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Guns 'N' Roses - Early Assorted Demos, Outtakes & More

May 28, 2016, 8:35 am
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Guns N' Roses is an American hard rock band from Los Angeles formed in 1985. The classic lineup, as signed to Geffen Records in 1986, consisted of vocalist Axl Rose, lead guitarist Slash, rhythm guitarist Izzy Stradlin, bassist Duff McKagan, and drummer Steven Adler. The current lineup consists of Rose, Slash, McKagan, keyboardists Dizzy Reed and Melissa Reese, guitarist Richard Fortus and drummer Frank Ferrer. The band has released six studio albums, accumulating sales of more than 100 million records worldwide, including shipments of 45 million in the United States, making Guns N' Roses one of the world's best-selling bands of all time.


Guns N' Roses' debut album, Appetite for Destruction (1987), reached number one on the Billboard 200 a year after its release, on the strength of "Sweet Child o' Mine", the group's only single to reach number one on the Billboard Hot 100. The album has sold approximately 30 million copies worldwide, including 18 million units in the United States, making it the best-selling debut album of all time in the US, as well as the eleventh best-selling album in the United States. The success of the debut was followed by the eight-song album G N' R Lies (1988) which reached number two on the Billboard 200. The twin albums Use Your Illusion I and Use Your Illusion II (1991) debuted at number two and number one on the Billboard 200 and have sold a combined 35 million copies worldwide, including 14 million units in the United States. The cover album "The Spaghetti Incident?" (1993) was the band's last studio album to feature Slash and McKagan.


After more than a decade of work and several lineup changes, Guns N' Roses released the long-awaited album Chinese Democracy (2008) which, at an estimated $14 million in production costs, is the most expensive rock album to ever be produced in music history. It debuted at number three on the Billboard 200 but undersold industry expectations, despite mostly positive critical reception. Classic era members Slash and McKagan both rejoined the band in 2016.

Guns N' Roses has been credited with reviving the mainstream popularity of rock music, at a time when popular music was dominated by dance music and glam metal. Its late 1980s and early 1990s years have been described as the period in which the group brought forth a "hedonistic rebelliousness" reminiscent of the early Rolling Stones, a reputation that had earned the group the nickname "the most dangerous band in the world". The band's classic lineup, along with later members Reed and drummer Matt Sorum, was inducted into the Rock and Roll Hall of Fame in 2012, in its first year of eligibility.

Hollywood Rose:
Hollywood Rose was an American hard rock group formed in 1983 and is best known as the precursor group for what would eventually become Guns N' Roses. The group was founded by Axl Rose, Izzy Stradlin and Chris Weber while they were aided during live shows by Rick Mars, Johnny Kreis, Steve Darrow and Andre Troxx. Rose, Stradlin and Weber, along with Kreis, recorded a five-song demo in 1984. However, after a number of lineup changes, which includes Weber and Kreis being replaced by Slash and Steven Adler (both then of Road Crew) respectively as well the departure of Stradlin, the group disbanded the same year.

Hollywood Rose reunited briefly in 1985 with Rose, Stradlin, Weber and Darrow (Sonic Medusa, Rat Salad, Super Heroines, Decadents) returning and adding former L.A. Guns drummer Rob Gardner to the group. L.A. Guns founder Tracii Guns eventually replaced Weber. They changed their name to Guns N' Roses (combining the names of L.A. Guns and Hollywood Rose) with L.A. Guns bassist Ole Beich replacing Darrow. Eventually Guns, Gardner and Beich were replaced by former Hollywood Rose members Slash, Adler and their former Road Crew band mate Duff McKagan with this lineup becoming known as the "classic lineup" of Guns N' Roses.

The five-song demo, recorded in 1984, was released in 2004 with the title The Roots of Guns N' Roses. A number of Hollywood Rose songs were included on the Guns N' Roses albums Live ?!*@ Like a Suicide (1986), Appetite for Destruction (1987), Live from the Jungle (1987), and G N' R Lies (1988).

Formation (1983):
Prior to forming, guitarist Chris Weber was introduced to Lafayette native Izzy Stradlin, in the parking lot of the Rainbow Bar and Grill, by friend Tracii Guns, who was leading the first incarnation of L.A. Guns at this time, after Weber expressed an interest in forming a band. Soon afterwards, Weber and Stradlin started writing material and, at the suggestion of Stradlin, recruited his childhood friend, former Rapidfire and L.A. Guns singer Axl Rose, then known as Bill Rose. At the suggestion of Rose, the group called themselves AXL, with Rose adopting Axl as his first name. They played their first gig at The Orphanage in North Hollywood and played a few more shows before changing their name to Rose. The group soon changed their name, for the final time, to Hollywood Rose when Weber discovered that the name Rose was already being used by a New York band.

During the group's live shows, they were aided by bassists Rick Mars, Andre Troxx and Steve Darrow along with drummer Johnny Kreis who remained the only consistent member of the group outside of Rose, Stradlin and Weber.

After borrowing money from Weber's father, the group recorded a five-song demo in Hollywood in 1984. After playing a number of more shows, they appeared at the Music Machine in '84. Weber accidentally hit Rose with the headstock of his guitar. Rose stormed off and eventually fired Weber from the band with former Road Crew guitarist Slash joining the group. Unhappy at the firing of Weber, Stradlin left the group when Slash first came to rehearse, going on to join London. Slash's Road Crew band mate Steven Adler also replaced drummer Kreis during this time. The group continued to play more shows before eventually disbanding, playing their final show at The Troubadour in 1984. Rose went on to front L.A. Guns while Slash auditioned for Poison at the suggestion of former guitarist Matt Smith.

The group reunited, briefly, with Rose, Stradlin, Weber and Darrow returning along while L.A. Guns drummer Rob Gardner also joined the group. Weber, who left to move to New York City, was soon replaced by Tracii Guns. The group changed their name to Guns N' Roses (combining the names of L.A. Guns and Hollywood Rose) with the lineup consisting of Axl Rose, Tracii Guns, Izzy Stradlin, Ole Beich[15] (also formerly of L.A. Guns) and Rob Gardner. Beich was eventually replaced by Duff McKagan (formerly of Fastbacks, The Fartz, 10 Minute Warning and Road Crew) while Guns left the group (after a falling out with Rose), being replaced by Slash. McKagan went on to book shows taking place between Sacramento and Seattle, which was dubbed "The Hell Tour". During this time, Gardner quit the group and was replaced by Steven Adler with this lineup becoming known as the "classic lineup" of Guns N' Roses.

A number of Hollywood Rose songs would be included on a number of releases by Guns N' Roses such as "Anything Goes" (from Appetite for Destruction), "Reckless Life" and "Move to the City" (both from Live ?!*@ Like a Suicide and G N' R Lies) as well as "Shadow of Your Love" (from Live from the Jungle). In 1998, former guitarist Weber sued Axl Rose, claiming that he co-wrote two songs he was not credited for, "Shadow of Your Love" and "Back Off Bitch" (from Use Your Illusion I).

The US release of their 1st album

Appetite for Destruction: 
Guns N' Roses' debut album Appetite for Destruction was released July 21, 1987. The album underwent an artwork change after the original cover design by Robert Williams, which depicted a surrealist scene in which a dagger-toothed monster vengefully attacks a robot rapist, was deemed too controversial. The band stated the original artwork was "a symbolic social statement, with the robot representing the industrial system that's raping and polluting our environment." The revised cover was done by Andy Engell, based on a design by tattoo artist Bill White Jr., who had designed the artwork for a tattoo Rose had acquired the previous year. The artwork featured each of the five band members' skulls layered on a cross.

In the U.S., "Welcome to the Jungle" was issued as the album's first single, with an accompanying music video. Initially, the album and single lingered for almost a year without performing well, but when Geffen founder David Geffen was asked to lend support to the band, he obliged, personally convincing MTV executives to play "Welcome to the Jungle" during the network's after-hours rotation. Even though the video was initially only played once at 4 a.m. on a Sunday, heavy metal and hard rock fans took notice and soon began requesting the video and song en masse. 

The song, written in Seattle, was about Los Angeles. The music video took place in New York. According to Rose, the inspiration for the lyrics came from an encounter he and a friend had with a homeless man while they were coming out of a bus into New York. Trying to put a scare into the young runaways, the man yelled at them, "You know where you are? You're in the jungle baby; you're gonna die!" The song was featured in the 1988 Dirty Harry film The Dead Pool, starring Clint Eastwood, and members of the band had a cameo appearance in the film.

Disc 1:
01. Ain't Goin' Down
02. Get In The Ring
03. Don't Damn Me
04. Sentimental Movie (Duff on lead vocals)
05. Think About You
06. Welcome To The Jungle
07. Yesterdays
08. Mama Kin
09. Back Off Bitch
10. Heartbreak Hotel
11. Just Another Sunday
12. West Coast Junkie
13. Welcome To The Jungle (Take 2)
14. Instrumental Jam
15. You're Crazy
16. Crash Diet
17. Shadow Of Your Love

Disc 2:
19. Reckless Life
20. My Way Your Way (Anything Goes)
21. Get In The Ring
22. Double Talkin' Jive
23. Don't Damn Me
24. Bad Apples
25. Dead Horse
26. Coma
27. Garden Of Eden
28. Sympathy For The Devil
29. Whole Lotta Rosie
30. Move To The City
31. Jumping Jack Flash
32. Move To The City
33. You're Crazy
34. Don't Damn Me #1

Disc 3:
35. Studio Medley (24 Minutes)

Part 1: Link 1
Part II: Link 2
Part III: Link 3
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Part 1: Link 1
Part II: Link 2
Part III: Link 3
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Pink Floyd - Live At The BBC 1974 (Bootleg)

June 12, 2016, 11:23 pm
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By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. 


But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than Dark Side of the Moon, but no other record defines them quite as well as this one.

Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s. Of these concept albums, Dark Side of the Moon resonated strongest, earning new audiences year after year, decade after decade, and its longevity makes sense. 


That 1973 concept album distilled the wild psychedelia of their early years -- that brief, heady period when they were fronted by Syd Barrett -- into a slow, sculpted, widescreen epic masterminded by Roger Waters, the bassist who was the band's de facto leader in the '70s. Waters fueled the band's golden years, conceiving such epics as Wish You Were Here and The Wall, but the band survived his departure in the '80s, with guitarist David Gilmour stepping to the forefront on A Momentary Lapse of Reason and The Division Bell. 

Throughout the years, drummer Nick Mason and keyboardist Rick Wright appeared in some capacity, and the band's sonic signature was always evident: a wide, expansive sound that was instantly recognizable as their own, yet was adopted by all manner of bands, from guitar-worshipping metal-heads to freaky, hippie, ambient electronic duos. Unlike almost any of their peers, Pink Floyd played to both sides of the aisle: they were rooted in the blues but their heart belonged to the future, a dichotomy that made them a quintessentially modern 20th century band.


The Piper at the Gates of Dawn That blues influence, quickly sublimated and only surfacing on the occasional Gilmour guitar solo, was the foundation for the band's very name, as the group decided to splice the names of two old bluesmen -- Pink Anderson and Floyd Council -- as a tribute to the American music they loved so. These members of the early Floyd -- guitarist/singer Syd Barrett, bassist Roger Waters, keyboardist Rick Wright, and drummer Nick Mason -- were all architecture students at London Polytechnic, with the exception of Barrett, who was an art student and a friend of Waters since childhood. This version of the band started gigging regularly in 1965, with Barrett becoming the group's lead singer quite quickly. 

During this time, the group relied on blues and R&B covers, not unlike many of their British peers, but they wound up extending the time of their sets through extended instrumental jams, planting the seeds of space rock that would come to fruition not much later. During 1966, the group's increasingly adventurous sets became something of a sensation in the London underground, leading to a contract with EMI early in 1967. Their first single, "Arnold Layne," backed with "Candy and a Currant Bun," appeared in March of 1967, and it was banned from some radio stations due to its gender-bending lyrics, but the single wound up in the U.K. 


Top 20 and the group's second single, "See Emily Play" -- a menacing, mincing stomp with a profound, lasting influence -- went into the Top 10, paving the way for the release of The Piper at the Gates of Dawn. On their full-length LP, Pink Floyd veered toward the experimental and avant-garde, particularly on the elastic, largely instrumental vamps "Astronomy Domine" and "Interstellar Overdrive," resulting in an album that had a significant influence not only upon its release but well beyond. It was also a hit in the U.K., reaching number six on the British charts.

This was a sudden rush to stardom and complications arose nearly as quickly. Not long after the release of Piper, Barrett began showing clear signs of mental illness, to the point he would often freeze on-stage, not playing a note. At this point, David Gilmour -- a friend and associate of the band -- was brought in as a second guitarist, with the intention that he'd buttress the group's live performances while Barrett continued to write and record new material. This soon proved to be an impossible situation, and Barrett left the group, at which point the band's management also jumped ship, leaving the band without any kind of leader.


A Saucerful of Secrets In the wake of Barrett's departure, the remaining members of Pink Floyd developed a different musical identity, one that was expansive and eerie, characterized by the band's spacy, somber explorations and, eventually, Waters' cutting, sardonic lyrics. This transition took some time. In 1968, they released A Saucerful of Secrets, which contained Barrett's final composition for the group "Jugband Blues" and found the group moving forward, particularly on the instrumental sections. 

A Saucerful of Secrets also saw the group begin a long, fruitful collaboration with Storm Thorgerson's design team Hipgnosis; they'd wind up designing many iconic album covers for the band, including Dark Side of the Moon and Wish You Were Here. Hipgnosis emphasized album art, and albums are where Pink Floyd concentrated from this point forward. After the soundtrack to More, the group moved to EMI's progressive rock imprint Harvest and became the label's flagship artist beginning with the 1969 double-LP Ummagumma. Divided between live performances and experimental compositions from each member, the record wound up in the Top 10 in Britain and sowed the seeds of a cult following in the United States.

Atom Heart MotherPink Floyd's next album, Atom Heart Mother, featured extensive contributions from composer Ron Geesin and wound up as the band's first number one album in the U.K.. The band embarked on an extensive supporting tour for the album and when they returned they delved even further into studio experimentation, learning the contours of the studio. Their next studio album, 1971's Meddle, bore the fruit from this labor, as did 1972's Obscured by Clouds, which was effectively a soundtrack to Barbet Schroeder's film La Vallee. 

All the experiments of the early '70s were consolidated on their 1973 album Dark Side of the Moon, an album for which there simply was no precedent in their catalog. Deepening their music while sharpening their songwriting, Floyd created a complex, luxurious album with infinite space and depth. Partially helped by the single "Money," it was an immediate success, reaching number one on the U.S. Billboard charts and peaking at number two in the U.K., but what was striking was its longevity. Dark Side of the Moon found space on the Billboard charts and then it just stayed there, week after week for years -- a total of 741 weeks in all (once it finally dropped off the charts, Billboard began the Catalog charts, where Dark Side was a fixture as well). Dark Side of the Moon was a staple on classic rock radio but it also was a rite of passage, an album passed down to teenagers when they were turning to serious music, and it was an album that stayed with listeners as they aged.

Animals Now established superstars, Pink Floyd dug deep on Wish You Were Here, their 1975 sequel to Dark Side of the Moon which functioned as an album-long tribute to Syd Barrett. Compared to Dark Side, Wish You Were Here wasn't quite a blockbuster but it was certainly a hit, debuting at number one in the U.K. and reaching that peak in the U.S., as well. 


Floyd continued to tour steadily, often working out new material on the road. This is particularly true of 1977's Animals, which had its roots in several songs aired during the 1975 tour. During the Animals tour, Waters had a difficult experience with a Montreal crowd where he spit on a heckler, and he used this incident as the genesis for 1979's rock opera The Wall. Co-produced by Bob Ezrin, The Wall may be Floyd's most ambitious album, telling a semi-autobiographical story about a damaged rock star, and it's one of the band's most successful records, topping the charts throughout the '80s and turning into a pop music perennial along the lines of Dark Side. 

Part of its success in 1980 was due to "Another Brick in the Wall, Pt. 2," where an instrumental motif from the album was given a disco beat and an anti-authoritarian spin, leading to a genuine number one hit single from a band. Certainly, the single had more to do with the album's success than the live production of the album, as Pink Floyd only did a handful of dates in major cities. Nevertheless these shows, consisting of a wall being built across the stage during the first act and the band performing behind it during the second, were legendary (Waters would revive and update the production years later to great success).


The Final CutPink Floyd did attempt to film The Wall for a documentary film, but the footage was botched, so they decided to pursue a feature film directed by Alan Parker and featuring Boomtown Rat Bob Geldof in the lead role. The Wall arrived in theaters in 1982 and turned into a midnight movie staple. A year later, The Final Cut -- a further autobiographical work from Waters, its title a sly dig to his battles with Parker on the film -- arrived and it didn't come close to matching the chart success of any of its predecessors. 
Behind the scenes, things were tense. Rick Wright had been fired during the making of The Wall -- he was hired as a contract player during the recording and tour -- and Waters split after the release of The Final Cut, assuming that it was the end of the band. Waters released his debut solo album The Pros and Cons of Hitchhiking -- a piece that was pitched to Floyd in 1978, but the band chose The Wall instead -- in 1984 and not long afterward, Gilmour and Mason indicated they intended to carry on as Pink Floyd, so the bassist sued the duo for the rights to the Pink Floyd name. 


Waters lost and Pink Floyd released A Momentary Lapse of Reason in 1987, just months after Waters released his own Radio KAOS. Bad blood was evident -- T-shirts on Waters' tour bore the question, "Which One's Pink?," an old lyric that now had greater resonance -- but Pink Floyd emerged victorious, as A Momentary Lapse of Reason turned into an international hit, and along with it racked up some hit singles, including "Learning to Fly," which was supported by the band's first music video. Most importantly, the band racked up significant box office returns on tour, playing to sold-out stadiums across the globe. This tour was documented on the Delicate Sound of Thunder live album.

Pulse The success of A Momentary Lapse of Reason allowed Pink Floyd to dictate their own schedule and they took their time to return with a new album, eventually emerging in 1994 with The Division Bell. Greeted by warmer reviews than its predecessor, The Division Bell was another international success, and the accompanying tour -- which featured a performance of the entirety of The Dark Side of the Moon -- was a smash success. As before, the tour was documented with a live album -- this one was called Pulse, packaged in eye-catching artwork with a pulsing LED light -- and it performed respectably. After that, Pink Floyd went into effective retirement. The group was inducted into the Rock & Roll Hall of Fame in 1996, while Gilmour released some solo albums, including the acclaimed On an Island, but most of their efforts were devoted to managing their catalog. Long a beloved band of audiophiles, the group saw their catalog boxed and remastered several times, including 5.1 mixes on SACD in the early 2000s.

As the new millennium progressed, a détente arose between the Floyd and Waters camps, culminating in an unexpected reunion of the original lineup of Waters, Gilmour, Mason, and Wright at the 2005 charity concert Live 8. The reunion was a rousing success, sparking rumors of a more permanent arrangement, but Gilmour declined. Instead, Waters ramped up his touring -- he performed Dark Side in its entirety, then turned his attention to The Wall, touring that for years. 

Gilmour and Mason wound up appearing at a 2011 show in London, signaling that there was no ill will between the members. Barrett passed in 2006 from cancer and in 2008, Wright also died from the disease. In 2011, Pink Floyd launched an ambitious reissue project called Why Pink Floyd…? spearheaded by multi-disc, rarity-laden box set reissues of Dark Side of the Moon, Wish You Were Here, and The Wall; among the newly released exclusives was the original Alan Parsons mix of Dark Side, heavily bootlegged live tracks like "Raving and Drooling," and demos. 

Three years later, in 2014, The Division Bell was reissued to celebrate its 20th anniversary, but the bigger news was the announcement of a new album called The Endless River. Constructed using outtakes from the recording sessions for 1994's The Division Bell, the primarily instrumental album was co-produced by Gilmour, Roxy Music's Phil Manzanera, Youth and Andy Jackson, and featured heavy contributions from the late keyboardist Rick Wright, along with new work from Gilmour and Mason. The Endless River saw release in November of 2014.

Pink Floyd - Live at BBC November 18 1974 (The Dark Side of The Moon Concert)

01. "Speak to Me" MasonInstrumental  02:33
02. "Breathe" Waters, Gilmour, WrightGilmour  03:01
03. "On the Run" Gilmour, Wateers   Instrumental  04:56
04. "Time" (containing "Breathe (Reprise)")  Mason, Waters, Wright, Gilmour Gilmour, Wright  06:30
05. "The Great Gig in the Sky" Wright, Clare Torry[nb 11] Clare Torry  06:44
06. "Money" Waters  Gilmour  07:58
07. "Us and Them" Waters, Wright Gilmour, Wright  07:53
08. "Any Colour You Like" Gilmour, Mason, Wright  Instrumental  03:42
09. "Brain Damage" Waters Waters  03:42
10. "Eclipse" Waters Waters  05:12
11. "Echoes" 23:29

Part 1: Pink Floyd BBC
Part 2: Pink Floyd BBC
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Part 1: Pink Floyd BBC
Part 2: Pink Floyd BBC
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Part 2: Pink Floyd BBC
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Sweet - Strung Up (Live + Studio) Japan Edition 1975)

June 13, 2016, 2:56 am
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Source: Japan SHM-CD Remaster

Strung Up is a 1975 double live/compilation album by Sweet released by RCA Records in 1975. The first disc contains seven songs recorded live during a concert at the Rainbow Theatre, London on 21 December 1973. The second one contains ten selections of their songs recorded since 1973, including three songs that have not been released previously on any album, ("Burn On The Flame" and "Miss Demeanour") but only one ("I Wanna Be Committed") is brand new. The album also includes a unique mix of "Action" that comes to an abrupt end, and does not include the final decaying echo of the shorter single and longer Give Us a Wink album versions.


Strung Up was not originally released in the United States. In Japan it was released by Capitol Records under the title Anthology. In Italy it was released as 2 separate albums - the studio set entitled Strung Up (released 1975) and the live set entitled Live In England (1976).

By late 1975, the Sweet were no more the power in pop land that they had once seemed to be. It was nine months since they broke away from songwriters Nicky Chinn and Mike Chapman, with whom they'd enjoyed almost unfettered success -- since that time, only "Fox on the Run" had suggested that the Sweet's own songwriting prowess was even vaguely capable of competing with the masters, and two further singles ("Action" and "The Lies in Your Eyes") had emerged as the band's worst performing efforts since their very earliest days. Time, then, to dig into the vault and see what could be done to salvage the situation -- time, then, for Strung Up, a double album comprised of three-year-old live material plus a mishmash of old and new studio work. 


The concert recordings are the revelation. For all their reputation as mere purveyors of whatever their puppet masters offered them, the Sweet had developed into one of the most exciting live bands on the mid-'70s U.K. circuit, as sonically dynamic as they were visually alluring. Not for nothing had the band's sexually charged stage show been banned from one of the country's leading ballroom chains; not for nothing did Ritchie Blackmore join them on-stage in California one night. No matter how far their crown slipped in chart terms, in concert the Sweet would never let you down and, though the Strung Up tapes dated back to 1973 and a phenomenal show at the London Rainbow, they had not dated in the slightest. 

The studio cuts are less alluring, concentrating in the main on the self-composed B-sides that the band had long insisted upon, a few recent singles ("The Six Teens,""Fox on the Run," and "Action"), and a couple of songs laid down during the sessions for the band's last studio LP, Desolation Boulevard. In modern terms, it's the kind of compilation that would form the basis for a tremendous box set; at the time, however, it spoke more of the uncertainty with which the band's record label, if not the bandmembers themselves, viewed the future. And, tellingly, it sank like a stone.

Live album:
01. "Hellraiser" Nicky Chinn, Mike Chapman  03:51
02. "Burning"/"Someone Else Will" 05:41
03. "Rock 'n' Roll Disgrace" 04:08
04. "Need a Lot of Lovin'" 02:52
05. "Done Me Wrong Alright" 08:06
06. "You're Not Wrong for Lovin' Me" 03:10
07. "The Man with the Golden Arm" Elmer Bernstein, Sylvia Fine  07:50

Compilation album: 
08. "Action" 03:43 
09. "Fox on the Run" 03:22
10. "Set Me Free" Scott  03:56
11. "Miss Demeanour" 03:26
12. "Ballroom Blitz" Chinn, Chapman  04:00
13. "Burn on the Flame" 03:34
14. "Solid Gold Brass" 05:27
15. "The Six Teens" Chinn, Chapman  03:58
16. "I Wanna Be Committed" Chinn, Chapman  04:01
17. "Blockbuster" Chinn, Chapman  03:12

Bonus Track:
18. "A.C.D.C."

1. Sweet 1975
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Guns 'N' Roses - (some songs from) Appetite For Democracy (US 2014)

June 13, 2016, 3:11 am
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The Chinese Democracy Tour was a worldwide concert tour by hard rock band Guns N' Roses to promote the group's long-delayed album Chinese Democracy.

The tour began in 2001. That year the band played three U.S. dates and a Brazilian one, while their 2002 tour included Asian, North American and a few European dates. The band did not tour again until May 2006, when it toured North America again and performed a major tour of Europe. The band's tour continued in 2007 with shows in Australia, New Zealand, Japan and Mexico.



Their first show after the 2008 release of Chinese Democracy was in Taiwan on December 11, 2009. In the same month the group played South Korea for the first time, as well as two dates in Japan. Since 2010 the tour has continued with concerts in North America, South/Central America, Europe and Australia. As of late 2010, the entire tour had attracted a total audience of about 4,000,000 people. The ten-year tour came to a close on the final day of 2011, with a New Year's Eve show in Las Vegas.

Rumors started in February that Guns N' Roses would perform Spain and Italy in June, and continued through the year with comments from Irving Azoff about a Summer Stadium Tour but nothing happened.



On November 10, 2009 after speculation about shows in Japan, the band announced on their MySpace four dates in Asia and thirteen in Canada. More dates were added later for South America and Europe.

On August 15, 2010, a cancellation notice for the remaining shows of the tour was posted on Rose's Twitter. The statement would later be refuted on the official Guns N' Roses Twitter and Facebook, with claims that the tweets were being looked into. Several hours later, the band confirmed that Axl's account had been hacked, and the band would in fact continue the tour.


Following the events that took place at the Reading Festival where the organizers pulled the plug on their set because they passed the curfew time, Axl Rose released the following message via his Twitter account:

“Our start times at the Reading and Leeds festivals factually had nothing to do with us as the previous bands (who were great by the way) came off stage when they did and we went on within' our contracted and documented changeover time period.
Whatever other nonsense anyone's choosing to write would appear intentionally false.  Having the fans or our show penalized for how the event was run or simply the natural flow of events those evenings and for such minimal amount of overtime along with distortions and falsehoods by media, the promoter and or event organizers regarding the events seems a bit draconian and more than unfair to the fans.

A simple question: If you are aware of our changeover time, the average length of our show and the general nature of how these types of festivals run all of which are no big secrets...why book us?


Is it simply because the lineup on our nights at both festivals sold well? So it's a cash grab with no respect for the fans or the band and somehow an unwanted inconvenience for the cities and law enforcement? If we're not wanted and just being used to line someone else's pockets or for fictitious tabloid fodder at the fans and our expense we're fine with going elsewhere. God forbid we would force ourselves on anyone. It's not that kinda party.


I didn't organize, arrange, authorize, have knowledge of or was even consulted about our being booked for these shows till after the fact nor did I choose to work with anyone I'm aware of other than our manager who was involved in arranging these dates. 

Yet it would appear we're amazingly often legally obligated to honor such arrangements whether against our will or better judgment. That's simply and unfortunately how this business often works with the artist and imo seems is legally supported to benefit managers, agents, promoters and ticket vendors.

With how the fans and we were treated in the past I had what I feel were legitimate and now proven justified apprehensions. Yet we gave 100% and from where we stood it seemed as if the both the fans (who rocked!) and our camp were having fun and making the most of things.

Why (and what would appear intentionally) risk having it go bad for everyone? Imo that's where true recklessness and negligence at both the fans and our expense would seem to be.

Anyway...thanks again to all the fans who made our nights!!

Peace!!

Axl-

01. Chinese Democracy  03.34
02. Welcome To The Jungle  05.20
03. It's So Easy  03.15
04. Mr. Brownstone  04.32
05. Rocket Queen  07.14
06. Better   05.08
07. Motivation  03.15]
08. You Could Be Mine  06.45
09. Sweet Child O' Mine   05.38
10. Nightrain   05.40
11. Used To Love Her  03.08
12. Paradise City   07.47

1. GNR 2014
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2. GNR 2014
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3. GNR 2014


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Bobby Williams - Anybody Can be a Nobody (Soul US 1976)

June 20, 2016, 12:18 am
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Size: 64.6 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Invluded
Source: Japan 24-Bit Remaster

Soul/funk LP from 1976 with the incredible crossover soul tune "You need love like I do". 


The cliché says that imitation is the sincerest form of flattery, but few muster the sincerity of Bobby Williams -- a James Brown acolyte with a style and energy comparable to the Godfather himself, Williams transcends his faux-funk origins with grooves that are undeniably genuine. His second LP, 1976's Anybody Can Be a Nobody, moves past the low-budget grit of his debut Funky Superfly with a sound evoking the silky-smooth sensibilities of Miami funk. 


Williams is more of a singer than a shouter this time around, and while some listeners may miss the gutbucket grooves of his previous disc, the record's maturation and sophistication are convincing.

One of the all time indie funk classics of the 1970's, obscure vocalist Bobby Williams' gave James Brown a run for the money when he released "Funky Super Fly" in 1974. 

The style of the album recalls James Brown at his funkiest, but with a sound that's even grittier featuring a tight horn section and some heavy funk jamming that really gets in the groove and stays there. 

On his second LP, 1976's "Anybody Can Be a Nobody," Williams moves past the grit of "Funky Super Fly" to reveal a more sophisticated style evocative of Curtis Mayfield mixed with the smooth stylings of Miami funk to produce a more mature sound, showing that he can be more of a singer than a shouter. 

Copies of the original LP fetches big bucks on the rare groove collector's market and fans of the album will be delighted to see it make its long overdue debut in the digital realm. All selections newly remastered.

01. Anybody Can Be A Nobody   05:00
02. You Need Love Like I Do  05:09
03. Portrait Of My Stepfather   04:40
04. These Arms Of Mine   04:00
05. Think I'd Better Rest   02:45
06. I Will Sing For You   04:15
07. Drop It On Me   03:32
08. Everybody Needs Love Sometime  05:09

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Lars Ulrich (Metallica) Talking & Play Songs by Swedish Broadcast Saturday June 25, 2016, 24.00-01.00

June 24, 2016, 9:19 pm
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     Lars Ulrich in Swedish Radio 6 hours ago

MUSICIAN, SONGWRITER, DRUMMER - “Summer" is a Swedish radio show where a person is given free hands to speak about whatever they want and play their own choice of music.

- I am more comfortable speaking in English after my 35 years in the USA, but I can still speak Danish and some Swedish: Systembolaget, Sportspegeln and Kungliga Tennishallen, for example! I am going to talk about life, work, and the music that got me on the right track in life.

About Lars Ulrich:

Lars Ulrich has for the last 35 years been the drummer in the heavy metal band Metallica, which he also founded together with James Hetfield in 1981.



The band has sold over 110 million records and been awarded nine Grammys and numerous other awards. In 2013, Metallica played concerts on every single continent in the world, including Antarctica.

This spring, Metallica released a special live recording from 2003, recorded in the Bataclan concert hall in honor of the victims of the 2015 Paris terrorist attacks. All proceeds from the live album goes to charity.

He is son to the Danish tennis player and jazz musician Torben Ulrich and saxophone player Dexter Gordon was Ulrich’s godfather.

Lars Ulrich is also an avid collector of modern art.

1. Lars Ulrich
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2. Lars Ulrich
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3. Lars Ulrich

Enjoy!

//ChrisGoesRock
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dBpoweramp Reference 16.0 Created for Audio Professionals

June 24, 2016, 11:11 pm
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Audio conversion perfected, effortlessly convert to mp3, FLAC, Apple lossless and more. dBpoweramp Music Converter™ has become the standard tool for audio conversions, over 30 million users world trust their converting to dBpoweramp.

mp3 Converter
Convert mp3, m4a (iTunes)

& iPod), WMA, WAV, AIFF, AAC, FLAC, Apple Lossless (ALAC) to name a few.

High Speed Conversions
Look for a mp3 converter which encodes using all CPU cores simultaneously, get the job done in double quick time.

No Malware
Free converters come with a little extra (a spying toolbar, Trojan, malware, or virus), dBpoweramp has never bundled in 15 years, those wanting an mp3 converter, get just that and only that. No Trojan, no malware, no viruses.

Batch Convert
Large numbers of files with 1 click, filter on mp3 or other file type.



DSP Effects

Process the audio with Volume Normalize, or Sample / Bit Rate Conversion. dBpoweramp is a fully featured mp3 Converter.

Simplicity
dBpoweramp integrates into Windows Explorer, an mp3 converter that is as simple as right clicking on the source file; Convert To. Popup info tips, Edit ID-Tags are all provided.

It is safe to say, no other audio program converts more multi-format audio files than dBpoweramp, we have spent 15 years perfecting format-compatibility and conversion stability. If converting FLAC to mp3, wma to mp3, or wav to mp3, dBpoweramp is the right choice.

Interface
  • New visual style, high DPI aware, 200% and 300% compatible 
  • Configure dBpoweramp repurposed as dBpoweramp Control Centre, only elevates on changes to shell settings Configuration, if proxy server is enabled but no proxy server is set, it is disabled. 
  • DSP Effects included as standard in all installs, DSP version number is now dBpoweramps version number 
  • dBpoweramp Shell Tag Editor - looks up art with PerfectTUNES 
  • Naming Section total rewrite Naming Added new values [track_unpad] [track_total_unpad] forunpadded track number and count 
  • Naming [IFEQUALS] check will match from multiple stored values, such as one match from 3 genres 
  • Naming added [REPLACE] function 
  • Naming added [WORD] function to limit word count
  •  
dBpowerAMP Music Converter:

  • Can add or remove CPU Cores from converting whilst converting Nearly instant when converting 1000's of files if the file naming does not require ID Tags reading for filenames 
  • Works with DSP effect 'conditional encoding' to allow programmable actions on files depending on their settings (such as copy 1:1 mp3, not encode) 
  • Option to precache read the source file, more for non-ssd systems, improves read performance by 100% 
  • New option (in configuration) 'Filename restricted characters' 
  • When finalizing DSP Effects (such as 100K RG album gains being written), the display is now responsive 
  • dBpoweramp Codec Central Link: Codec Central
  • "Spoon's" Setting Guide, Link: Spoon's Setting Guide

dBpoweramp Music Converter Reference 16.0

1, 16.0
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2. 16.0
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3. 16.0


Would be glad for some comment about this ripper. I have not found any better ripper than this one.
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Pictures For Today....

June 26, 2016, 9:40 am
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Back off a bit and the mood shifts with each other, scary...



There are several ways for steal a car...
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Not to be missed: Black Nasty - Talking to The People (Heavy Funk'n Soul US 1973)

June 30, 2016, 11:42 pm
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Size: 82.2 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Excellent heavy funk from Stax!Black Nasty were one of the heaviest groups on the label – with a rock-solid guitar-based groove that went even farther than the Bar-Kays, who were no slouch in the guitar department themselves! The grooves are all slow to midtempo, with the band coming down hard on the downbeats, jamming away in a style that sounds more like heavy Detroit Westbound than sweetly soulful Memphis. Most all cuts have vocals – sung in a shouting style by the band that works well with the tripped-out hooks of the songs. This was the only album the band ever cut, but it's become a fast favorite among those who like their funk raw. Tracks include "We're Doin Our Thing", "Rushin Sea", "Booger The Hooker", "Black Nasty Boogie", "Nasty Soul", and "Getting Funky Round Here". 


Like Rare Earth and early Funkadelic, Black Nasty took a very rock-minded approach to Detroit soul and funk -- probably too rock-minded for many program directors at black radio. And at the same time, Black Nasty was too funky and soul-oriented for FM rock radio. So Black Nasty fell through the cracks in the early to mid-'70s, although it enjoyed some commercial success after evolving into the ADC Band and recording the major funk hit of 1978, "Long Stroke." The band's only album as Black Nasty, Talking to the People, was a commercial disappointment but a creative triumph. Those who savored the Motor City funk/rock experiments of Rare Earth and early Funkadelic will find a lot to admire about gritty, hard-edged smokers like "Nasty Soul,""Getting Funky Round Here," and the single "Black Nasty Boogie" (which brings to mind John Lee Hooker's work with Canned Heat). To its credit, Black Nasty has no problem turning around and providing silky, mellow slow jams such as "Rushin' Sea" and "I Must Be in Love," both of which feature singer Audrey Matthews. It is Nasty's other lead singer, Terrance Ellis, who handles the more up-tempo gems. 


Black Nasty were a little-known but decent group in the early-'70s Detroit funk scene, following the path of the Parliament/Funkadelic crowd in mixing rock, psychedelic, soul, and funk influences. They recorded a fair album for Stax that was released in 1973, but wasn't a heavy seller. After losing their contract with Stax (which would soon go out of business anyway) in 1975, they changed into different R&B acts that would have a little more commercial success.

Black Nasty's mentor was Johnnie Mae Matthews, a singer who owned several independent Detroit R&B labels, including Northern, Reel, Audrey, Jam, Art, Big Hit, and Tank. Matthews also recorded more than two dozen singles under her own name. 

Though none were notable successes, she continued her involvement in the artistic side of the music business by encouraging her drummer son, Artwell, when he formed a band in the mid-'60s with his cousin, bassist Mark Patterson, and friends. Originally called Raw Integrated Funk, there were prominent rock elements at the outset (Ted Nugent was an early member), but under the influence of Johnnie Mae Matthews, they broadened their style to include more R&B. After putting out a cover of the Supremes'"You Keep Me Hanging' On" on Tank, they were signed to Stax, for which they recorded three singles and an album between 1971 and 1974. 

The Stax sessions (all of the singles also appeared on the album) were produced by Johnnie Mae Matthews and Sir Mack Rice, the minor but noted Detroit soul singer. Rice had recommended Black Nasty to Stax after starting work at the label as a songwriter. While their records were more promise than payoff, the album did have an interesting mix of funk with hard rock guitar, soul ballads on which Johnnie Mae Matthews' teenage daughter Audrey took lead, and some socially conscious compositions that reflected black urban life of the early '70s. After the album made little impact, Stax dropped Black Nasty, which changed their name to Nazty and recorded a couple of singles for Excello. After some personnel changes, the group became ADC Band, getting an R&B Top Ten hit with "Long Stroke" in 1978 and recording as late as the mid-'80s.

01. Talking To The People  02:43
02. I Must Be In Love  03:42
03. Nasty Soul  03:38
04. Getting Funky Round Here  02:43
05. Black Nasty Boogie  05:46
06. Where Doin´ Our Thing  03:45
07. I Have No Choice  03:35
08. It´s Not The World  03:35
09. Rushin´ Sea  03:36
10. Booger The Hooker  03:25

1. Black Nasty
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2. Black Nasty
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3. Black Nasty

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I'm Sorry...

July 9, 2016, 8:03 am
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Hiall.I'msorryforthat i don'taddmusicdownloadslikeididbefore.Thingshavechangedovertheyearsandihavenotimelike i had before.

I will add new music downloads when i have some hours for free, promise.

But as you see,  i have alot of links to other Bloggers with music downloads so i hope that you visit my site anyway, or?

Michigan Boogie Ann Arbor Sun, April 27, 1972
(Open picture in a new window for 100%)
//ChrisGoesRock
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Paul Brett - Selftitled (Very Rare Folkrock UK 1972)

July 9, 2016, 9:41 pm
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Size: 80.5 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Paul Brett (Sage)  began his career appearing (while still a teenager) as an uncredited backing guitarist on ROY HARPER's 1966 debut 'Sophisticated Beggar' which is generally acknowledged as contemporary British folk classic although not especially progressive when compared to some of Harper's later work into the mid-seventies and beyond. 


The same can be said of AL STEWART's 'Zero She Flies', recorded in 1969 with Brett again appearing as a nameless studio musician while other studio players such as Trevor Lucas and Gerry Conway of FOTHERINGAY do appear in the liner notes. 

Brett appeared (with credits) on the STRAWBS''Dragonfly' studio album which was also recorded in 1969, and cut a couple of singles with ARTHUR BROWN. 

That same year he played guitar on most of ELMER GANTRY'S VELVET OPERA second and final release 'Ride a Hustler's Dream', and closed out the decade as a member of the short-lived psych band FIRE, largely leading the studio effort for the now ultra-rare 'The Magic Shoemaker' LP.

After his work with the STRAWBS Brett formed his own band (PAUL BRETT SAGE) and released three studio albums between 1970-1972. That group consisted at various times of Nicky Higginbottom (flute, saxophone), Mike Piggot (later of the PENTANGLE), bassist Dick Dufall (STRAWBS, FIRE), Stuart Cowell (guitars) and percussionist Bob Voice (FIRE), among others. The band's sound ranged from contemporary to progressive folk and mildly heavy rock with occasional blues-rock and even a bit of jazz. 

Brett would go on to a lengthy solo career as a mostly 12-string guitarist, recording contemporary rock albums, along with a few progressive works including the complex guitar instrumentals 'Earth Birth' and 'Interlife'. 

In later years he would release a number of modern folk, instructional and mainstream albums including several K-Tel records. He also amassed a lengthy body of work as a session and touring musician, appearing with the likes of STEVE HILLAGE, JIMI HENDRIX, VAN DER GRAFF GENERATOR, MOTT THE HOOOPLE, STATUS QUO, FREE and many others.

Paul Brett (born 20 June 1947, Fulham, London) is an English classic rock guitarist. He played lead guitar with Strawbs (though he was never actually a member), The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve-string guitar in the 1970s.

His first twelve-string guitar suite, Earth Birth, was released on his own label, Phoenix Future, and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four-album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long-time friend and fellow twelve-string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. He is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

01. The Ant (instrumental) (2.13)
02. Mr Custer (3:04)
03. Goodtimes, Hardtimes (3.23)
04. 18 Years (2.30)
05. Handful Of Rain (4.45) 
06. Antiques, Flowers And Music Box Dancers (instrumental) (2.46)
07. The Spanish Main (4.27)
08. Jim Crow (3.15)
09. Motherless Child On A Merry-Go-Round (3.29)
10. Here Comes The Sun (2.43)
11. Who Am I ? (3.57)
12. March Of The Hedgehogs (instrumental) (3.19)



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Night Sun - Mournin´ (Very Good German Hardrock 1972)

July 21, 2016, 9:08 pm
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Size: 78.1 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included

Night Sun were a German heavy prog/metal band consisting of Bruno Schaab (vocals, bass), Walter Kirchgassner (guitar), Knut Rossler (organ, piano, trumpet, bassoon) and Ulrich Staudt (drums).

Their only album, Mournin', was released in 1972 on Polydor's Zebra label. Schaab's vocals recalled the screams of Ian Gillan from Deep Purple. The group played a loud, Deep Purple/Black Sabbath/Led Zeppelin style rock, with a characteristic "heavy progressive" instrumentation of twin guitars, organ, bass and drums. The album was produced by Konrad Plank at the Windrose Studio, Hamburg.

With their sudden shifts of rhythm structures, guitar-with-organ riffing style and some studio effects, particularly phasing, Night Sun fortunately never went too close to the ordinary boogie and rock'n'roll trap.

Their sound consisted of many elements, all of which will be of interest to fans of Thrash, Stoner, Doom, Power and Prog Metal, and their 1970's roots.

Night Sun's origins lay in the late-60's jazz band Take Five who were popular in the Rhine Neckar Area of Germany.

Take Five consisted of Werner "Steff" Stephan (vocals), Edmund Seiboth (trumpet), Knut Rössler (saxes/trombone/flute/keyboards), Freddie Münster (saxes), Frieder Schmitt (keyboards/voc), Hans Brandeis (guitar/vocals), Torsten duke (bass/vocals) and Karl-Heinz weber (drums).


Various members from this band went on to be part of Night Sun Mournin' and Kin Ping Meh.

Kin Ping Meh had a reasonably successful career through the seventies with 5 studio and 2 live LPs.

Night Sun Mournin' soon shortened their name to just Night Sun, during which time they went through various line-up changes until their 1972 recording of the Mournin' LP.

Night Sun had only moderate local success and after the leaving of Schaab and Kirchgassner in 1972, the band split in 1973.

After the demise of the group, Bruno Schaab briefly joined Guru Guru, where his contribution was notable on the track, "The Story Of Life".

01. Plastic shotgun (2:34)
02. Crazy woman (4:22)
03. Got a bone of my own (7:45)
04. Slush pan man (4:25)
05. Living with the dying (5:31)
06. Come down (5:48)
07. Blind (4:24)
08. Nightmare (3:16)
09. Don't start flying (3:07) 

1. Night Sun
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2. Night Sun
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3. Night Sun

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Accolade - Accolade II (Rare Folk-Progressive Rock UK 1971)

July 21, 2016, 9:42 pm
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Size: 79.8 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included

This is great! A flute and folk guitar together, similar to a well sung Jethro Tull. Don Partridge, the vocalist appears by himself later in his career. includes Brian Cresswell, Malcolm Poole, and Ian Hoyle. Wizz Jones plays acoustic guitar on four songs, and one of the songs is a Gordon Giltrap cover tune. My favorite song is 'transworld blues' on the first three listens, but I'm sure with repeated turns, this one will offer up many layers of beauty. The front cover artwork is an original painting by David Steele and attracted me to this UK prog/psych record immediately.

Maybe I'm just a sucker for flute - I don't know - but to me this is yet another excellent slice of early 70's UK psych folk. Originally released on the Regal Zonophone label in 1971. Crisp and clear male vocals, prominent flute, dreamy acoustic guitar, and occasional doses of piano, harmonica, vibraphone make for a truly enjoyable listening experience. The 11+ minute "Cross Continental Pandemonium Theatre Company" is one of the higlights of this gem. If you like flute-dominated acoustic progressive psych/folk, you can't go wrong with this.

Accolade were a light acoustic band, formed in 1969 who completely eschewed electric instruments, as they developed a folk / jazz fusion. Notable, perhaps only for the inclusion of Partridge and fellow singer Gordon Giltrap, although the latter remained for only one album. The group recorded two albums and one single, before going their separate ways in 1971.

As musical tastes changed, and the novelty value of a folk music singing, one man band, paled, Partridge retreated to his well-worn path of busking for a living. He had made a big impression in Scandinavia, and moved to live in Sweden in the early 1970s. He made two unsuccessful albums there, before ultimately returning to his homeland. 2nd album by UK band from early 70's. A well mix up of verious styles like folk, jazz, and rock, but psych folk dominated. Wizz Jones was featured on several tracks and the album also a cool return of Made In Sweden's 'Snakes In A Hole' Originally released in 1971 on Regal Zonophone. (Reviews from different sources)

♦ Don Partridge - Vocals, Acoustic Guitar, Vibraphone
♦ Malcolm Poole - Contrabass, Fiddle
♦ Ian Hoyle - Drums
♦ Brian Cresswell - Flute, Alto Saxophone
♦ Wizz Jones - Vocals

♦ Mike Moran - Piano

01.Transworld Blues 3:22
02.The Spider to The Spy 2:33
03.Baby, Take Your Rags Off 3:17
04.Cross Continental Pandemonium Theatre Company 11:02
05.Snakes In a Hole 3:25
06.The Time I've Wasted 2:37
07.Sector Five Nine 2:20
08.If Only I'd Known 2:08
09.William Taplin 4:55
10.Long Way to Go 5:07

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Mount Rushmore - '69 & High On (Heavy-Blues-Rock US 1969)

July 21, 2016, 10:02 pm
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Size: 145 MB
Bitrate:256
mp3
Ripped By: ChrisGoesRock
Artwork Included

Mount Rushmore was a rock band in the late 1960s from San Francisco, California that played a heavy blues rock style with psychedelic elements.

The band formed in late 1966 at 1915 Oak Street, a large Victorian rooming house in the Haight-Ashbury district. In June and July 1967 they were featured on posters for shows at the Avalon Ballroom with other bands including the Quicksilver Messenger Service and Big Brother and the Holding Company. After some members including Phillips left for the band Phoenix in 1968, new members were added and the group made two albums.


Also-rans of the San Francisco psychedelic era, Mount Rushmore gigged frequently with fellow travelers Big Brother and the Holding Company, Canned Heat and Quicksilver Messenger Service, but this debut LP is evidence enough of why they aren't held in the same esteem. Mount Rushmore pumped out competent electric boogie with a boozy edge, but they coast on distortion and attitude rather than song craft or instrumental prowess, placing them firmly in the garage band tradition but not among the trendsetters that shared their bills. 

The brief liner notes introduce the band as self-proclaimed "country boys" who "dig to take their funky grey truck on the road," and they sound like hicks too, full of confidence and bluster but possessing only the simplest of skills. Opening a debut LP with Jimi Hendrix's "Stone Free" is a bold move and a curious choice, establishing the territory that the band will mine and exactly how they measure up to the gold standard (in Mount Rushmore's case, nowhere near). 


However, High On Mount Rushmore contains some tracks of interest to the dedicated psych-rock historian. "I Don't Believe In Statues" closes out side one and functions as a manifesto of sorts, an indignant outsider cry set to charging riffs that sound like an Amboy Dukes record warped by the sun. The ten-minute epic "Looking Back" scores highest in rock action, plus it features a crude but convincing space jam breakdown that boasts disoriented feedback, thunderstorm sound effects and random hippie banter floating through the atmosphere. The LP concludes with a taste of Mount Rushmore's live act, as a small but enthusiastic audience joins the band in the studio to encourage their hammier tendencies. The resultant medley includes "Dope Song," a jokey jug band-style marijuana anthem, a boneheaded, boisterous sing-along complete with kazoo and sure to irritate any hippie hater. 

High On suffers from tinny sonics that sap volume and tone and much of it sounds more like a demo than a finished album, but the low budget suits Mount Rushmore. In 2002, a European label called Lizard released a CD containing all of High On Mount Rushmore plus the sole follow up LP Mount Rushmore '69, but otherwise all of this obscure psych band's material has been difficult to find and not often sought out. Fans of The Up, Blue Cheer and other Aquarius Age punks might hear music in Mount Rushmore's clumsy jams, but a full-fledged renaissance is unlikely beyond a minority of collectors. FRED BELDIN

'69 Album
01.It's Just the Way I Feel (Glenn Smith) 4:35 
02.10:09 Blues (Glenn Smith) 5:53 
03.Toe Jam (Kimball, Fullerton, Bolan) 5:45 
04.V-8 Ford Blues (Willie Lowe) 2:35 
05.Love is the Reason (Dotzler, Phillips, Bolan, Levin, Esterlie) 3:55 
06.I'm Comin' Home (Glen Smith, Mike Bolan) 7:35 
07.King of Earrings (Warren B. Phillips) 4:00 
08.Somebody's Else's Games (Glenn Smith) 4:35

High On Album
09.Stone Free (Jimi Hendrix) 3:57 
10.Without No Smog (G. Smith, M. Bolan) 5:27 
11.Ocean (Warren B. Phillips) 4:07 
12.I Don't Believe in Statues (Warren B. Phillips) 4:08 
13.Looking Back (G. Smith, M. Bolan, T. Fullerton, T. Kimball) 9:40 
14.('Cause) She's So Good to Me (Bobby Womack) 3:35 
15.Medley: 7:23 
   Fannie Mae (B. Brown, M. Robinson) 
   Dope Song (G. Smith)

1. Mount Rushmore
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2. Mount Rushmore
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3. Mount Rushmore
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Various Artist - BBC I Radio Broadcast FM 1968-71

July 31, 2016, 1:15 am
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Size: 945 MB
Bitrate: 320
mp3
Found When i Cleaned my PC
Some Artwork Included

Music Genres:
Progressive rock, also known as prog rock or prog, is a rock music subgenre that originated in the United Kingdom, with further developments in Germany, Italy, and France, throughout the mid-to-late 1960s and 1970s. It developed from psychedelic pop (rather than psychedelic rock, as is often stated) and originated, similarly to art rock, as an attempt to give greater artistic weight and credibility to rock music. 

Bands abandoned the short pop single in favor of instrumentation and compositional techniques more frequently associated with jazz or classical music in an effort to give rock music the same level of musical sophistication and critical respect. Songs were replaced by musical suites that often stretched to 20 or 40 minutes in length and contained symphonic influences, extended musical themes, philosophical lyrics and complex orchestrations. The genre was not without criticism, however, as some reviewers found the concepts "pretentious" and the sounds "pompous" and "overblown".

Progressive rock saw a high level of popularity throughout the 1970s, especially in the middle of the decade. Bands such as Pink Floyd, Jethro Tull, The Moody Blues, Yes, King Crimson, Genesis, and Emerson, Lake & Palmer (ELP) were the genre's most influential groups and were among the most popular acts of the era, although there were many other, often highly influential, bands who experienced a lesser degree of commercial success. 

The genre faded in popularity during the second half of the decade. Conventional wisdom holds that the rise of punk rock caused this, although in reality a number of factors contributed to this decline. Progressive rock bands achieved commercial success well into the 1980s, albeit with changed lineups and more compact song structures.

The genre grew out of the 1960s space rock of Pink Floyd and the classical rock experiments of bands like The Moody Blues, Procol Harum and The Nice. Most of the prominent bands from the genre's 1970s heyday fall into the "symphonic prog" category, in which classical orchestrations and compositional techniques are melded with rock music. Other subgenres exist, including the more accessible neo-progressive rock of the 1980s, the jazz-influenced Canterbury sound of the 1960s and 1970s, and the more political and experimental Rock in Opposition movement of the late 1970s and onward. Progressive rock has influenced genres such as krautrock and post-punk, and it has fused with other forms of rock music to create such sub-genres as neo-classical metal and progressive metal. 

A revival, often known as new prog, occurred at the turn of the 21st century and has since enjoyed a cult following.

Folk rock is a musical genre combining elements of folk music and rock music. In its earliest and narrowest sense, the term referred to a genre that arose in the United States and the UK around the mid-1960s. The genre was pioneered by the Los Angeles band The Byrds, who began playing traditional folk music and Bob Dylan-penned material with rock instrumentation, in a style heavily influenced by The Beatles and other British bands The term "folk rock" was itself first coined by the U.S. music press to describe The Byrds' music in June 1965, the same month that the band's debut album was issued. The release of The Byrds' cover version of Dylan's "Mr. Tambourine Man" and its subsequent commercial success initiated the folk rock explosion of the mid-1960s. Dylan himself was also influential on the genre, particularly his recordings with an electric rock band on the Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde albums. 

Dylan's July 25, 1965 appearance at the Newport Folk Festival with an electric backing band is also considered a pivotal moment in the development of folk rock.

The genre had its antecedents in the American folk music revival, the beat music of The Beatles and other British Invasion bands, The Animals' hit recording of the folk song "The House of the Rising Sun", and the folk-influenced songwriting of The Beau Brummels. In particular, the folk-influence evident in such Beatles' songs as "I'm a Loser" and "You've Got to Hide Your Love Away" was very influential on folk rock. The repertoire of most folk rock acts was drawn in part from folk sources but it was also derived from folk-influenced singer-songwriters such as Dylan. Musically, the genre was typified by clear vocal harmonies and a relatively "clean" (effects- and distortion-free) approach to electric instruments, as epitomized by the jangly 12-string guitar sound of The Byrds. This jangly guitar sound was derived from the music of The Searchers and from George Harrison's use of a Rickenbacker 12-string on The Beatles' recordings during 1964 and 1965.

This original incarnation of folk rock led directly to the distinct, eclectic style of electric folk (aka British folk rock) pioneered in the late 1960s by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North-American style of folk rock, Pentangle, Fairport, and other related bands began to incorporate elements of traditional British folk music into their repertoire. Shortly afterwards, Fairport bassist, Ashley Hutchings, formed Steeleye Span with traditionalist folk musicians who wished to incorporate overt rock elements into their music and this, in turn, spawned a number of other variants, including the overtly English folk rock of The Albion Band (also featuring Hutchings) and the more prolific current of Celtic rock.

In a broader sense, folk rock includes later similarly-inspired musical genres and movements in the English-speaking world (and its Celtic and Filipino fringes) and, to a lesser extent, elsewhere in Europe. 

As with any genre, the borders are difficult to define. Folk rock may lean more toward folk or toward rock in its instrumentation, its playing and vocal style, or its choice of material; while the original genre draws on music of Europe and North America, there is no clear delineation of which folk cultures music might be included as influences. Still, the term is not usually applied to rock music rooted in the blues-based or other African American music (except as mediated through folk revivalists), nor to rock music with Cajun roots, nor to music (especially after about 1980) with non-European folk roots, which is more typically classified as world music.

Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It often uses new recording techniques and effects and draws on non-Western sources such as the ragas and drones of Indian music.

It was pioneered by musicians including the Beatles, the Byrds, and the Yardbirds, emerging as a genre during the mid-1960s among folk rock and blues rock bands in the United Kingdom and United States, such as Grateful Dead, Jefferson Airplane, the Jimi Hendrix Experience, Cream, the Doors and Pink Floyd. It reached a peak in between 1967 and 1969 with the Summer of Love and Woodstock Rock Festival, respectively, becoming an international musical movement and associated with a widespread counterculture, before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas.

Psychedelic rock influenced the creation of psychedelic pop and psychedelic soul. It also bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia.

Hard rock (or heavy rock) is a loosely defined subgenre of rock music which has its earliest roots in mid-1960s garage rock, blues rock and psychedelic rock. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar, drums, and often accompanied with pianos and keyboards.

Hard rock developed into a major form of popular music in the 1970s, with bands such as Led Zeppelin, The Who, Deep Purple, Aerosmith and AC/DC, and reached a commercial peak in the 1980s. The glam metal of bands like Van Halen, Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses followed up with great success in the later part of that decade, before losing popularity with the commercial success of grunge and later Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, and new hard rock bands that emerged from the garage rock and post-punk revival scenes.

Krautrock is rock and electronic music that originated in Germany in the late 1960s. The term was popularized in the English-speaking press. Later, German media started to use it as a term for all German rock bands from the late 1960s and 1970s, while abroad the term specifically referred to more experimental artists who often but not always used synthesizers and other electronic instruments.

The term is a result of the English-speaking world's reception of the music at the time and not a reference to any one particular scene, style, or movement, as many krautrock artists were not familiar with one another. BBC DJ John Peel in particular is largely credited with spreading the reputation of krautrock outside of the German-speaking world.

Largely divorced from the traditional blues and rock & roll influences of British and American rock music up to that time, the period contributed to the evolution of electronic music and ambient music as well as the birth of post-punk, alternative rock and New Age music. 

Key artists associated with the tag include Can, Amon Düül II, Ash Ra Tempel, Faust, Popol Vuh, Cluster, Tangerine Dream, Klaus Schulze, Neu!, and Kraftwerk.

Art rock is a subgenre of rock music that originated in the 1960s with influences from art (avant-garde and classical) music. The first usage of the term, according to Merriam-Webster Online Dictionary, was in 1968. Art rock was a form of music which wanted to "extend the limits of rock & roll", and opted for a more experimental and conceptual outlook on music. Art rock took influences from several genres, notably classical music, as well as experimental rock, psychedelia, avant garde, folk, baroque pop, and in later compositions, jazz.

Due to its classical influences and experimental nature, art rock has often been used synonymously with progressive rock; nevertheless, there are differences between the genres, with progressive putting a greater emphasis on symphony and melody, whilst the former tends to focus on avant-garde and "novel sonic structure". 

Art rock, as a term, can also be used to refer to either classically driven rock, or a progressive rock-folk fusion, making it an eclectic genre. Common characteristics of art rock include album-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections, symphonic orchestration, and an experimental style. Art rock music was traditionally used within the context of concept records, and its lyrical themes tended to be "imaginative", philosophical, and politically oriented.

Whilst art rock developed towards the end of the 1960s, it enjoyed its greatest level of popularity in the early 1970s through groups such as Jethro Tull, Electric Light Orchestra, 10cc, the Moody Blues, Emerson, Lake and Palmer and Procol Harum. Several other more experimental-based rock singers and bands of the time were also regarded as art rock artists. Art rock's success continued to the 1990s. Several pop and rock exponents of the period, including Peter Gabriel and Kate Bush, incorporated elements of art rock within their work. 

Art rock, as well as the theatrical nature of performances associated with the genre, was able to appeal to "artistically inclined" adolescents and younger adults, especially due to its "virtuosity" and musical "complexity".

Medieval folk rock developed as a sub-genre of electric folk from about 1970 as performers, particularly in England, Germany and Brittany, adopted medieval and renaissance music as a basis for their music, in contrast to the early modern and nineteenth century ballads that dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 album Below the Salt. Acts in this area included Gryphon, Gentle Giant and Third Ear Band. In Germany Ougenweide, originally formed in 1970 as an acoustic folk group, opted to draw exclusively on High German medieval music when they electrified, setting the agenda for future German electric folk. In Brittany, as part of the Celtic rock movement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979. 

However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area of progressive rock. In the 1990s, as part of the wider resurgence of folk music in general, new medieval folk rock acts began to appear, including the Ritchie Blackmore project Blackmore's Night, German bands such as In Extremo, Subway to Sally or Schandmaul and English bands like Circulus.

In Britain the tendency to electrify brought several progressive folk acts into rock. This includes the acoustic duo Tyrannosaurus Rex, who became the electric combo T. Rex. Others, probably influenced by the electric folk pioneered by Fairport Convention from 1969, moved towards more traditional material, a category including Dando Shaft, Amazing Blondel, and Jack the Lad, an offshoot of northern progressive folk group Lindisfarne, who were one of the most successful UK bands of the early 1970s. Examples of bands that remained firmly on the border between progressive folk and progressive rock were the short lived (but later reunited) Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music. 


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Various Artist - 'Guitar Legends' Concert FM Broadcast 1991 (Bootleg)

August 11, 2016, 1:23 am
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Guitar Legends was a five-night global broadcast event that took place in the Spanish city of Seville in October 1991, shown on worldwide television and starring perhaps the biggest array of top guitarists ever assembled.

The 26 featured guitarists included BB King, Brian May, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins and Steve Vai.  The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived and produced by top British impresario and producer Tony Hollingsworth.  It was held to promote the idea of Seville as a entertainment destination and thereby help draw support for the world fair, Expo ’92, due to be held in the city the following April.

Tony Hollingsworthconceived the idea for the event, which also included a televised documentary, with no specific occasion in mind.  He then approached Spanish state television RTVE, with the suggestion that it should be the major co-producer, and it agreed.

“We got all the way through the negotiations, the contracts were drawn up and both sets of lawyers agreed the terms.  Then we all went to the RTVE boardroom for the signing ceremony.  We waited for RTVE’s director-general [Pilar Miro Romero] to come for the signing, which would take place in front of the press and photographers.  She didn’t turn up.  Her officials made several phone calls and finally learned she’d been called to the prime minister’s office.  We waited for two hours and then learned she’d been sacked.  So there was no deal.”

Over the following weeks Tony Hollingsworth wondered whether he could find another organisation to take on the idea, particularly in Spain, a natural home for a guitar event, and one that had already shown interest, albeit aborted.  Fortune was with him.


Several people who had worked at RTVE had started work for the government organisation set up to run Expo ’92, including the former head of finance whom he had dealt with at the television station.  Hollingsworth wrote to him suggesting that Guitar Legends should take part in Expo ’92 and got a letter back from Chris Fisher, who had been seconded from the Burson-Marsteller public-relations company to run their campaigning team.

All the public talk about the fair had been about the planned buildings and a new transport network, and this had created an image of the city as a civil engineering project rather than a place to go for entertainment.  As a result, very few people had shown any interesting in going to the fair.  “Guitar Legends could solve our problem,” Fisher told Hollingsworth.  “But we need you to put on the show six months before we open our doors.  If you could run a commercial campaign into it – encouraging people to buy tickets – it could do the trick for us.”

Tony Hollingsworthaccepted – but wanted to know whether the stadium for the event would be ready in time.  Fisher came back the next day: “Not exactly finished but good enough for you.”

The organisers put up half the $7.2 million cost of the event, leaving Hollingsworth to get the rest, which he did from selling the television rights.  In Spain, he sold the rights to RTVE, but not for cash.  The television station told him that it had run out of money – though, as a state television company, it would not go bankrupt.  He suggested they provide broadcasting facilities, but the organisation couldn’t do that either.  “So, what can you give me?” he asked.  It offered airtime – television and advertising spots that he could sell on to other companies.  The value covered the rest of the costs.

Hollingsworth agreed – the first time he had become involved in a television bartering deal, a common-enough practice in the USA and in some other countries.  Bartering is not allowed in the UK, though there are probably ways round the regulations.  As Hollingsworth puts it, “you go in one door at a British channel and ‘sell’ them the programme.  Then you go in another door and book advertising spots to the value of the money you’ve, in theory, just been given.  In effect, it’s barter.”

Though he was new to the practice, Tony Hollingsworth decided to do much more with the airtime than simply sell it on.  He built up an “integrated sponsorship package” to offer Coca-Cola.  This consisted of RTVE’s television and radio advertising spots, but also corporate hospitality, a supply of tickets to give away and a series of promotions.  Coca-Cola accepted, offering him good money.  “I realised that if you package all these things together you can get four times as much as you can get for just selling each of the rights seperately.”  In the UK, the event was broadcast by BBC2.

The show:Each of the five concerts, from October 15 to 19, was devoted to a different musical style – Blues, jazz/fusion, Conceptual, Rock and Heavy Rock.  Hollingsworth appointed a music director for four of the nights – Brian May, George Duke, Dave Edmonds and Phil Manzanera, giving each an understanding of the featured guitarists he would approach.

All the concerts were sold out, with 6,000 people attending each night. Spanish newspaper El Mundo said that the five concerts “converted Seville into the world capital of music”.  Entertainment Weekly described them as “unlike anything the world has ever seen or heard.”  The shows “gave the stage to virtually every six-string virtuoso extant”.  Some moments “approached the legendary”.

Each night’s concert was greeted with huge enthusiasm by the audience – and the artists appeared to have enjoyed the concerts just as much.  After each of the first four nights, says Hollingsworth, several asked for their flights home to be changed so they could stay to watch the following night’s performances.


Hollingsworth said that the guitarist who was paid the most “respect” was Les Paul, a pioneer in the development of the solid-body electric guitar, which is regarded as having made the sounds of rock and roll possible.  He was 76 when he appeared at Seville on one of his rare performances outside New York, where he still played in a club every Tuesday.  According to Hollingsworth, “his hands were already severely affected by arthritis but he played beautifully, but slowly”.

“In rehearsals he had had one request.  He wanted to have a really long lead on his guitar so he could walk on stage already plugged in ‘like the heavy metal rock stars’.  When he came off stage he was crying and said to me ‘I didn’t know anyone outside of the US even remembered me.’”  Hollingsworth’s parents, who remembered Les Paul’s early hits with his wife Mary Ford, were backstage.  “Les was the only guitarist my mother wanted to be introduced to.”

One of the highlights of the concerts for Hollingsworth was a duet between Paco de Lucia and John McLaughlin.  Entertainment Weekly magazine thought the most moving moments were during the tributes – “Keith Richards, in skintight jeans and leather jacket, whiskey in hand, dedicating Going Down to Freddy King, or John McLaughlin performing In a Silent Way in memory of Miles Davis…In these moments of eulogy rather than in the celebratory jams onstage, the event approached the legendary.”

There was praise elsewhere for Brian May, lead guitarist of Queen, who hosted the last night and played a number of Queen hits with several top guests.  During the evening, he loosely formed an early version of what was to become The Brian May Band a year later.


There was little praise for the black-clad Bob Dylan, described by Entertainment Weekly as “the week’s biggest disappointment…scowling and wandering the stage in a fog.”   According to Hollingsworth, Dylan was too stoned to perform well.  He arrived later than we asked and was able only to do a short rehearsal with Keith Richards and Richard Thompson.  “Keith was strong enough to lead and let Bob follow.  But Richard Thompson tried to follow Bob, who meandered hopelessly through his songs.”

Joe Walsh, the former Eagles front man, came on stage in an equally bad state, but managed much better.  “It was the most surprising moment of the five nights,” says Hollingsworth.  “He was stoned and drunk backstage and I was in two minds whether to try to get him onstage or cut his part.  In the end, we propped him up at the side of the stage and pushed him on.  As soon as he got into the lights he was transformed.  He took control of the audience and the other musicians and led.  It was a wonderful performance.  As soon as he got offstage he fell down.”

As another commentator put it, “no whiskey in the world can stop Joe from singing Amazing Grace… and not many in the world could sing it and play it that well.  His adrenaline starts flowing strong again and Rocky Mountain Way comes out so spontaneously.”

Guitar Legends took place at the La Cartuja Auditorium just outside Seville.  Five 90-minute shows and a one-hour documentary were broadcast, with 45 countries showing live shows.  Thirty countries showed a second broadcast.  Four hours of the event were broadcast on radio in 105 countries.


Guitar Legends was a concert held over five nights, from October 15 to October 19, 1991, in Seville, Spain, with the aim of positioning the city as an entertainment destination to draw support for Expo '92 beginning the following April.

The event featured 27 top guitarists, including Brian May, BB King, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins, Steve Vai and Joe Satriani. The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived by British impresario and producer Tony Hollingsworth who originally agreed to stage the concert as a co-production deal with Spanish state television RTVE. But RTVE dropped out on the day the contract was due to be signed when the director-general (and film director) Pilar Miro Romero left the company.

Later, the organisers of Expo '92 took on the project to help overcome the problem that Seville was being seen merely as a civil engineering project. They provided half the $7.2 million budget, with Hollingsworth raising the rest from television pre-sales. RTVE bought the Spanish rights, but paid by providing television and radio airtime for advertising slots. These were then sold to Coca-Cola.

Five 90-minute shows and a one-hour documentary were broadcast. Forty-five countries showed at least one live show. Later, broadcasters in 105 countries broadcast one or more programmes.

Guitar Legends - Auditorio de la Cartuja, Seville, Spain, October 1991
FM Broadcast by BBC Radio 1 

The Cast Includes:
Dave Edmonds/Steve Cropper/Robert Cray/Albert Collins/Bo Diddley/BB King/George Benson/John McLaughlin/Larry Corryell/Stanley Clarke/Paco De Lucia/Jack Bruce/Vicente Amigo/Phil Manzanera/Keith Richards/Bob Dylan/Richard Thompson/Robbie Robertson/Roger Waters/Joe Satriani/Brian May/Steve Vai/Joe Walsh/Paul Rogers/Joe Cocker/Simon Phillips and on and on......


Disc 1 - "Blues Night" (October 15, 1991):
01. The Sabre Dance (Dave Edmunds)
02. Standing At The Crossroads (Dave Edmunds & Steve Cropper)
03. Phone Booth (Robert Cray)
04. The Dream (Robert Cray & Albert Collins)
05. Ice Man (Albert Collins, Dave Edmunds & Steve Cropper)
06. Put The Shoe On The Other Foot (Albert Collins, Dave Edmunds & Steve Cropper)
07. Bo Diddley (Bo Diddley & Steve Cropper)
08. Who Do You Love (Bo Diddley, Dave Edmunds & Steve Cropper)
09. Movin' On (B.B. King, Dave Edmunds & Steve Cropper)
10. The Thrill Is Gone > Jam (B.B. King, Dave Edmunds & Steve Cropper) 

(Chuck Leavell - keyboards; Terry Williams - drums; Debby Hastings - vocals; John David - bass; Richard Cousins - bass)

Disc 2 - "Tribute To Miles Davis" (October 16, 1991):
01. All Blues (George Benson)
02. In A Silent Way (John McLaughlin)
03. So What (Larry Corryell)
04. Concierto de Aranjuez (Paco de Lucia)
05. Tutu (Stanley Clarke)
06. School Days (Stanley Clarke)
07. El Panuelo (Paco de Lucia)
08. Que Alegria (John McLaughlin)
09. Valdez In The Country (George Benson)
10. Eighty-One (everyone)

(George Duke - keyboards; Stanley Clarke - bass; Rickie Lee Jones - vocals; Dennis Chambers - drums; Ray Cooper - percussion; Ray Brown - bass)

Disc 3 - "Experimental Concert" (October 17, 1991):
01. Sunshine Of Your Love (cuts in) (Jack Bruce)
02. ? (Vincente Amigo)
03. Leyenda (Phil Manzanera & Vincent Amigo)
04. Night Calls (Joe Cocker)
05. White Room (Jack Bruce)
06. Shake, Rattle & Roll (Keith Richards)
07. Going Down (Keith Richards)
08. Something Else (Keith Richards)
09. Connections (Keith Richards)

(Bob Dylan - guitar & vocals; Robert Cray - guitar & vocals; Steve Cropper - guitar; Dave Edmunds - guitar; Richard Thompson - guitar & vocals; Chuck Leavell- keyboards; Pino Palladino - bass; Steve Jordan - drums; Simon Phillips - drums; Ray Cooper - percussion; Ivan Neville - organ; Miguel Bosé - vocals)

"Folk Rock" (October 18, 1991)
10. Keep Your Distance (Richard Thompson)
11. 1952 Vincent Black Lightning (Richard Thompson)
12. Go Back To Your Woods (Robbie Robertson)
13. The Weight (Robbie Robertson)
14. What God Wants (Roger Waters)
15. Comfortably Numb (Roger Waters)

(Bruce Hornsby - keyboards; Manu Katche - drums; Tony Levin - bass; Snowie White - guitar; Les Paul - guitar; Andy Fairweather Low - guitar; Graham Broad - drums; Patrick Leonard - keyboards; Peter Wood - keyboards; Katie Kissoon - vocals; Doreen Chanter - vocals)

Disc 4 - "Hard Rock Concert" (October 19, 1991):
01. Satch Boogie (Joe Satriani)
02. Surfing With The Alien (Joe Satriani)
03. Always With Me, Always With You (Joe Satriani)
04. Big Bad Moon (Joe Satriani & Brian May)
05. Liberty (Steve Vai & Brian May)
06. Greasy Kids Stuff (Steve Vai)
07. For The Love Of God (Steve Vai)
08. More Than Words (Nuno Betancourt & Gary Cherone)
09. Driven By You (Brian May & Steve Vai)
10. Tie Your Mother Down (Brian May, Steve Vai & Joe Satriani)
11. Now I'm Here (Brian May, Gary Cherone, Steve Vai & Joe Satriani)
12. Funk #49 (Joe Walsh)
13. Rocky Mountain Way (Joe Walsh, Brian May, Steve Vai & Joe Satriani)
14. All Right Now (Paul Rodgers, Brian May, Steve Vai & Joe Satriani)

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Superb RetroRock: Wucan - Rockpalast FM Broadcast 27th June 2016 (Bootleg) Quality A+

August 27, 2016, 9:55 pm
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Size: 372 MB
Bitrate: 320
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Ripped by ChrisGoesRock
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Wucan are a young heavy retro rock band from Dresden, Germany with deep roots in the late 60s and early seventies with a dash of blues, folk, progressive and Kraut rock. This sort of time-warp music is covering the gamut from the Woodstock generation to the modern rock sound, starting with acoustic guitar, traverse flute and Hammond organ and ending at the modern rock sound of the heavy kind.



WUCAN made the right choice of partners with producer and owner of the Big Snuff Studios in Berlin Richard Behrens and with Andreas “Lupo “ Lubich of Calyx Mastering for a successful debut in the retro rock scene. 

Richard Behrens, who is bassist of the 70s band HEAT and live toning of the genre heroes KADAVAR additionally to his producing duties, created an authentic 70s sound by using analogue machinery. Combined with the modern heavy surround of the band unfolds a fresh mix of yesterday and today, which bursts with lust for music.



By taking their chances through their extraordinary, energetic live presence, the band quickly gained an audience at their numerable concerts. Some of their biggest moments include playing the prestigious Hammer of Doom Festival and a tour as support for Siena Root. 

Heavy metal veteran Karl Walterbach recognized these qualities and soon after took on the role as the band's manager. A record deal with Manfred Schütz' MIG Music sublabel Hänsel & Gretel followed. Lastly the band became part of Berlin-based booking agency Magnificent Music's roster, who agreed to support the band's live success. With all of this praise WUCAN entered the studio to record their debut album "Sow the Wind." 



The band worked at Big Snuff Studio in Berlin, a well-known studio in the retro scene, with pioneer Richard Behrens. He is infamous for producing quite a number of retro bands, working with Kadavar as their live sound engineer and is the bassist of the Berliner band Heat. Sow the Wind"'s striking sound was primarily achieved through analog techniques and fits perfectly with the late 60s and 70s vibe. 


The band also worked with new instruments such as a Moog synthesizer and a Moog Etherwave Theremin. Behrens was able to capture on tape the essence and dynamic of a WUCAN live show, which carries a hippy attitude with a modern rock sound. 

Andreas Lupo Lubich von Calyx added the final touches with his mastering skills. The result is six extremely diverse tracks, whose sound and composition could have more than likely originated in the 70s. 

However WUCAN does not imitate any artist but has developed its own individuality fitting somewhere between then and now. The band has always been able to create their own style despite their influences such as Jethro Tull, Renft, Lucifer's Friend, Birth Control and Krautrock in general. 

WUCAN presents changing hymns, from jamming passages to metal riffs with flutes doubled and the complete range of 70s folk rock to classical hard rock. andersmann' is a 16-minute song filled with psychedelic splashes of color and the just named influences. 


It is also the only song on the album sung in German. Even the powerful opener ather Storm,' the reefy and hard wl Eyes' and the melodicing Korea' bring a bright bouquet of 70s flashbacks. 

The key element is vocalist Francis Tobolsky's characteristic, energetic and emotional voice. The charismatic singer grasps her audience with her voice and catchy flute melodies. Rounding out this successful debut release is the eye-catching packaging. "Sow the Wind"'s artwork was inspired by a Rufus Segar art piece, an artist who is particularly known for his work in anarchist publications in the 70s. 

Divided in a seeing and screaming head in a stylistic representation, the cover and back perfectly fit the mood of the album. The storm which will be seeded with "Sow the Wind" figuratively hisses at the beholder before even playing the album. This CD is strictly limited to 500 copies.

Wucan - Crossroads Festival Harmonie
Bonn, Germany, 10th March 2016

Band Members:
♦ Francis Tobolsky - vocals, guitar, flute, theremin
♦ Tim George - guitar
♦ Patrik Dröge - bass
♦ hil Knöfel - drums

Disc 01
01. King Korea 06:03
02. Owl Eyes 02:55
03. Franis Vikarma 03:18
04. Wizard Of Concrete Jungle 05:03
05. Dopetrotter 40:53

Disc 02
06. Looking In The Past 33.02
07. Face In The Kraut 26.50

Disc 03
08. Father Storm 20:42
09. Wandersmann 16:58
10. Crash Course In Brain Surgery 05:27

Part 1: Wucan Live 2016
Part 2: Wucan Live 2016
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Part 1: Wucan Live 2016
Part 2: Wucan Live 2016
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Part 1: Wucan Live 2016
Part 2: Wucan Live 2016

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Traffic - Westwood One FM Broadcast 1970 + Bonus Concerts

September 5, 2016, 11:38 pm
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Size: 410 MB
Bit Rate: 320
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Traffic was an English rock band, formed in Birmingham in 1967. The group formed in April 1967 by Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason. They began as a psychedelic rock group and diversified their sound through the use of instruments such as keyboards like the Mellotron and harpsichord, sitar, and various reed instruments, and by incorporating jazz and improvisational techniques in their music. Their first three singles were "Paper Sun", "Hole in My Shoe", and "Here We Go Round the Mulberry Bush".


After disbanding in 1969, during which time Winwood joined Blind Faith, Traffic reunited in 1970 to release the critically acclaimed album John Barleycorn Must Die. The band's line-up varied from this point until they disbanded again in 1975.

Traffic's singer, keyboardist, and sometimes guitarist Steve Winwood was the lead singer for the Spencer Davis Group at age 15. The Spencer Davis Group released four Top Ten singles and three Top Ten albums in the United Kingdom, as well as two Top Ten singles in the United States. Drummer/vocalist/lyricist Jim Capaldi and guitarist Dave Mason had both been in the Hellions and Deep Feeling, while woodwinds player Chris Wood came out of Locomotive.

Winwood, Capaldi, Mason, and Wood met when they jammed together at The Elbow Room, a club in Aston, Birmingham. After Winwood left the Spencer Davis Group in April 1967, the quartet formed Traffic. Capaldi came up with the name of the group while the four of them were waiting to cross the street in Dorchester. Soon thereafter, they rented a cottage near the rural village of Aston Tirrold, Berkshire to write and rehearse new music. The use of this cottage would prove to be important in the development of the band.

Traffic signed to Chris Blackwell's Island Records label (where Winwood's elder brother Muff, also a member of the Spencer Davis Group, later became a record producer and executive), and their debut single "Paper Sun" became a UK hit in mid-1967 (#4 Canada). Their second single, Mason's psych-pop "Hole in My Shoe", was an even bigger hit (#4 Canada), and it became one of their best-known tracks. The band's third single, "Here We Go Round the Mulberry Bush", was made for the soundtrack of the 1967 British feature film of the same name. 

Their debut album was Mr. Fantasy, produced by Jimmy Miller, and like the singles, was a hit in the UK but not as big elsewhere, although it did reach number 88 in the US.

Mason left the group due to artistic differences by the time Mr. Fantasy was released, but rejoined for a few months of 1968, long enough to contribute to a slim majority of the songs on their second album, Traffic. Released in 1968, it included the original version of Mason's "Feelin' Alright", which was later recorded with great success by Joe Cocker and Three Dog Night. Winwood, Wood, and Capaldi wanted to take the group in a different direction, opting for a folk/blues style rather than their earlier psychedelic/eclectic rock sound, while Mason was oriented towards psychedelic pop. Mason also cited discomfort with the Traffic lifestyle. The band toured the US as a trio in late 1968, which led to the following year's release of Traffic's next album, Last Exit, one side of which was recorded live. During 1968 Winwood and Wood often played with Jimi Hendrix, and they both appear on The Jimi Hendrix Experience's 1968 double album Electric Ladyland, as did an uncredited Mason.

The band was dissolved by Winwood's leaving in early 1969. His departure went unexplained at the time, even to Capaldi and Wood, but he later said "Because of the way I ended the Spencer Davis Group, I saw no reason why I shouldn't leave Traffic and move on. It seemed to me a normal thing to do."

Winwood then formed the supergroup Blind Faith, which lasted less than a year, recording one album and undertaking one US tour. The remaining members of Traffic began a project with Mick Weaver (a.k.a. Wynder K. Frog), the short-lived Mason, Capaldi, Wood and Frog (later shortened to Wooden Frog), which played a few live dates and recorded some BBC sessions, but broke up before releasing any formal recordings.

After the break-up of Blind Faith in 1969, Winwood began working on a solo recording, bringing in Wood and Capaldi to contribute, and the project eventually turned into a new Traffic album, John Barleycorn Must Die, their most successful album yet. Traffic went on to expand its lineup late in 1970, adding Winwood's former Blind Faith bandmate Ric Grech on bass. The group further expanded in 1971 with drummer Jim Gordon of Derek and the Dominos and Ghanaian percussionist Rebop Kwaku Baah. 

The live album Welcome to the Canteen was released in September and marked the band's break with United Artists Records. It did not bear the "Traffic" name on the cover, and instead was credited to the band's individual members including Mason, who returned for his third and final spell with the band. The album ended with a version of The Spencer Davis Group song "Gimme Some Loving", which became a minor hit.

Following the departure of Mason, Traffic released The Low Spark of High Heeled Boys (1971), which was a Top 10 American album but did not chart in the UK; the LP is also notable for its die-cut cover. It sold over half a million copies in 1972 when it received a gold disc, and was awarded a R.I.A.A. platinum disc in March 1976 for over a million total sales. Once again, however, personnel problems wracked the band as Grech and Gordon left the band in December 1971, and the month after, Winwood's struggles with peritonitis brought Traffic to a standstill. Jim Capaldi used this hiatus to record a solo album, Oh How We Danced, which would prove to be the beginning of a long and successful solo career. The album included a surplus recording from The Low Spark of High-Heeled Boys, "Open Your Heart", and the new tracks featured drummer Roger Hawkins and bassist David Hood, from the Muscle Shoals Sound Studio house band. Capaldi soon brought them on board to replace Grech and Gordon.

The new lineup (Winwood, Capaldi, Wood, Kwaku Baah, Hawkins, Hood) toured America in early 1972 to promote the LP, and their concert at the Santa Monica Civic Auditorium on 21 February was recorded in multitrack audio and captured on colour videotape with multiple cameras. The 64-minute performance is thought to be the only extended live footage of the group. It was evidently not broadcast on television at the time, but was later released on home video and DVD.

Following Winwood's recovery from peritonitis, Traffic's sixth studio album, Shoot Out at the Fantasy Factory, released in 1973, met with a cold critical reception but in sales, it was another major hit. It was shortly followed by a major world tour, from which the double live album, On the Road, was drawn. It broke the band's string of British flops by reaching number 40 in the UK Albums Chart. However, these successes were soured by the departure of Hawkins, Hood, and Kwaku Baah at the end of the world tour, and by Chris Wood's increasing problems with drug use and depression.

Bassist Rosko Gee replaced David Hood, while Capaldi switched back to drums. When the Eagle Flies, released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales, was emotionally exhausting for the band. Capaldi later recalled "Rosko Gee and I were the only ones in anything like normal shape. 

Steve was having recurrent problems with the peritonitis, and Chris's body was suffering from chemical warfare." Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band's final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night's scheduled performance. Feeling Winwood had been integral to Traffic's music, the remaining members opted not to continue the band without him.

Traffic's break-up was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.

Steve Winwood embarked on a solo career, while Rosko Gee and Rebop Kwaku Baah joined German band Can. Kwaku Baah died in 1983, and Capaldi dedicated his solo album Fierce Heart to his memory. Chris Wood also died that year from pneumonia.

Winwood and Capaldi, 1994
All the still living members of Traffic's most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir's (of the Grateful Dead) hotel in Chicago during the 1992 "Scaring the Children" tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for the Grateful Dead during their summer tour. The flute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes, Jr. played drums and percussion. Winwood and Capaldi recorded and released a new Traffic album, Far from Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great Traffic Jam, a double live album and DVD released in 2005, documents the band's 1994 reunion tour.

Traffic - Westwood One In Concert BBC 1970
01. Who Knows What Tomorrow May Bring
02. No Time To Live
03. Every Mother's Son
04. Medicated Goo
05. John Barleycorn Must Die
06. Pearly Queen
07. Empty Pages
08. Glad
09. Freedom Rider

Traffic - Live at Santa Monica US 1972
01. Low spark of the High Heeled Boys
02. Light Up or Leave Me Alone
03. John Barleycorn 
04. Rainmaker
05. Glad / Freedom Rider
06. Forty Thousand Headmen
07. Dear Mr. Fantasy

Traffic - Live at Fillmore East 1970-11-18
01. Introduction by Bill Graham
02. Medicated Goo
03. Pearly Queen
04. Empty Pages
05. Heaven Is In Your Mind
06. Forty Thousand Headmen
07. John Barleycorn Must Die
08. Who Knows What Tomorrow May Bring
09. Every Mother's Son
10. Glad/>Freedom Rider
11. Means To The End
12. Dear Mr. Fantasy

Part 1: Traffic
Part 2: Traffic
Part 3: Traffic
or
Part 1: Traffic
Part 2: Traffic
Part 3: Traffic
or
Part 1: Traffic
Part 2: Traffic
Part 3: Traffic




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The Allman Brothers Story - Rolling Stone Magazine December 1973

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♫♪♪♫♪ The Led Zeppelin Bootleg Man ♫♪♪♫♪

September 11, 2016, 12:39 pm
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