 2016, from cancer at the age of 69.
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| David Bowie and Mick Ronson Ziggy Stardust tour, December 1972 |
Known as a musical chameleon for his ever-changing appearance and sound, David Bowie was born David Robert Jones in Brixton, South London, England, on January 8, 1947.
David showed an interest in music from an early age and began playing the saxophone at age 13. He was greatly influenced by his half-brother Terry, who was nine years older and exposed young David to the worlds of rock music and beat literature.
But Terry had his demons, and his mental illness, which forced the family to commit him to an institution, haunted David for a good deal of his life. Terry committed suicide in 1985, a tragedy that became the focal point of Bowie's later song, "Jump They Say."
After graduating from Bromley Technical High School at 16, David started working as a commercial artist. He also continued to play music, hooking up with a number of bands and leading a group himself called Davy Jones and the Lower Third. Several singles came out of this period, but nothing that gave the young performer the kind of commercial traction he needed.
Out of fear of being confused with Davy Jones of The Monkees, David changed his last name to Bowie, a name that was inspired by the knife developed by the 19th century American pioneer Jim Bowie.
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| David Bowie as Ziggy Stardust Aladdin Sane tour. |
Eventually, Bowie went out on his own. But after recording an unsuccessful solo album, Bowie exited the music world for a temporary period. Like so much of his later life, these few years proved to be incredibly experimental for the young artist. For several weeks in 1967 he lived at a Buddhist monastery in Scotland. Bowie later started his own mime troupe called Feathers.
Around this time he also met the American-born Angela Barnett. The two married on March 20, 1970, and had one son together, whom they nicknamed "Zowie," in 1971, before divorcing in 1980. He is now known by his birth name Duncan Jones.
By early 1969, Bowie had returned full time to music. He signed a deal with Mercury Records and that summer released the single "Space Oddity." Bowie later said the song came to him after seeing Stanley Kubrick's 2001: A Space Odyssey. "I went stoned out of my mind to see the movie and it really freaked me out, especially the trip passage."
The song quickly resonated with the public, sparked in large part by the BBC's use of the single during its coverage of the Apollo 11 moon landing. The song enjoyed later success in the United States, when it was released in 1972 and climbed to number 15 on the charts.
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| David Bowie on Tour 1972 |
Bowie's next album, The Man Who Sold the World (1970), further catapulted him to stardom. The record offered up a heavier rock sound than anything Bowie had done before and included the song "All the Madmen," about his institutionalized brother, Terry. His next work, 1971's Hunky Dory, featured two hits: the title track that was a tribute to Andy Warhol, the Velvet Underground and Bob Dylan; and "Changes," which came to embody Bowie himself.
As Bowie's celebrity profile increased, so did his desire to keep fans and critics guessing. He claimed he was gay and then introduced the pop world to Ziggy Stardust, Bowie's imagining of a doomed rock star, and his backing group, The Spiders from Mars.
His 1972 album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, made him a superstar. Dressed in wild costumes that spoke of some kind of wild future, Bowie, portraying Stardust himself, signaled a new age in rock music, one that seemed to officially announce the end of the 1960s and the Woodstock era.
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| Lou Reed, Mick Jagger and David Bowie, Café Royale, 4th of July. 1973 |
But just as quickly as Bowie transformed himself into Stardust, he changed again. He leveraged his celebrity and produced albums for Lou Reed and Iggy Pop. In 1973, he disbanded the Spiders and shelved his Stardust persona. Bowie continued on in a similar glam rock style with the album Aladdin Sane (1973), which featured "The Jean Genie" and "Let's Spend the Night Together," his collaboration with Mick Jagger and Keith Richards.
Around this time he showed his affection for his early days in the English mod scene and released Pin Ups, an album filled with cover songs originally recorded by a host of popular bands, including Pretty Things and Pink Floyd.
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| David Bowie Advertise in US 1967 |
By the mid 1970s Bowie had undergone a full-scale makeover. Gone were the outrageous costumes and garish sets. In two short years he released the albums David Live (1974) and Young Americans (1975). The latter album featured backing vocals by a young Luther Vandross and included the song "Fame," co-written with John Lennon, which became Bowie’s first American number one single.
In 1980 Bowie, now living in New York, released Scary Monsters, a much-lauded album that featured the single "Ashes to Ashes," a sort of updated version of his earlier "Space Oddity."
Three years later Bowie recorded Let's Dance (1983), an album that contained a bevy of hits such as the title track, "Modern Love" and "China Girl," and featured the guitar work of Stevie Ray Vaughan.
Of course, Bowie's interests didn't just reside with music. His love of film helped land him the title role in The Man Who Fell to Earth (1976). In 1980, Bowie performed on Broadway in The Elephant Man.
Over the next decade, Bowie bounced back and forth between acting and music, with the latter especially suffering. Outside of a couple of modest hits, Bowie's musical career languished. His side project with musicians Reeve Gabrels and Tony and Hunt Sales known as Tin Machine released two albums Tin Machine (1989) and Tin Machine II (1991), which both proved to be flops. His much-hyped album Black Tie White Noise (1993), which Bowie described as a wedding gift to his new wife, supermodel Iman, also struggled to resonate with record buyers.
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| David Bowie as Ziggy Stardust for the Pin Ups album 1973 |
Oddly enough, the most popular Bowie creation of late has been Bowie Bonds, financial securities the artist himself backed with royalties from his pre-1990 work. Bowie issued the bonds in 1997 and earned $55 million from the sale. The rights to his back catalog were returned to him when the bonds matured in 2007.
In 2004 Bowie received a major health scare when he suffered a heart attack while onstage in Germany. He made a full recovery and went on to work with bands such as Arcade Fire and with the actress Scarlett Johansson on her album Anywhere I Lay My Head (2008), a collection of Tom Waits covers.
Bowie, who was inducted into the Rock and Roll Hall of Fame in 1996, was a 2006 recipient of the Grammy Lifetime Achievement Award. He kept a low profile for several years until the release of his 2013 album The Next Day, which skyrocketed to number 2 on the Billboard charts. The following year, Bowie released a greatest hits collection Nothing Has Changed, which featured a new song "Sue (Or in a Season of Crime)."
In 2015, he collaborated on Lazarus, an Off-Broadway rock musical starring Michael C. Hall, which revisited his character from The Man Who Fell to Earth.
He released Blackstar, his final album on January 8, 2016, his birthday. New York Times critic Jon Pareles noted that it was a "strange, daring and ultimately rewarding" work "with a mood darkened by bitter awareness of mortality." Only a few days later, the world would learn that the record had been made under difficult circumstances.
The music icon died on January 10, 2016, two days after his 69th birthday. A post on his Facebook page read: “David Bowie died peacefully today surrounded by his family after a courageous 18 month battle with cancer."
He was survived by his wife Iman, his son Duncan Jones and daughter Alexandria, and his step-daughter Zulekha Haywood. Bowie also left behind an impressive musical legacy, which included 26 albums. His producer and friend Tony Visconti wrote on Facebook that his last record, Blackstar, was "his parting gift."
David Bowie - Tower Theatre, Philadelphia, Pa, July 12, 1974Bootleg in excellent Sound-Qualitiy.
01. Knock On Wood (3:00)02. Jean Genie (5:16)03. Rebel Rebel (2:41)04. Changes (3:20)05. All The Young Dudes (3:50)06. Diamond Dogs (6:25)07. Big Brother (4:03)08. Rock 'N' Roll Suicide (4:25)09. Aladdin Sane (4:56)10. 1984 (3:17)11. Moonage Daydream (5:07)12. Suffragette City (3:44)1.
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| David Bowie Advertise 1969 |
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January 22, 2016, 8:21 pm
Size: 87.2 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: 24-Bit Remaster
Somewhere betweem The Moody Blues, Marmalade and Crosby Stills and Nash, for a moment Parrish and Gurvitz may have been something, if perhaps with the involvement of George Martin as producer, they had not been unreasonably hailed as the new Beatles. Still, this classic song is completely forgotten, off every list, it’s not cool, hip, Prog, Psych, Psychedelic, Garage, sixties Pop, seventies underground and has no recognised virtuosos.
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Having said that the line-up of the band is impressive. Paul Gurvitz was in The Gun with his brother Adrian, remember their 1968 hit Race With The Devil. The Gurvitz brothers went on to form Three Man Army and then teamed up with Ginger Baker for Baker Gurvitz Army in the seventies. Brian Parrish played with various small sixties bands (with Gurvitz), later joining Badger. Mike Kellie was with Spooky Tooth and other seventies luminaries before joining one of my favourite bands of the new wave era, The Only Ones, Rick Wills played with countless groups including Cochise, Roxy Music, Foreigner, latter Day Small Faces and Dave Gilmour. Micky Gallagher had played with Skip Bifferty and would eventually join Ian Dury as one of the Blockheads.
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They were never able to live up to their producer’s previous affiliations but you might ask why were they called Parrish and Gurvitz instead of Gasoline Toothbrush or Camouflaged Meadow or Sadness In The Trees – anything but Parrish and Gurvitz – they sounded like they were solicitors. I imagine it’s because this wasn’t their first band – they’d played together before in various incarnations and as the two main members had got the support to make a record and then hired the band to play it live.
Unfortunately the band was much heavier than the record and the US label lost interest as the band they signed was not the band they saw live. Brian Parrish then quit on the eve of a US tour due to personal problems and shortly thereafter they were gone.
So many records out there, hailed as genius, so many worthy records out there that are forgotten – this is one of them.
In 1971 The Gun broke up Paul Gurvitz started this act simply called Parrish & Gurvitz,(Brian Parrish, formerly of Badger), which was produced by George Martin.This was a one-off project on the Regal Zonophone label featuring the additional talents of Mike Kellie (ex-Spooky Tooth,Art), Micky Gallagher (pre-Ian Dury) and Rick Wills (pre-Foreigner).Lush production over beautiful crafted songs fully infused with the US west-coast sound.
The band was co-founded by keyboardist Tony Kaye after he left Yes, with David Foster. Foster had been in The Warriors with Jon Anderson before Anderson co-founded Yes. Foster later worked with the band on Time and a Word. Kaye had worked on a solo project by Foster that was never released.
The pair found drummer Roy Dyke, formerly of Ashton, Gardner & Dyke, and Dyke suggested Brian Parrish formerly of Parrish & Gurvitz which later became Frampton's Camel (after Parrish left P&G) on guitar. The new band began rehearsing in September 1972 and signed to Atlantic Records.
The group was formed by Adrian Gurvitz and Paul Gurvitz, formerly of The Gun. Following the band's dissolution, Adrian played with Buddy Miles and Paul played with Parrish & Gurvitz, then reunited as Three Man Army. Their debut album, A Third of a Lifetime, featured several drummers, including Miles, Carmine Appice (of Vanilla Fudge) and Mike Kellie (from Spooky Tooth). Tony Newman, who had previously played with Sounds Incorporated and Rod Stewart, joined for the group's next two albums, and a fourth album was planned but never recorded. Newman then left to play with David Bowie, and the Gurvitzes united with Ginger Baker as the Baker Gurvitz Army.
Rick Wills took his own form of music degree in Cambridge during the 1960s and has since gone on to become one of the most respected bass guitarists in the business. However, it was not one of the grand colleges of the famous university City which saw his graduation; instead, it was the local bars and village halls that provided the perfect place for him to take his first steps in the industry.
The decision has proved to be a good one and during the years that have followed he has enjoyed success on both sides of the Atlantic, including 13 years as part of one of the world’s supergroups.
After forming his first band called The Sundowners with a group of friends in the 1960s, Wills gained experience playing the local scene before being asked by another young Cambridge musician to form a new group. “His name was Dave Gilmour and even at that early stage you could see he had star potential,” claims Wills. “We called ourselves ‘Joker’s Wild’ and we had a great time for a few years playing in places like Spain and living in Paris, before Dave got the call to join Pink Floyd.” After moving to London Wills became part of Cochise and the group made three well thought of albums before they split and Wills, along with Mickey Gallagher and Mike Kellie, became part of the Parrish and Gurvitz band.
01. Another Time, Another Day/Take What You Want — 4:4002. It’s A Shame — 3:2103. Libra — 4:0004. I’ve Got Time — 3:4805. Janine — 3:4206. Dozy Gwen — 2:1107. Why — 4:2408. As If I Were Blind — 3:5009. More Than Life — 3:4310. Loving You — 7:141.
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January 29, 2016, 11:17 am
Hi. Is it someone out there who know what this tool is for?, myself i guess the tool is for some wood work (?). Looking forward to hear from some of you soon...
//ChrisGoesRock
PS. Open picture in a NEW window for 100% size.
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February 3, 2016, 11:09 pm
Size: 67.5 MBBitrate:mp3Rippd by ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Hideki Ishima (石間 秀機 Ishima Hideki?, born 21 March 1944 in Sapporo, Hokkaido, Japan) is a Japanese musician, known primarily for his work with Flower Travellin' Band. A guitarist and sitar player for nearly forty years, he now exclusively plays the sitarla, an instrument he invented in 2000 that combines aspects of a sitar with an electric guitar.
Ishima started playing guitar at 19, at the behest of a friend who wanted to be in a band. His first group was Jarōzu (ジャローズ) in his native Sapporo shortly after graduating high school. He moved to Tokyo and formed the group sounds band The Beavers in 1966, who had released four albums and one single but had not had major success.
Ishima began playing sitar at 24, after researching Gábor Szabó at the suggestion of a woman and learning that the jazz guitarist also played this instrument he had never heard of. He taught himself from Ravi Shankar's 1968 book My Music, My Life, looking up the Japanese translations for the English words.
In 1969, while in the blues band Mystic Morning with Joe Yamanaka, the two of them were scouted by Yuya Uchida for Flower Travellin' Band. When they went on hiatus in 1973, Ishima recorded the solo album One Day and joined a group called Trans Am. After a few years off, he followed this with the Donjuan R&R Band with Kenichi Hagiwara. During the 1980s he was in Co-Colo alongside Kenji Sawada and Nobuhiko Shinohara, before being fired.
Ishima quit guitar in 1990, citing money problems. After a 40-minute sitar lesson from Manilal Nag during a trip to Japan in 1998, Ishima became a student of Nag's Japanese apprentice.
He made a comeback in 2000 exclusively playing the sitarla. That year, he recorded the album More-ish with the multinational group Pythagoras Party. The improvi sational instrumental group View was formed in 2007.
Any Japanese rock fan worth their salt knows The Flower Travellin' Band. As guitarist for that unit, Hideki Ishima helped create one of the most distinctive guitar albums in rock history, 1971's "Satori." His buzzing, limber lines gave the record its shape and made an impact that is still being felt today. Especially in the West, where "Satori" has justly been branded as not just a lost classic, but perhaps the lost classic, acting as the de facto entry point to anyone serious about educating themselves on Japanese rock music. Imagining Japanese rock without "Satori" is like imagining western rock without Jimi Hendrix's "Are You Experienced."
But when the Flower Travellin' Band went on hiatus in 1973 (they did not break up, as Ishima-san will be quick to point out,) the endlessly inventive guitarist dropped off western radar.
During that period, he continued to make exceptional work with bands like Co-Colo, Trans Am, Pythagoras Party, and the Donjuan R&B Band, as well as backing up vocalists like Flower Travellin' Band's Joe Yamanaka, and occasional Akira Kurosawa actor Jinpachi Nezu ("Ran,""Kagemusha.")
Now, with the Flower Travellin' Band off hiatus, Ishima is back in the spotlight.
He's also got a new improv unit called View, and exclusively plays the Sitarla, a sitar/guitar hybrid of his own invention. In February, Ishima-san sat down with Jrawk to discuss gifts from God, the state of Japanese rock, and resurrecting his old band.
01. We're Just Tryin' My Way 6:3502. Artificial Flowers 3:4603. Lady Bird 3:3204. Night Mare 3:3705. Unbalance 3:4706. Depending by the Time 6:5207. Trash Blues 3:061.
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February 11, 2016, 11:03 pm
Size: 84.5 MBBitrate: 256mp3Artwork IncludedSource: 24-Bit Remaster
On CD, this is the 1971 debut album from British singer-songwriter Thomas F. Browne, drawing on folkrock as well as jazzrock. The LP was originally released by Vertigo. In the '60s Browne was the drummer of Nero & The Gladiators, a band that also featured future Spooky Tooth/Foreigner guitarist Mick Jones.
It's one of the unwritten laws of record collecting that some labels guaranteed quality simply by existing -- and, if a record bears that sainted logo, then it's worth any investment you care to make. Of course, it doesn't always work that way, as collectors of the legendary U.K. prog label Vertigo will ruefully inform you.
But anybody taking a chance on one of the final albums to be released beneath the label's spiral logo, the one-and-only album by singer/songwriter Thomas F. Browne, might well find themselves wondering why the company wasted so much wax on half-hearted jazz-rock, and so little exploring the further reaches of the folk-rock hybrid. Browne himself was drummer with the '60s beat band Nero & the Gladiators, a heavily classics-influenced band that also featured future Spooky Tooth/Foreigner guitarist Mick Jones for a time.
Indeed, Jones and Browne alone later worked together as the State of Mickey & Tommy, and Wednesday's Child continued the partnership, with additional (and supremely characteristic) help from fellow Spooky Gary Wright, and the Sandy Denny-less Fotheringay. Such heavyweight backing, of course, dictates much of the ensuing mood, a gently rolling collection of ballads that fall into much the same bag as the period Strawbs and Mike Heron.
Browne's voice is not always at its best, lacking the depth of expression that his lyrics generally demand. But the power of the arrangements and some wonderfully atmospheric backing vocals from Doris Troy and Sue & Sunny readily salvage things, and songs like "Carry My Load" (with a breathtaking Jones guitar solo) and "Dark Eyed Lady"'s cheeky approximation of "Pinball Wizard"'s acoustic guitar hook are both supremely contagious, while "The Alamo" is as epic as the land it immortalizes.
01. Gentle Sarah02. Carry My Lord03. Bown Bown Bomm04. Dark Eyed Lady05. It's Coming06. Hold On07. Tomorrow Is Another Day08. Poor Man Smile09. The Alamo1.
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February 16, 2016, 12:27 am
Size: 206 MBBitrate: 320mp3Found at DC++ SiteArtwork Included
Funkadelic Live: Meadowbrook, Rochester, Michigan 12th September 1971 is a 1996 live release featuring the only official in-concert recording from early in the career of Funkadelic. Westbound Records owner Armen Boladian had decided to record the show without the band's prior notice, for a possible official live album release. Boladian then decided not to go forward with the project. The soundboard recording resided with engineer Ed Wolfram until being unearthed in 1996. The album contains the entire live performance of September 12, 1971 minus approximately three minutes of between-song chatter.
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At the show recorded for this album, the band opened with two extended instrumentals totaling about 20 minutes: the then-untitled "Alice in My Fantasies" (to be later recorded with vocals on the 1974 Funkadelic album Standing on the Verge of Getting It On) and "Maggot Brain." The closing instrumental consisted of a short portion of "Free Your Mind and Your Ass Will Follow." The vocal tracks were taken from the albums Funkadelic and Maggot Brain with the exception of two tracks that had been recorded originally as singles by Parliament: "I Call My Baby Pussycat" (later retooled for the 1972 Funkadelic album America Eats Its Young) and "All Your Goodies Are Gone (The Loser's Seat)" (later retooled for the 1974 Parliament album Up for the Down Stroke). There was no encore.
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Sources indicate that Beane and Lampkin had rehearsed either very little or not at all before this performance. This resulted in many musical difficulties, particularly because of the differences in drumming styles between Lampkin and Fulwood, which in turn created many difficulties for bassist Billy Bass Nelson. These problems resulted in an inadvertent breakdown during the performance of "I Call My Baby Pussycat," while Nelson stormed off the stage in frustration before the conclusion of "Free Your Mind and Your Ass Will Follow." Nelson and lead guitarist Eddie Hazel left the group about a month after this concert.
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The show was taped when Armen Boladian, the Westbound owner, wanted a live recording of the band, possibly for release. So he sent an engineer over one night, unbeknownst to the band until the time of the show. Boladian wasn't that impressed with the results and shelved the project, where it sat with the engineer for 20+ years.
Basically, this was probably the worst night possible to record the band. Drummer Tiki Fulwood had just quit the week before, and rhythm guitarist Tawl Ross had also departed around that time. So Harold Beane and Ty Lampkin were brought in to play, **with no rehearsal**, for this gig! Both ended up staying with the group, with Lampkin playing a major role for years to come. (He dominates the Cosmic Slop album, to name just one) However, on this particular night, he had severe problems fitting in.
Tiki's drumming style emphasized groove and pocket. Ty, who had been the house drummer for the Apollo Theater, was flashier and jazzier. As a result, he sounded completely out of synch with the rest of the band, annoying and frustrating everyone. Even George came flat out and said, "Bear with us, we have a new drummer, Tyrone." Towards the end, Billy Bass was so frustrated trying to keep him under control, he walked off!
Keeping all this in mind, it's still one of the most astounding live performances I've ever heard, a testament to the improvisational abilities of everyone. The sound quality is CRYSTAL CLEAR, putting the remarkable Sugar Shack '72 show to shame. Harold Beane does a good job at rhythm, really doing some nice chicken-scratch style guitarwork. Bernie does some incredible things, moving around the edges of some songs, adding flavor, and then moving right into the middle of other, laying down a mind-blowing solo.
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Not to mention all the crazy cartoon blips he plays in the middle of songs, often in the middle of solos! He had the most musical discipline of any of them, yet at the same time he was the craziest and most adventurous. The singing is also amazing, with George screaming and singing, Fuzzy shoutin' and preachin', and Calvin really laying on the gospel/soul thang. But the real attraction is the amazing chemistry between Billy Bass and Eddie. They're in their prime here, with Billy the captain of the Funkadelic rhythm section, and Eddie searing the air with his raw power.
The show is virtually complete, with only a few minutes shaved off. The only really bad track is the fast version of "Pussy" where Ty is completely out of control. George just stops it in mid-flight, where they go into the slow version. The slow version is a nas-tay highlight. The (at that time untitled) vesion of "Alice In My Fantasies" is a thunderbolt of hardcore, screaming funk-rock.
The epic version of "All Your Goodies Are Gone" is the Parlia funkadelic ment Thang at its best, with gospel-tinged vocals being swept up into nasty breakdowns, then back to the singing. Calvin truly stands out here, but the interplay between the vocalists is almost as remarkable as the interplay between the musicians. The last few songs blend together, going straight from one to the next with no break.
Personnel:♦ Parliament (George Clinton, Fuzzy Haskins, Calvin Simon, Grady Thomas, Ray Davis): Vocals♦ Eddie Hazel: Lead Guitar, Vocals♦ Billy Bass Nelson: Bass, Vocals♦ Bernie Worrell: Keyboards, Vocals♦ Harold Beane: Guitar♦ Tyrone Lampkin: Drums
01. Alice in My Fantasies - (George Clinton, Eddie Hazel) - 6:3702. Maggot Brain - (Eddie Hazel, George Clinton) - 14:0203. I Call My Baby Pussycat [fast version] - (Billy "Bass" Nelson, George Clinton, Eddie Hazel) - 5:3804. I Call My Baby Pussycat - (Billy "Bass" Nelson, George Clinton, Eddie Hazel) - 8:0805. Good Old Music - (George Clinton) - 4:3106. I Got a Thing, You Got a Thing, Everybody Got a Thing - (Clarence "Fuzzy" Haskins) - 8:3807. All Your Goodies Are Gone (The Loser's Seat) - (George Clinton, Clarence "Fuzzy" Haskins, Billy "Bass" Nelson) - 15:0808. I'll Bet You - (George Clinton, Sidney Barnes, Pat Lindsey) - 5:2509. You and Your Folks, Me and My Folks - (George Clinton, Bernie Worrell, Billy "Bass" Nelson, Clarence "Fuzzy" Haskins) - 5:2810. Free Your Mind and Your Ass Will Follow [instrumental] - (George Clinton, Eddie Hazel, Tawl Ross) - 3:41Part 1:
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