September 16, 2016, 8:55 pm
Size: 169 MBBitrate: @320mp3Artwork Included
Gravel Road will release the CD, 'Good To Be Back', a fantastic release that is every bit as good as their highly acclaimed 'Return of the Prodigy'. The December 13th, 1975 Midnight Show is widely accepted as one of the finest later-period Presley shows available on soundboard. Yes, the punk lounge rock feel of the '69 shows was now gone, but in its place were a warmth and an intimacy that were just as captivating in their own way.
Elvis was in top form vocally in late '75 (just listen to his sensational vocals on 'How Great Thou Art'), and the December 13th, '75 Midnight Show stands out as one of the finest from this engagement. This show was the first soundboard to be released on bootleg back in '91, causing quite a sensation at the time. The technology used for working on vintage recordings has improved greatly in the years since then, and Gravel Road has used the latest version of the renowned Oxford / ProTools technology to work on this show.
The results are it's an obvious sound upgrade that makes this remarkable show shine that much more -- Just like you've come to expect from us with 'Prodigy'. It's also interesting to point out that this release is more complete than the aforementioned '91 release (which had several edits).
'Good To Be Back' is a title that really captures the sentiment of the show, since Elvis clearly enjoyed being back on stage again following his August '75 hospital stay and subsequent three months of rest.
He's relaxed and in a great mood, and he delivers several fantastic performances, with one of the highlights being a beautifully sung 'Just Pretend'.
ELVIS PRESLEY - "Just Pretend" The Elvis Pre-Holiday Jubilee recorded live at the Hilton Showroom,Las Vegas December 13, 1975 10:15pm Show
01. C.C. Rider02. I Got A Woman03. Love Me04. Trying To Get To You05. And I Love You So06. All Shook Up > Teddy Bear > Don't Be Cruel07. You Gave Me A Mountain08. Help Me Make It Through The Night09. Polk Salad Annie10. Introductions - Johnny B. Goode11. Just Pretend12. How Great Thou Art13. Burning Love14. Hound Dog15. Welcome To My World16. Softly As I Leave You17. America18. It's Now Or Never19. Little Darling20. Little Sister21. Can't Help Falling In Love1.
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September 24, 2016, 10:41 am
Size: 106 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
The album, on which Andy Roberts was backed on some tracks by Mighty Baby, had been recorded under a production deal with folk-rock svengali Sandy Roberton. Initially, Sandy's productions appeared under license to RCA, but somewhere between 1970-71 his allegiance switched to B&C/Pegasus. Consequently, in June 1971, Andy found himself in a slightly embarrassing position of talking it up all over again:
'For some reason I don't fully understand B&C have decided to re-release Home Grown,' he explained to Sounds. 'At least, I couldn't have understood it at all if they'd just re-released the album as it was, but we've remixed some and re-recorded some of it, and changed some of the tracks which didn't quite work the first time.
So in effect this is an almost different album. It's certainly better than the original one and bears more relation to me as I am now - but it's still 18 months old, vintage Roberts. To confuse the issue still further, there's an album going to be released in the States which will also be called Home Grown because apparently they like the title, but that one will only have three tracks from the original album, and four or five totally new ones which haven't been released here yet…'
In between the two UK Home Grown releases, Andy - who had fingers in all sorts of overlapping artistic pies at that time (recording and performing with The Scaffold, Grimms, and Ian Matthews - with whom he would form Plainsong in 1972) - has endured a brief, ill-fated experience as a member of a band called Everyone. The band's van had crashed with one fatality and financial ruin, although an eponymous album - half of it written and fronted by Roberts - subsequently trickled out, to little fanfare, on Charisma. Having briefly considered quitting music altogether, his interest was revived by working on what would be released later in 1971, on Pegasus, as Nina and the Dreamtree - like Home Grown, a work with an atmosphere all its own though much more luxuriantly produced and yet still, today, an under-appreciated classic.
01. Home Grown (Roberts)02. Just for the Record (Roberts)03. Applecross (Roberts)04. The Praties are Dug (Trad Arr-Roberts)05. John the Revelator (Trad Arr - Roberts)06. Autumn to May (Yarrow, Stookey)07. Moths and Lizards in Detroit (Roberts) 08. Creepy John (Koerner)09. Jello (Darlington)10. Gig Song (Roberts)11. Queen of the Moonlight World (Roberts)12. Where the Soul of Man Never Dies (Trad Arr - Roberts)13. The One-Armed Boatman and the Giant Squid (Roberts)14. Boris at the Organ (Roberts) 1.
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September 25, 2016, 11:06 pm
Size: 87.7 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork Included
Wynder K. Frog was a jazz/blues band organized in 1967 by keyboard player Mick Weaver. The membership of the group -- which was billed as Wynder K. Frogg in one of its earliest London gigs (opening for the then newly-formed Traffic) -- was somewhat fluid, especially in the early part of its history, and their recording history is even more confusing, owing to the nature of their very first album, Sunshine Super Frog. Apart from being one of the rarer long-players from the Island Records catalog of 1967, the latter record was essentially Mick Weaver playing with a group of uncredited session musicians (from New York, no less) under the overall guidance of producer Jimmy Miller.
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The group's most well-known incarnation came along a little later, coalescing around ex-Bluesology guitarist Neil Hubbard, Alan Spenner on bass, saxophonist Chris Mercer (formerly of John Mayall's Bluesbreakers), Anthony Reebop Kwaku Baah on percussion, and Bruce Rowland on the drums. Weaver's Hammond B-3 organ was central to their sound, however, and the leader credited himself with the personal alias "Wynder K. Frog."
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Like a lot of jazz/blues hybrid groups of the era, Wynder K. Frog were able to achieve serious recognition in London, but were running against a musical tide from America that was moving in the direction of arena rock and big-scale, high-volume sounds with which they could never compete, at least with their brand of music.
The classic lineup started to split in late 1968, but not before Shawn Phillips came aboard on guitar and vocals for a time. Spenner went on to become part of Joe Cocker's Grease Band along with Rowland, the two in that capacity playing an extended tour of the United States, culminating with the Woodstock festival in August of 1969, and they and Neil Hubbard were subsequently the core of the reorganized, free-standing Grease Band.
Meanwhile, following the dissolution of Wynder K. Frog, Weaver and his record label issued the posthumous album Into the Fire (1969). The group's reputation was mostly confined to the London music community, though the fact that they kept turning up in accounts of the Grease Band's and Joe Cocker's history probably gave them more international exposure, at least as an object of curiosity, than their music ever did at the time. Among their three LPs, Out of the Frying Pan has been re-released on CD.
01. Jumping Jack Flash 04:0502. Gasoline Alley 03:0503. Willie And The Hand Jive 02:2404. Harpsichord Shuffle 03:5805. Baby I Love You 02:4706. This Here 06:2407. Green Door 02:2708. Bad Eye 02:3709. Alexander's Ragtime Band 03:3710. Tequila 01:5811. The House That Jack Built 02:3312. Hymn To Freedom 04:1913. High Heel Sneakers 03:341.
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September 25, 2016, 11:35 pm
Size: 71.4 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
A beautiful album, full of atmosphere and haunting music. This album should have been massive. Tracks like 'Keep my Children Warm', 'I've seen the movie' and of course 'Nina', are timeless favourites and still sound wonderful 30 years on. Andrew "Andy" Roberts (born 12 June 1946) is an English musician.
Andy Roberts was born in Harrow, Middlesex, England and won a violin scholarship to Felsted School. He then attended Liverpool University. He has played with The Liverpool Scene, Plainsong, The Scaffold, Roy Harper, Chris Spedding, Pink Floyd, Hank Wangford, Kevin Ayers, Vivian Stanshall and Grimms. He has also done many sessions for artists such as Richard Thompson, Paul Korda, and Maddy Prior, and has been a musical partner to Iain Matthews for 30 years. He has also written film scores, themes for TV series, backed Billy Connolly, provided music and voice for Spitting Image and continues to create musical backdrops for the poetry of Roger McGough.
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Andy Roberts' second album was similar to his worthy debut, Home Grown, in its agreeable brand of gentle British folk-rock, but also a departure in several notable respects. Most unusually, there were just five tracks this time around, although one of them ("25 Hours a Day/Breakdown/Welcome Home") was more a combination of songs than a completely separate entity. Also, there was more of a piano base that pushed the record a little away from standard British folk-rock and more toward the early-'70s singer/songwriter school.
Some of the tunes, for instance, are reminiscent of Elton John's early work (though with a less strident, consciously pop air), parts of "Keep My Children Warm" and "Dream Tree Sequence" adding a muted gospel-soul feel in the backup vocals and arrangements. Sometimes the compositions do go on too long -- the closing "Dream Tree Sequence" lasts a good 15 minutes -- and "Good Time Charlie" is a fairly forgettable, you guessed it, good-time blues-folk-rocker. But at its best, as in the haunting "I've Seen the Movie," there's a delicate wistfulness that will spark unavoidable comparison to some of Iain Matthews' early work, particularly since Matthews and Roberts would soon team up in Plainsong. Roberts is perhaps too low-key to ever generate a wide cult following, but his early work deserves hearing by fans of the early-'70s British folk-rock/singer/songwriter crossover sound, this outing included.
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In 1972 Roberts joined Plainsong with whom he recorded the highly regardedIn Search Of Amelia Earhart. He then joined former Liverpool Scene colleagues Roger McGough and Adrian Henri in the Grimms from 1973-76, during which time he appeared on their final two albums. During this period Roberts also released two further solo albums, Urban Cowboy and Andy Roberts And The Great Stampede. In 1974, he featured in his first stage musical, Mind Your Head, but thereafter concentrated on session work. He worked with Roy Harper, the Albion Band and Hank Wangford. He recorded and toured with the latter artist until 1984, but continued with other session commitments, including playing guitar on Pink Floyd’s The Wall in 1981. Roberts also provided a singing voice for UK television’s satirical puppet seriesSpitting Image from 1983-84.
From the mid-80s onwards, Roberts has been heavily involved in composing music for film, television and theatre. His flexibility is reflected in the diversity of the programmes he has composed for, ranging from television drama series such as The Men’s Room (excellent theme song sung by Sarah Jane Morris, ‘I Am A Woman’) to Madhur Jaffrey’s Far Eastern Cookery. In his capacity as composer, Roberts has been involved with Z Cars, Bergerac and the six-part television documentary series, Where On Earth Are We Going?, in addition to writing music for the movies Loose Connections, A Masculine Ending, Priest, Mad Love, Face, and Going Off Big Time. He also acted as musical director for the Royal Court in Sloane Square, London, during the early 80s. He has also played on countless sessions by a wealth of artists, and since the early 90s has toured and recorded with the reunited Plainsong.
01. Keep my children warm (Roberts) 05:0002. I've seen the movie (Roberts) 05:4503. 25 hours a day/Breakdown/Welcome Home (Roberts) 07:3904. Good Time Charlie (Koerner) 02:5505. Dream Tree Sequence (Roberts) 15:38
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September 29, 2016, 10:22 am
Size: 114 MBBitrate: 256mp3Ripped by: chrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Andrew "Andy" Roberts (born 12 June 1946, Harrow, Middlesex) is an English musician.
He gained a violin scholarship to Felsted School. He then attended Liverpool University. He has played with The Liverpool Scene, Plainsong, The Scaffold, Roy Harper, Chris Spedding, Pink Floyd, Hank Wangford, Kevin Ayers, Vivian Stanshall and Grimms. He has also done many sessions for artists such as Richard Thompson, Paul Korda, and Maddy Prior, and has been a musical partner to Iain Matthews for 30 years. He has also written film scores, themes for TV series, backed Billy Connolly, provided music and voice for Spitting Image and continues to create musical backdrops for the poetry of Roger McGough.
PT: Let's start at the beginning.
AR: I was born in North London, a place called Hatchend and I lived there until I went to University in Liverpool in 1965.
PT: Were you playing by then?
AR: Yeah. I was always musical. I was lucky because my parents really wanted to involve me in things. My dad was nuts about The Crazy Gang and I remember being taken to see three Crazy Gang shows at the Victoria Palace - it was like the end of Music Hall, really. And my Mum took me to symphony concerts. When I was nine I decided that I wanted to play violin, so they fixed it for me to have violin lessons. I stuck with the violin until I was eighteen.
I got a plastic ukelele for Christmas one year - 19/11s it was, I wish to hell I'd kept it. That was around 1957, the skiffle era and I was into Lonnie Donegan and Johnny Duncan and listening to Radio Luxembourg. I got a music scholarship to a public school in Essex - when I went there, there was already a band called Flash Sid Fanshawe and the Icebergs. This was in 1959, they'd got guitars which they'd made in the school workshops and played very simple stuff which I thought sounded fantastic. I used to go and listen to them rehearsing and just hang around because I was extremely junior, and they all had quiffs and looked fantastic (laughs). By the time I left the school there was half a dozen quite good bands there, we'd rehearse on Saturdays and Sundays. You could plug in and just make as much racket as you wanted.
PT: So what was your band called at school?
AR: We ended up as Monarch T. Bisk. Originally it was Monarch T. Bisk and The Cherry Pinwheel Shortcakes but nobody could remember it all. By then we were attempting to have long hair and not get caught and were playing real R&B - Howlin' Wolf and Muddy Waters, that kind of stuff. We went though several stages - at one time we were The Sinners, that was our Shadows period. But I never thought of doing it for a living. I guess I got my first guitar in 1959 or '60 - a Spanish guitar, which I've still got.
1964It was a series of total accidents which led me to going to Liverpool and being thrust into a performance situation. I went to the Edinburgh Festival in 1963 and '64 playing violin with a rehearsal orchestra. One night in '64 I went out and found this place called the Traverse Theatre Club where there was a late-night folk show - it was Owen Hand and Hamish Imlach, the first time I'd ever seen anything like that and I thought it was fantastic.
A bit later on that year I ran into a guy at a party who was the older brother of the drummer in the band I'd had at school, a chap called Max Stafford-Clark. Max said he was going to Edinburgh to do a play and would I write a tune for it? I was eighteen and kind of drunk or stoned or something and I didn't take it seriously. Then he phoned up and asked where it was and of course I hadn't done anything. So I got his brother John, the drummer, in and wrote this little guitar thing - just electric guitar and drums. Recorded it on a Grundig at home and sent it to Max. He liked it, used it, and phoned me up a couple of weeks later to say this guy who was going to play guitar for a late-night review they were doing couldn't make it and could I come up and write and play the music? I took an electric guitar and an amplifier and John took his drum kit and we went up and played this review, which happened to be at the Traverse Theatre Club. We played for a fortnight, about an hour each night, and after us was Lindsay Kemp with Jack Burkett, The Great Orlando, plus this young student of his called Vivian Stanshall, doing mime and playing the tuba and generally camping around. I was sharing a dressing room with Viv, the Bonzo Dog Doo Dah Band had just started and he told me all about that. Following us in for the third week of the Festival was this funny theatre team from Liverpool called The Scaffold. Didn't know anything about them. Somebody said oh yes, Paul McCartney's brother' - ooh! Really impressed, you know. I went to see their show and thought it was wonderful and that's how I met Roger McGough, John Gorman and Mike. With them was all these other people like Pete Brown, Spike Hawkins, Brian Patten, Adrian Henri, all these poets - they were doing a poetry show at The Traverse in the afternoon. All these people who have remained friends and collaborators were all focused on this one little theatre.
After I got back to London I accepted a place at Liverpool University and the day I got there I bumped into Roger McGough in a bookshop in Renshaw Street. He later suggested some poetry and music collaborative stuff and February 1966 was the first time I did a thing with him and Adrian Henri, at The Bluecoat Theatre in Liverpool. It just took off from there. Within a couple of months I was doing poetry events at The Cavern and playing with a band at the University. It was a town where there was loads going on and was very much the community serving itself - two and six to get in, and everybody got together.
Of course, the Merseybeat thing would be on its way out by then? The people that were left were the also-rans and wannabees. There were bands that missed the boat. We think of Liverpool in terms of Gerry & The Pacemakers and Billy J. Kramer and obviously The Beatles. That was the public image of it. But the people who lived in Liverpool had a different perspective on it entirely. They were into bands like The Roadrunners and The Clayton Squares. The scene was moving towards soul and R&B. Faron's Flamingos, that was the other band that people said were really the best band - much better than The Beatles had ever been. But, of course, they never did anything. I mean, Bill Faron is still playing up there now.
1967PT: You were in The Clayton Squares, weren't you?
AR: No, that's a myth. It's because it was in this book (Encyclopedia of British Beat Groups & Solo Artists of the Sixties, compiled by Colin Cross with Paul Kendall & Mick Farren, Omnibus Press, 1980). Mike Evans was the sax player with The Clayton Squares, that was the tie-up with The Liverpool Scene. Mike Hart (also of The Liverpool Scene) was working under the name of Henry Hart with The Roadrunners. There was a really lively club scene. I wasn't really part of that though, I was part of the poetry and latterly the theatre thing. I did a lot of stuff, largely unpaid, for the Everyman Theatre.
We started getting things like a spot on the BBC2 arts programme 'Look At The Week' - 5th March 1967, so it was a bit before the Summer of Love. Roger, me and Adrian went with The Almost Blues. Joe Boyd asked us to play the U.F.O. - we did a Liverpool Love night, when it was at The Blarney Club in Tottenham Court Road. London seemed a long way away and what was happening there didn't really affect us. We had our weekly gigs at O'Connors Tavern which was just individuals coming together doing shows. We started getting booked as The Liverpool Scene Poets - it was the book (The Liverpool Scene, Rapp & Carroll 1967) that really focused that. And also the Penguin Modern Poets No. 10 (Adrian Henri, Roger McGough, Brian Patten) came out within a year of that. Initially it was Adrian and Roger particularly, they were really into the performance thing - Brian was a bit stoned out in those days and very much into being the lyric poet. Mike Evans also wrote poetry and played saxophone, Mike Hart wrote songs and played guitar, I wrote songs and did accompaniments for poetry. So the five of us would go out as The Liverpool Scene Poets and get booked at local Domestic Science colleges. Nothing further afield than Warrington really, all local stuff. I was working with The Scaffold as well by then, as a back-up musician. And then The Scaffs started having their hits. 'Goodbat Nightman'... That didn't make it. '2Days Monday' was the first one that got a sniff, then 'Goodbat' didn't happen, then 'Thank U Very Much' really became huge, and then 'Lily The Pink' which came out of a show I'd worked on. I was there the day Roger said I've got these words, it's an old rugger song we used to do......
We thrashed it out in John Gorman's flat, I also played on the record. So that was moving, which meant Roger couldn't do the poetry thing. At that time I suggested to Adrian that all we had to do was add a drummer and bass player and we'd be a band. So I got Percy Jones, who later on was with Brand X and now lives in America and has become a sizeable jazz player - he was the bass player in The Trip, which was my university band. And we found Bryan Dodson (drums) who was playing cabaret at the Wookey Hole or somewhere, and went out and did the first gigs like that. And that was The Liverpool Scene band from the first show.
Then we met John Peel. I used to listen to his radio programme 'The Perfumed Garden' when I came down to London. He played a track off 'The Incredible New Liverpool Scene' which was the very first album (prior to the band forming) on CBS. That album was recorded in two hours one night after a gig at the ICA at Regent Sound in Denmark Street - in mono. It was going to be Roger, Adrian and Brian - Pete Brown couldn't make it. Then Brian ducked out on the night, got pissed and didn't want to do it. It ended up just Roger, Adrian and me. I went up to The Roundhouse for an Implosion or something and Peel was there, so I said Hi - I'm Andy Roberts, thanks for playing the record and so-on. He started visiting us in Liverpool, he loved the scene up there and then he started getting us booked on shows. People would come and ask him to come and talk and play some records because of his clout on the radio, very much an underground thing. He'd do it for nothing but expenses, but he would want them to book two of certain acts. Like Tyrannosaurus Rex, Davey Graham, Roy Harper, Liverpool Scene, Principal Edwards - things he was very much into at the time.
Then Sandy Roberton wanted us to do an album and Peel nominally produced it - he sat there and listened while we made it, basically. That was the first album ('Amazing Adventures Of', RCA 1968). I graduated from University in 1968 and immediately turned professional and went on the road with Liverpool Scene, having already had quite a big taste of showbiz with The Scaffold. But I ducked out of that after 'Lily The Pink''cause it was all so big. They were working every night and I was a student, I couldn't do it. In 1967 though we did that 'McGough & McGear' album. That's the one with Hendrix on it. Oh, everybody, yeah. John Mayall, Graham Nash, and of course Paul McCartney produced it and played on it. It was just everybody who was around really. Done in a couple of nights at De Lane Lea when it was in Kingsway. I was not professional at the time, but I was doing jobs that many professionals would have envied. I'd get calls to do a bit of recording in London, and I'd just get into the back of Mike's car and go down and stay at Paul McCartney's house. I'd go off and do stuff and come back by tube and walk up and ring the doorbell, and there'd be eighty-five girls hanging around outside. You'd go into this house which had the 'Sergeant Pepper' drumskin hanging on the living room wall, and Paul'd be playing you his stuff. I didn't even think about it twice. 1968 was really when the working life started.
1969PT: The Liverpool Scene was still together when you did your first solo album, 'Home Grown' in 1969?
AR: That's right, 1969 was a great year because we got on the first Led Zeppelin tour - Blodwyn Pig, Liverpool Scene and Led Zeppelin. We played The Albert Hall, we played the Bath Festival of Blues which was great, there were twelve really great acts on. We ended up, July of that year, at the Isle Of Wight Festival, playing on the same day as Bob Dylan and The Band to 150,000 people. About a week after that we flew to America for a three month tour. Disaster - absolute disaster. That was when we suddenly came up against the utter reality of it. What we could make work with a British audience, given this poetry and a band that were never rehearsed, we got away with it through being so different and our verve and irreverence - the fact that we would take the piss out of things. None of which worked in America. Our first show there was playing to 17,000 people supporting Sly and the Family Stone at Kent State University, in a sort of aircraft hanger. We were still using 30 watt amps, Sly had got in thousand watts for everything. We came up against a very stark reality. So, although we slugged through the tour and played a lot of interesting places, there were nice shows that I remember with great affection, it really caused the whole thing to be re-appraised. We played at the Midtown Theatre in Detroit, the bill was Joe Cocker & The Grease Band headlining, The Kinks were second, Grand Funk Railroad were third, Liverpool Scene were fourth and bottom of the bill was The James Gang with Joe Walsh on guitar. I had to follow Joe Walsh in 1969! Unbelievable. I was stupid enough to still think I could be Jimi Hendrix. I wanted to be a star. You do when you're young - you don't realise that everybody has their role, and that wasn't mine.
PT: You'd had some personnel changes by then, hadn't you?
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AR: Yes, we lost our drummer. Bryan got TB. It was half-way through the Led Zeppelin tour. We had no idea he was desperately ill, we thought he was just being a drag. He was within days of dying when we got this panic 'phone call from his girlfriend, Jackie, to say he had tuberculosis and that we all had to go to hospital to be tested - none of us had it though. We had a gig that night in Southampton as well. So we phoned up this guy called Pete Clarke who had been the drummer with The Escorts and asked him to help us out, which he did. The rehearsal for the Southampton gig consisted of me telling him in the van how the numbers went! He was a great drummer though and actually it was better than it had been with Bryan, because Bryan had been dying behind his kit for the previous two months. Clarkey became permanent after that. Bryan recovered eventually - he's still around, in Liverpool. The Liverpool Scene put out quite a few albums. Only three while we were still together. 'Bread On The Night' was recorded before we went to America, and when we came back we did 'St. Adrian Co., Broadway & Third' - one side of which was live, and it was ghastly, horrible. The other side was the first of the things I'm proud of though, although I had very little to do with it and at the time had resisted the band going in that direction. I thought it was too 'arty' - I wanted to take the band into the realms of rock & roll stardom. But looking back on it I can see that it's a bloody good job of work. That's the best legacy for what the Liverpool Scene was about, I think, we broke up, rather messily, on stage at the London School of Economics in May 1970 with Adrian attacking Mike Evans with a mike stand. Horrendous. PT: It was that bad, was it?
AR: Terrible. There'd been a lot of tensions. By then we were onto our third drummer. Pete had left and we had a guy called Frank Garrett. He was only in the band for two or three weeks - nice lad, good player.
PT: What about the 'Heirloon' album?
AR: A lot of that was recorded for a show we did at the ICA about Guillaume Appollinaire called 'J' Emerveille' or 'I Wonder' with Tom Kempinski who later wrote 'Duet For One' and became a good playwright. He was in this just as an actor - he played Appollinaire. Other than that it was just out-takes from the live show at Warwick. We had nothing to do with it, it was like RCA's contractual obligation album. The band were gone by the time it came out. PT: Your first solo album 'Home Grown' was also on RCA. Then it was re-released, re-mixed a bit and with different tracks on B&C Records.
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AR: I had this idea of putting a band of my own together. I stopped off at Kettering in Northants to see Principal Edwards who'd got a farm there. Stayed over a couple of days, got pissed with Les their lights man in the pub, came back and started racing motorbikes around the farmyard. And I came a terrible purler - ripped all up one elbow and was out of it for four months. About August we rehearsed the new band, Everyone. Unfortunately I was terribly naive. I could play, but I didn't know anything about bands. I thought all you needed was to get together a good bunch of people and the rest of it would happen. By then I'd met Dave Richards, bass player, who I got on terrifically well with. John Pearson was on drums. John Porter was a guy I'd met in Newcastle that I liked so I got him in as another guitarist. He recommended Bob Sergeant to play organ and sing. Which was probably the worst of several bad moves. Bob was a terrific singer, he came out of his own band Junco Partners and had a big bluesy voice and played very bluesy organ which wasn't at all what I needed. Anyway we put a band together and recorded an album which was frankly a bit schizoid, a bit of a mess because there was Bob's stuff and my stuff and it didn't really meet in the middle.
Then we had a horrendous experience... we'd driven back to London after a gig at Southampton University and were sitting in John Pearson's flat. We'd left one of our two roadies, Andy Rochford, in Southampton - he'd stayed there with a girl, and Paul the other roadie, had driven the van back to London. The phone rang and Andy and the girl wanted to come back to London and he asked Paul to go back and get them. So Paul drove down and picked them up, and on the way back, on the A33 at Basingstoke, they had the most horrendous accident. Paul was killed outright, Andy and the girl were badly hurt and the van, with all the equipment in it, was wrecked. So suddenly everything that kept the band on the road was smeared across the A33. Paul was nineteen and had roadied for me in the latter stages of the Liverpool Scene and had stuck through all my being smashed up in the Summer, so I felt very guilty. It wasn't my fault, but his loyalty had cost him his life. It's still a very difficult thing to think about. There were still some obligation gigs I had to do, which I did as an acoustic three-piece with Dave Richards and John Pearson playing tablas. Come December 1970 that was it, I didn't want to do anything.
1970I was at home, living with my parents, and one day the 'phone rang - it was Paul Samwell Smith, who I didn't know although I knew who he was because he'd been the bass player with The Yardbirds. He was looking for a guitarist to work with an artist he'd just taken on... could I go round and see this guy, see if we could get on and help him sort out the songs - and that was Iain Matthews. This was for 'If You Saw Thro' My Eyes', it was the post-Southern Comfort Iain Matthews. Lovely album. So he was sussing me out, and I was sussing him out. We started getting on OK and that put me into seven months intense studio work with Iain and Cat Stevens and so-on. That was how I met all those guys like Dave Mattacks, Gerry Conway, Pat Donaldson. Then Sandy Roberton was saying I hadn't done a solo album for a year and should do something. I did 'Nina & The Dream Tree' which came out of a poetry tour I did with Adrian Henri in Norway in 1970. Largely to promote that I went out as a solo act at the end of 1971 with Dave Richards on bass and Bobby Ronga. In the meantime I'd been to America with Iain for two and a half months - with Iain and Richard Thompson as an acoustic three-piece in the Summer of '71. We were going to go as a band with Timi Donald playing drums and Dave Richards playing bass, but Iain decided he didn't want to do it that way. Bobby Ronga was our roadie. We co-opted him to play a bit of bass while we were over there, then I brought him to work with me on a tour I did with Steeleye Span at the end of 1971. I'd done a single show with Mighty Baby at the Queen Elizabeth Hall supporting Procol Harum - that went very well, and I was put on the Steeleye tour.
When I was on the tour Iain came backstage at one gig and suggested we became a band. So we got together in Iain's flat in Highgate and decided that if we could come up with a good version of 'Along Comes Mary', the Association song, we'd work on that. So we worked on it and recorded it at the end of the day and it came out really good so we decided yeah - let's do it. But we had to get Iain out of his management deal with Ken Howard and Alan Blaikley which cost money. We got the Elektra deal because Jac Holzman was into Iain, and that's how Plainsong started. It lasted the whole of 1972.
Also, in 1970 I'd worked with the Bonzo Dog Band for a while as the Bonzo Dog Freaks, which was only Viv Stanshall and Neil Innes by then as the others had left, with Ian Wallace and me. We had this idea of working together as Grimms, which was Gorman, Roberts, Innes, McGough, McGear, Stanshall. We actually did a couple of shows in 1970 - one at Greenwich Town Hall with Keith Moon on drums. While I was doing Plainsong in 1972 Grimms had finally gone on the road, initially with Mike Giles playing drums. Iain split at the end of 1972 and Plainsong finished before the second album.
PT: You actually recorded the second album though, didn't you?
AR: Yeah, it does exist, there's a finished version of it. And the demos leading up to it have just come out on a German CD.
PT: How did Plainsong finish - what happened?
AR: There's a lot of background that I've only really come to know about since re-establishing a working relationship with Iain eighteen years later. It was all more to do with what was happening in his life than what was happening in the band. He was tempted away from the Plainsong situation by something that looked better at the time - to go to America and work with Mike Nesmith. Iain admits quite frankly that it was a mistake and that he shouldn't have done it, but that's part of life's rich pattern. There was tension between him and Dave Richards which was beginning to build up, and it got worse when the band split. I immediately went off and joined Grimms and got on with my solo things and put it all behind me. I did my first Grimms tour in March 1973, and it must have been soon after that 'Urban Cowboy' (the next solo album) came out, because one of the tracks was played by the Grimms band - 'Home At Last'. Then came the 'Great Stampede' album. At that point I thought I was going to be a solo artist, with Grimms on the side. I was really into it, psyched-up and ready, writing well. Everybody in the 'Great Stampede' band was willing to go on the road with me; Gerry Conway, Pat Donaldson, B.J. Cole, Mick Kaminski... I had a really hot band to go out. Then it all got screwed up. In 1973 Jac Holzman sold Elektra to David Geffen, which altered the distribution over here from Warner to EMI, and then the three-day-week hit. It had to be pressed by EMIs pressing plant at Hayes and they were overstretched due to only being able to press records three days a week and having to get their Beatles albums out in time for Christmas. So the thing never got a proper release - there wasn't enough copies, they weren't available on the declared day and the review copies didn't go out. It was heartbreaking. PT: Following the demise of 'Great Stampede' you went into theatre work?
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Meanwhile, B.J. Cole, who was a mate from Plainsong days, said he was doing this album with Sam Hutt who worked under the name of Hank Wangford and invited me to play on it. Initially the money was put up by United Artists. We recorded four tracks and UA didn't like them, so they wouldn't put up any more money. So B.J. just begged everybody to finish the album anyway, which we did. Then he wanted to promote it - I said, listen, the last thing I wanted was to be involved in is country music... but he said it was only three dates to promote the album and the inevitable thing happened - I just took to it like a duck to water, I loved it. We had a hysterical time
PT: Where does your stint with The Albion Band fit into all this?
AR: That was in 1979. I knew the Albions quite well because they'd played on the same bill as the Roy Harper band quite often. Ashley Hutchings wanted to put together more of a rock band, like the early Fairport - he wanted to feature Sandy Denny songs. He was going to get Julie Covington in to sing, but she got cried off at the last moment, I don't know why, so they got Melanie Harrold in. The band was Mattacks on drums, Ashley on bass, myself and Dougie Morter on guitars, Mel Harrold playing keyboards - we borrowed Dolly Collins' little organ - and Martin Simpson and Barry Dransfield. Terrific line-up, the music was superb. We did it in '79 and revived it in 1980 for about four dates. Mel later resurfaced with the Wangford band - the end of 1981 was when we really started putting that together. We'd done the early dates in 1980, but then we decided that we'd definitely make a go of it and be a band, which was the line-up that stayed constant until 1983. At one stage the whole band had to go off the road because B.J., drummer Howard Tibble, bass player Gary Taylor and myself with Ricky Cool went off to do a tour with Billy Connolly. He saw us at The Hope And Anchor one night and hired the whole band - apart from Hank and Mel, so it was a bit rotten for them, but he was offering us decent money to tour for a month, so we went off and did that.
1980PT: I believe you also had a stint with Pink Floyd around that time.
AR: Dave Gilmour was a friend of Roy Harper and would occasionally show up, and it was always a great joy. I loved playing with him. He 'phoned me up in December 1980 and offered me a gig playing with Pink Floyd, so I left the Wangfords to their own devices for a period. Initially it was to play eight dates in Germany; then we came and played five dates at Earls Court after that because they wanted some concert footage for a film, which they ultimately never used.
PT: What was it like doing their music?
AR: Well basically you've just got to stand there and look good and get the notes right. There was still quite a lot of room for improvisation though. The whole first part of the show they had to build The Wall, so it would take longer some nights than others - there were pad areas built in where Dave and I would just jam until certain sections were completed, then it was time to move on to the next bit. It had to be organised so that the last brick went in on the last note of the first half. Because of my involvement with theatre it was interesting to see - it was a theatrical event. But any one person was easily replaceable. They had expanded to an eight piece, so they had a surrogate band... you got The Floyd, and then Pete Woods on bass, Willy Wilson on drums, Andy Bown playing keyboards and myself on guitar. At times the surrogate band would put on latex masks of the Floyd and go out and be the Floyd, just to confuse the audience. We would open the show for instance, you'd get the roar from 25,000 people and actually it was the four surrogates - the Floyd weren't on the stage. It was Roger Waters thumbing his nose at the crowd really - a bit sinister. We'd do the opening and the lights would go down on the front stage after the aircraft had crashed, then the lights would go on back stage and the same band would appear to be there, so people would think hang on - I've just seen them down there, what's going on?!?
1983PT: You left the Hank Wangford band in 1983 - to do what?
AR: To do very little, in 1984 or 1985. I did my first feature movie - 'Loose Connections'. I did a touring play, 'Oi For England', about skinheads, it had previously been done for television which I had nothing to do with. I was also still doing little poetry gigs with Adrian. When the Wangford band broke up I had Bad Breath and his Two Buttes Band, just for a couple of dates.
PT; Why had the Wangford band broken up?
AR: It just wasn't going anywhere. It was totally co-operative when we first started, but it was obvious that that wasn't going to work, that the band had to feature Hank as a personality above the band, which of course was nonsense because Hank was a semi-pro, he was a doctor. The solid work was being done by the professionals behind him, but it was plainly not going to total up to anything... I mean, I couldn't devote my career to putting a semi-pro on the map, fun though it had been. I left a bit before everybody else, apart from Gary who had been replaced by a guy called Pete Dennis who worked under the name of Terry Lee Lewis. I loved the Wangfords, we had a terrific time. The Bad Breath thing was just for a couple of dates, then we decided we would carry on playing the London pubs for fun. I wasn't doing much else, they were pretty lean years. I had a band called The Tex Maniacs, which Mike Berry joined - it was good for him to do new music rather than old Sixties stuff. That folded, then we had a band called Irma And The Squirmers which was when Mel Harrold came back and started singing with us. They were great gigs, great fun but just only as a pub band. And then re-enter Paul Kriwaczek, who was by then a producer at the BBC doing adult education programmes. He was doing 'Welcome To My World', which featured Robert Powell as a sort of futuristic eminence grise, this man who wafted through the year 2020 and looked with a jaundiced eye back to the year 1985, seeing all the damage computers had done - the implications for international banking, for police surveillance, not being able to get your names off police files etc. Kriwaczek wanted me to use a computer to write all the music. Most of the programmes had about twenty minutes or so of music that I came up with through my use of computer and MIDI, and that started the ball rolling - I was asked to do music for Continuing Education all the time, then 'Thin Air', a five part drama serial. A producer who heard 'Thin Air' loved it and asked me to do an eight-parter for Central Television called 'Hard Cases' in 1988, and the TV ball started rolling really. Then in 1990 we were looking for something to do on a night out and in the Brighton Evening Argus we saw Iain Matthews was playing at a pub in Brighton....
01. Speed Well Andy Roberts, The Great Stampede 03:59 02. Clowns On The Road Andy Roberts, The Great Stampede 04:47 03. Lord Of The Groves Andy Roberts, The Great Stampede 05:24 04. Bottom Of The Garden Andy Roberts, The Great Stampede 02:22 05. Kid Jealousy Andy Roberts, The Great Stampede 03:02 06. The Great Stampede Andy Roberts, The Great Stampede 03:27 07. High Time Andy Roberts, The Great Stampede0 5:38 08. Home In The Sun Andy Roberts, The Great Stampede 03:58 09. (53 Miles From) Spanish Town Andy Roberts, The Great Stampede 03:41
Bonus Tracks: 10. Home At Last Andy Roberts, The Great Stampede 02:22 11. Lost Highway Andy Roberts, The Great Stampede 03:02 12. Living In The Hills Of Zion Andy Roberts, The Great Stampede 03:29 13. New Karenski Andy Roberts, The Great Stampede 03:31 14. Having A Party Andy Roberts, The Great Stampede 02:40
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October 15, 2016, 2:02 am
Size: 86.2 MBBit Rate: 256mp3Riped by: ChrisGoesRockArtwork InludedSource: Japan 24-Bit Remaster
SHAPE OF THE RAIN - Riley, Riley, Wood & Waggett (In demand 1971 UK 10-track LP on the short-lived RCA subsidiary Neon, where the more eclectic progressive albums ended up, each Neon release now highly sought after. This one-off is a fine example of West Coast influenced psych and British whimsy merging together to create a unique blend and gorgeous sound of the era.
IN the late Sixties a band from the Sheffield area called Shape Of The Rain were making a name for themselves, playing venues such as Sheffield University students’ union, Shades and Esquire clubs and open air concerts at Weston Park. They were reaching wider audiences by performing at The Marquee in London and The Cavern in Liverpool and by supporting the likes of Pink Floyd, Jethro Tull, Free, Fleetwood Mac, Love and Joe Cocker.
And they were one of the few local bands to go on to secure a major record deal. “Riley Riley Wood and Waggett” was released in 1971, named after Keith Riley, his brother Len, Brian Wood and Ian ‘Tagg’ Waggett. Influenced by American West Coast music and the British psych/progressive scene, Sound of The Rain’s debut album didn’t quite take the world by storm but it did become something of a collectors’ item, which continues to sell on the internet.
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Almost 40 years later the band is not only recording again but reworking that first collection of songs, taking the opportunity to update them with modern equipment. “This is the album recorded from the Sixties by people in their 60s,” says Brian, who still plays bass and sings with Dave Berry’s Cruisers. Drummer Ian says: “The LP that came out in 1971 is still selling in different parts of the world and all the band members have kept in contact with each other and are still playing. We decided to get together and see if we could come up with some good music.
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Working on the sound and production are Andrew Sully and Dave Riley. They have been encouraged by eBay sales of the original album, with fans in America, Japan and Holland prepared to pay up to £600. The updated version will include some new material and will probably be released around February. Live performances may follow. Sound Of The Rain started in the Sixties as The Gear and then The Reaction. “If we couldn’t get gigs because they didn’t like us, we’d just change the name,” says guitarist and singer Keith. “If they liked us we’d stick with the same name…” Brian adds: “We had a fanastic time touring with Pink Floyd, Cream and Jethro Tull. It was really exciting. We did all the clubs. And there is still the buzz now.”
✪ Keith Riley - guitar, vocals✪ Len Riley - bass✪ Tag Waggett - drums, percussion✪ Brian Wood - guitar, vocals
✪Eric Hine - electric piano, production✪ Tony Hall - production
01. Woman — 3:5702. Patterns — 3:2103. Castles — 1:5704. Wasting My Time — 3:0905. Rockfield Roll — 0:4806. Yes — 5:4707. Dusty Road — 3:4908. Willowing Trees — 3:4809. I’ll Be There — 3:3910. Broken Man — 5:57 including:a). Every One A Gemb). After Collapsing At Kingsley’s1.
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October 15, 2016, 12:49 pm
Size: 83.8 MBBit Rate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
The short-lived Fraternity of Man is undoubtedly best known for the pro-pot anthem "Don't Bogart Me," which showed up during an unforgettable scene in the genre-defining biker film Easy Rider (1969). The original quintet included an overhaul of the Lowell George-led Factory, featuring Martin Kibbee (bass), Warren Klein (guitar/sitar/tamboura) and Ritchie Heyward (drums/vocals). George split and became a very temporary Mothers of Invention member, while the other three joined up with Freak Out (1966) era Mother Elliot Ingber (guitar).
The personnel was completed with the addition of Lawrence "Stash" Wagner (vocals/guitar) and the band recorded its 1968 self-titled release Fraternity of Man. Another Frank Zappa connection could be found in the guise of Tom Wilson, who produced the Mother's earliest studio efforts.
As one might anticipate, there are several prominent musical dynamics carried over into the Fraternity of Man from its former incarnation. The stoner wake-n-bake anthem "In the Morning," as well as "Blue Guitar" and "Plastic Rat" retain the psychedelic garage rock that pervaded much of the Factory's sound. The band's variation of Zappa's "Oh No" -- titled "Oh No I Don't Believe It" -- is a gassed-up rocker replete with Ingber's nimble lead fuzz fret work.
Those decidedly more belligerent outings are contrasted by the intricate and Baroque qualities of "Wispy Paisley Skies" and the aforementioned steel guitar-driven "Don't Bogart Me." However, the comfortable misfit rockers "Candy Striped Lion's Tail,""Field Day," or the slightly perverse R&B-flavored "Bikini Baby" are among the best sides on the album. The latter was revived on the utterly dismissible dash for cash EP titled X (1995). The Fraternity of Man issued one follow-up, Get It On (1969) for Dot Records, prior to its dissolution in the waning months of the decade.
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The blues-influenced Get It On! lacked the charm of its predecessor, but featured contributions from pianist Bill Payne and former Factory guitarist Lowell George, both of whom resurfaced, with Hayward, in Little Feat. Ingber was also involved with the last-named act during its embryonic stages, but left to join Captain Beefheart, where he was rechristened Winged Eel Fingerling. In later years he emerged as a member of the Mothers’ offshoot, Grandmothers. Many years later, Ingber and Wagner briefly reunited under the Fraternity Of Man banner to record the dreadful 1995 EP X.
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The Fraternity of Man was an American blues rock and psychedelic rock group from the 1960s. They are most famous for their 1968 song "Don't Bogart Me," which was featured in the 1969 road movie Easy Rider. Its original members included three musicians from Lowell George's band The Factory – Richie Hayward later of Little Feat, Warren Klein, and Martin Kibbee – who joined Elliot Ingber from the Mothers of Invention and Larry Stash Wagner. Blues leads were handled by Ingber, and psychedelic leads were played by Klein, including "Oh No I Don't Believe It" (widely attributed to Ingber due to his association with the Mothers). The band broke up after recording two albums.
Personnel:✪ Lawrence "Stash" Wagner - lead vocals, guitar✪ Elliot Ingber - guitar✪ Warren Klein - guitar, sitar, tambura✪ Martin Kibbee - bass✪ Richard Hayward - drums, backing vocals
01. "In the Morning" - 4:2202. "Plastic Rat" - 3:4103. "Don't Bogart Me" - 3:0004. "Stop Me Citate Me" - 2:5005. "Bikini Baby" - 2:0306. "Oh No I Don't Believe It" - (Frank Zappa) - 6:1507. "Wispy Paisley Skies" - 2:2208. "Field Day" - 3:5909. "Just Doin' Our Job" - 2:2110. "Blue Guitar" - 4:2311. "Last Call for Alcohol" - 3:2512. "Candy Striped Lion's Tails" - 5:171.
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October 23, 2016, 1:40 am
Size: 88.3 MBBit Rate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
GRAHAM BELL infoGraham Bell (vocals) Veteran vocalist from the British scene. He released a solo single in 1966! It was 'How do you say I don't love you / If you're gonna go'.
It was early 1966, when The Chosen Few get a new singer, Graham Bell, and change their band name to Skip Bifferty. They established themselves in London. After several years as a tight unit, they released a self-titled album, Skip Bifferty, in 1968. Some of their songs were produced by Ronnie Lane, and arranged by Steve Marriott.
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In 1969, due to legal problems with their manager Don Arden, they changed their name (again), this time to Heavy Jelly, releasing a single,'I keep singing that same old song / Blue'. But they parted ways that same year. Bell was to reunite with Gibson and White very soon, while Gallagher and Turnbull formed Arc in 1970, but they soon were to rejoin Graham, as we're going to read. After the Skip Bifferty/Heavy Jelly separation, Gibson and White formed a new band, Happy Magazine, still in 1969. When their vocalist left, Graham Bell was called, and the band changed the name to Griffin. A terrific lineup. But they only released two singles, being 'I am the dark noise in your head / Don't you know' (1969) the first one.
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They released Bell & Arc, with lots of great guests: Kenny Craddock (guitar, keyboards), Bud Beadle (sax), Steve Gregory (sax), Jeff Condon (trumpet), John Woods (percussion), Alan White (drums, percussion). But after the album, Rob Tait left, being replaced by John Woods. But John Woods wasn't to stay too much time in the band. For their American tour in November/December 1971, they got Alan White. After the tour, Alan White left, being replaced by a great drummer, Ian Wallace.
In January 1972, Gallagher left, and another great replacement arrives, Kenny Craddock. But, after one month, they disbanded in February 1972. Graham Bell went solo again. He released his first solo album, Graham Bell, that same year, with these musicians (some parts were recorded in UK, some parts in Nashville).
He also appeared in the symphonic version of The Who's Tommy, released in November 1972. It was recorded with The London Symphony Orchestra, The English Chamber Choir, plus a cast of thousands: Sandy Denny, Graham Bell (who sings lead in '1921'), Maggie Bell, Steve Winwood, Richie Havens, Merry Clayton, Ringo Starr, Rod Stewart, Richard Harris, plus The Who, of course.
To celebrate the release, on December 9th, 1972, the whole work was played live at The Rainbow, with mostly the same artists as in the album, plus some added stars, such as actor Peter Sellers, Roy Wood, Roger Chapman, Elkie Brooks, David Essex, Marsha Hunt, Vivian Stanshall, etc. Graham Bell was also there.
And now I have a very big gap in Graham Bell's career. Any help with info would be very appreciated. Some time later, he formed a band with old mate Kenny Craddock. They were called Stotts, but their live was too short. The next (happy) news was finding Graham Bell again!
It was in 1988, when he joined exquisite guitarist Snowy White, in a new venture, Snowy White's Blues Agency.
They released two albums, Change my life and Open for business (rereleased under the title Blues on me). But they sadly split in 1990. All the members (except Graham) went to play with Mick Taylor All Star Band.
Does anybody know what is Graham doing now, please?
01. Before You Can Be A Man02. The Thrill Is Gone03. After Midnight04. Down In The City05. Watch The River Flow06. Too Many People07. How Long Will It Last08. The Whole Town Wants You Hung09. The Man With Angeless Eyes10. So Black And So Blue1.
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October 23, 2016, 4:04 am
Size: 196 MBBitrate: 320mp3Found in OuterSpaceFM BroadcastSome Artwork Included
This has got to be one of the finest sounding shows ever to circulate and this version delivers an astonishing upgrade to all known previous versions of this excellent show. All thanks to the tape contribution provided by fzmoi69, which was diligently transferred via NAK DR-1 by doctorzap then made available in the Shoebox.
If you have heard this show from any other known source, then be prepared to experience an absolute jaw dropping experience. It captures FZ & The Mothers Of Invention during their final North American Tour in 1973 with superb clarity and amazingly detailed stereo separation. Speed correction advice by flambay."
Armadillo World Headquarters Music Hall: The Armadillo World Headquarters (usually called simply The 'Dillo) was a music hall and entertainment center in Austin, Texas, United States from 1970 to 1980.
In 1970, Austin's flagship rock music venue, the Vulcan Gas Company, closed, leaving the city's nascent live music scene without an incubator. One night, Eddie Wilson, manager of the local group Shiva's Headband, stepped outside a nightclub where the band was playing and noticed an old, abandoned National Guard armory.Wilson found an unlocked garage door on the building and was able to view the cavernous interior using the headlights of his automobile. He had a desire to continue the legacy of the Vulcan Gas Company, and was inspired by what he saw in the armory to create a new music hall in the derelict structure. The armory was estimated to have been built in 1948, but no records of its construction could be located. The building was ugly, uncomfortable, and had poor acoustics, but offered cheap rent and a central location. Posters for the venue usually noted the address as 525½ Barton Springs Road (Rear), behind the Skating Palace (approximate coordinates 30.258 -97.750).
The name for the Armadillo was inspired by the use of armadillos as a symbol in the artwork of Jim Franklin, a local poster artist, and from the building itself. In choosing the mascot for the new venture, Wilson and his partners wanted an "armored" animal since the building was an old armory. The nine-banded armadillo (Dasypus novemcinctus) was chosen because of its hard shell that looks like armor, its history as a survivor (virtually unchanged for 50 million years), and its near-ubiquity in central Texas.
Wilson also believed the building looked like it had been some type of headquarters at one time. He initially proposed "International Headquarters" but in the end it became "World Headquarters."
In founding the Armadillo, Wilson was assisted by Franklin, Mike Tolleson, an entertainment attorney, Bobby Hedderman from the Vulcan Gas Company and Hank Alrich. Funding for the venture was initially provided by Shiva's Headband founder, Spencer Perskin, and Mad Dog, Inc. an Austin literati group.
The Armadillo World Headquarters officially opened on August 7, 1970 with Shiva's Headband, the Hub City Movers, and Whistler performing. The hall held about 1,500 patrons, but chairs were limited, so most patrons sat on the floor on sections of carpet that had been pieced together.
The Armadillo caught on quickly with the hippie culture of Austin because admission was inexpensive and the hall tolerated marijuana use. Even though illicit drug use was flagrant, the Armadillo was never raided. Anecdotes suggest the police were worried about having to bust their fellow officers as well as local and state politicians.
Soon, the Armadillo started receiving publicity in national magazines such as Rolling Stone. Time magazine wrote that the Armadillo was to the Austin music scene what The Fillmore had been to the emergence of rock music in the 1960s. The clientele became a mixture of hippies, cowboys, and businessmen who stopped by to have lunch and a beer and listen to live music. At its peak, the amount of Lone Star draft beer sold by the Armadillo was second only to the Houston Astrodome. The Neiman-Marcus department store even offered a line of Armadillo-branded products.
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The Clash played live at The Armadillo with Joe Ely on October 4, 1979 (a photo from that show appears on the band's London Calling album). The show was so successful that Joe Ely and The Clash teamed up for a 1980 U.S. tour.
Despite its successes, the Armadillo always struggled financially. The addition of the Armadillo Beer Garden in 1972 and the subsequent establishment of food service were both bids to generate positive cash flow. However, the financial difficulties continued. In an interview for the 2010 book Weird City, Eddie Wilson remarked:
"People don’t remember this part: the months and months of drudgery. People talk about the Armadillo like it was a huge success, but there were months where hardly anyone showed up. After the first night when no one really came I ended up crying myself to sleep up on stage."
With the success of the Armadillo and Austin's burgeoning music scene, KLRN (now KLRU), the local PBS television affiliate, created Austin City Limits, a program showcasing popular local, regional, and national music acts.
The Armadillo Christmas Bazaar began in 1976 at the Armadillo, and is still held annually during the Christmas season. The Bazaar was another attempt to improve cash flow for the hall. When the Armadillo closed, the Bazaar first moved to Cherry Creek Plaza (1981–1983), and then on to the Austin Opry House (1984–1994). In 1995, the Bazaar settled at the Austin Music Hall for twelve years. Due to remodeling of the Austin Music Hall, the Bazaar had to move its 2007 show to the Austin Convention Center.
The Bazaar has become one of the top-ranked arts and crafts shows in the nation with a long waiting list of artisans who wish to show their work.
On August 19, 2006, the City of Austin dedicated a commemorative plaque at the site where the Armadillo once stood. Co-founder Eddie Wilson was on hand and stated:
"It is still on the lips and minds of a lot of people 26 years after it closed.
This is noteworthy for me because of the zero-tolerance mentality, and now the city erected a memorial that glorifies the things of the past that are not accepted today."
Frank Zappa & The Mothers Of Invention Armadillo World Headquarters Austin, Texas 1973 10 26
THE BAND: ✪ Frank Zappa✪ Napoleon Murphy Brock ✪ Tom Fowler ✪ George Duke ✪ Ruth Underwood ✪ Bruce Fowler ✪ Ralph Humphrey Chester Thompson
THE SHOW: 01. Cosmik Debris (06:59) 02. Inca Roads (10:29) 03. Pygmy Twylyte (4:56) 04. The Idiot Bastard Son (2:15) 05. Cheepnis (3:38) 06. Big Swifty (9:25) 07. San Clemente Magnetic Deviation Preamble (1:26) 08. Dickie’s Such An Asshole (world premiere) (8:41) 09. Farther Oblivion (14:41) 10. Encore Tune Up (1:41) 11. Mr Green Genes Medley (16:07)Medley includes: Son Of Mr. Green Genes, King Kong, Chunga’s Revenge, Mr. Green Genes & Dickie’s Such An Asshole reprise. 1.
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October 23, 2016, 4:30 am
Size: 215 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork Included
Scandinavian Nights is a live album by Deep Purple. It was originally recorded by Swedish National Radio for a radio show called Tonkraft at the Stockholm Konserthuset on 12th November 1970.
Live in Stockholm is a live album by English hard rock group Deep Purple. The album was recorded in the capital of Sweden on November 12 1970, at Stockholm Konserthus and recorded by Swedish "Tonkraft" (a radio show).
This concert was originally released in 1988 as Scandinavian Nights in Europe and as Live and Rare in the USA. The original mastertapes were later discovered and are remixed for this release.
Additionally, the Scandinavian Nights 2CD had the same running-order as the vinyl release, the set being adjusted to fit the timing-restrictions of vinyl. For Live in Stockholm the correct order was restored and this, together with the improved sound-quality, makes it the definitive release of this recording.
Songs on the album are from the Deep Purple in Rock album, and long instrumentals from earlier albums. The two songs "Mandrake Root" and "Wring that Neck" took up half the concert in the early days, until the Fireball tour.
This early live set by Purple Mark II, complete on two discs, was recorded in Stockholm, Sweden in 1970, and it showcases the band at its most extended. The jams on "Wring That Neck" and "Mandrake Root" clock in at around half an hour apiece.
An instrumental version of the Rolling Stones'"Paint It Black" leads into the requisite drum solo, and also included is the longest-ever recording of "Child in Time." Some of this (especially "Mandrake Root") can be trying to the patience of someone who wasn't there.
But this was the era when hundreds of bands were stretching out every night, and Purple, with the skills and imaginations of Jon Lord and Ritchie Blackmore to call on, did it better than many, at its climaxes reaching a fiery intensity matched by few others.
Disc 1: 01."Wring That Neck" (Blackmore, Nick Simper, Lord, Paice) - 32:06 02."Speed King" - 10:20 03."Into the Fire" - 04:0004"Paint It, Black" (Mick Jagger, Keith Richards) - 09:08
Disc 2: 01."Mandrake Root" (Rod Evans, Blackmore, Lord) - 28:42 02."Child in Time" - 20:29 03."Black Night" - 06:54Part 1:
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October 28, 2016, 11:15 pm
Size: 142 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork InckudedSource: Japan SHM-CD Remaster
Thin Lizzy is the first studio album by Irish hard rock band Thin Lizzy, released in 1971.
Thin Lizzy were originally conceived as a power trio in the image of Cream and the Jimi Hendrix Experience, but Eric Bell lacked the charisma of these groups' guitarists, forcing vocalist/bassist Philip Lynott to take center stage from day one. Despite his already poetic, intensely personal lyrics, Lynott was only beginning to develop as a songwriter, and the band's unfocused, folk-infused early efforts are a far cry from their mid-'70s hard rock glory. Recorded on a shoestring budget, their self-titled debut is surprisingly mellow; many songs, such as "Clifton Grange Hotel" and "The Friendly Ranger of Clontarf Castle," sound confused and unfinished. Quiet ballads like "Honesty Is No Excuse,""Eire," and "Saga of the Ageing Orphan" abound, while supposed rockers such as "Ray-Gun" and "Return of the Farmer's Son" fall remarkably flat. In fact, Lizzy only bare their claws on "Look What the Wind Blew In," a gutsy rocker that hints at things to come. Four bonus tracks (originally released as singles) were added to this CD reissue, and of these "Things Ain't Working Out Down at the Farm" is quite memorable, while the mournful "Dublin" contains Lynott's first great lyric.
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Biography:Despite a huge hit single in the mid-'70s ("The Boys Are Back in Town") and becoming a popular act with hard rock/heavy metal fans, Thin Lizzy are still, in the pantheon of '70s rock bands, underappreciated. Formed in the late '60s by Irish singer/songwriter/bassist Phil Lynott, Lizzy, though not the first band to do so, combined romanticized working-class sentiments with their ferocious, twin-lead guitar attack. As the band's creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Bruce Springsteen, and virtually all of the Irish literary tradition. Also, as a black man, Lynott was an anomaly in the nearly all-white world of hard rock, and as such imbued much of his work with a sense of alienation; he was the outsider, the romantic guy from the other side of the tracks, a self-styled poet of the lovelorn and downtrodden. His sweeping vision and writerly impulses at times gave way to pretentious songs aspiring to clichéd notions of literary significance, but Lynott's limitless charisma made even the most misguided moments worth hearing.
After a few early records that hinted at the band's potential, Lizzy released Fighting in 1975, and the band (Lynott, guitarists Brian Robertson and Scott Gorham, and drummer Brian Downey) had molded itself into a pretty tight recording and performing unit. Lynott's thick, soulful vocals were the perfect vehicle for his tightly written melodic lines. Gorham and Robertson generally played lead lines in harmonic tandem, while Downey (a great drummer who had equal amounts of power and style) drove the engine. Lizzy's big break came with their next album, Jailbreak, and the record's first single, "The Boys Are Back in Town." A paean to the joys of working-class guys letting loose, the song resembled similar odes by Bruce Springsteen, with the exception of the Who-like power chords in the chorus. With the support of radio and every frat boy in America, "Boys" became a huge hit, enough of a hit as to ensure record contracts and media attention for the next decade ("Boys" is now used in beer advertising).
Never the toast of critics (the majority writing in the '70s hated hard rock and heavy metal), Lizzy toured relentlessly, building an unassailable reputation as a terrific live band, despite the lead guitar spot becoming a revolving door (Eric Bell, Gary Moore, Brian Robertson, Snowy White, and John Sykes all stood next to Scott Gorham). The records came fast and furious, and despite attempts to repeat the formula that worked like a charm with "Boys," Lynott began writing more ambitious songs and wrapping them up in vaguely articulated concept albums. The large fan base the band had built as a result of "Boys" turned into a smaller, yet still enthusiastic bunch of hard rockers. Adding insult to injury was the rise of punk rock, which Lynott vigorously supported, but made Lizzy look too traditional and too much like tired old rock stars.
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By the mid-'80s, resembling the dinosaur that punk rock wanted to annihilate, Thin Lizzy called it a career. Lynott recorded solo records that more explicitly examined issues of class and race, published a now-out-of-print book of poetry, and sadly, became a victim of his longtime abuse of heroin, cocaine, and alcohol, dying in 1986 at age 35. Since the mega-popular alternative rock bands of the mid-'90s appropriated numerous musical messages from their '70s forebears, the work of Phil Lynott and Thin Lizzy will hopefully continue to be seen for the influential rock & roll it is.
In 1999, Thin Lizzy reunited with a lineup featuring guitarists Scott Gorman and John Sykes, and keyboardist Darren Wharton, which was rounded out by a journeyman rhythm section of bassist Marco Mendoza and drummer Tommy Aldridge. The quintet's ensuing European tour produced the live album One Night Only, which was released in the summer of 2000 to set the stage for a subsequent American concert tour.
01."The Friendly Ranger at Clontarf Castle" (Eric Bell, Phil Lynott) – 3:0102."Honesty Is No Excuse" (Lynott) – 3:4003."Diddy Levine" (Lynott) – 7:0404."Ray-Gun" (Bell) – 3:0505."Look What the Wind Blew In" (Lynott) – 3:2306."Eire" (Lynott) – 2:0707."Return of the Farmer's Son" (Brian Downey, Lynott) – 4:1408."Clifton Grange Hotel" (Lynott) – 2:2609."Saga of the Ageing Orphan" (Lynott) – 3:4010."Remembering" (Lynott) – 5:59
Bonus Tracks:11."The Farmer"12."Dublin"13."Remembering Pt. 2 (New Day)"14."Old Moon Madness"15."Things Ain't Working Out Down at the Farm"16."Look What the Wind Blew In" (1977 overdubbed and remixed version)17."Honesty Is No Excuse" (1977 overdubbed and remixed version)18."Dublin" (1977 overdubbed and remixed version)19."Things Ain't Working Out Down at the Farm" (1977 overdubbed and remixed version)1.
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October 28, 2016, 11:33 pm
Size: 343 MBBitrate: 320mp3Some Artwork Included
The Electric Fuzz Band is a psychedelic southern rock jam band formed in 1996 in Norfolk, VA. EFB was a full time band from 1996-2002. During this time they worked their local scene, did some touring, played some festivals (Jerry’s Birthday Bash at Sunshine Daydream, Treehugger’s Ball, and their own Wild Billstock), and won 9Volt Magazine, the official journal of entertainment in Hampton Roads, VA, Jam Band of the Year Award in 2002.
Through the years the EFB has built up a strong faithful following. They continued to have reunions a couple times a year, even throwing a couple more Wild Billstocks. However, the last reunion was in 2008. After 6 years, EFB will be having a few reunion shows in May 2014 and are hoping to keep the EFB more relevant in the future.
Now the easy part. All you have to do is mark May 15th – 16th on your calendar and check these guys out. You’ll be glad you did. Thanks for reading and thank you for supporting local music in Virginia!
The Electric Fuzz Band2014-05-16 The TaphouseNorfolk, VAFM Broadcast
The Electric Fuzz Band ♣ Jay Morgan - Guitar, vocals♣ Ryan Russell - Guitar, vocals ♣ Derek Givans - Drums, vocals♣ Cory Potrafka - Bass, vocals
DISC 101. Gettin Better02. Searching For Sunshine03. Fried Neckbones04. Jingo05. Blue Hats Little Sister06. Iron Maiden tease07. Neighborhood Dispute08. Sister Sunday09. Fire On The Mountain10. Pain and Tears
DISC 201. Tienas Llerba Buena02. Muy Gordo03. Machine Gun04. Get Out Of Norfolk05. 20th and DeBree06. Wanna Take You Higher07. Tripsong08. Super Slick Butt Kck Mix09. Revolution Revelation
DISC 301. Southbound02. Grinning In Your Face03. Franklin's Tower04. Olde Crowe05. Voodoo Child
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November 7, 2016, 2:39 am
Size: 143 MBBit Rate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
The Youngbloods is an album by the American rock band The Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies.
"Get Together" was written by Chet Powers (aka Dino Valenti of Quicksilver Messenger Service) and had already appeared in 1966 as a track on the first album by The Jefferson Airplane. Upon first release as a single by The Youngbloods in 1967, it only went to #62 in the pop charts. Two years later, after being featured in radio and television commercials, the track was re-released and climbed to number 5 in charts, selling more than a million records.
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Side Two featured two more songs written by fellow folk singer-songwriters, Fred Neil's "The Other Side of This Life" and "Four in the Morning" by George "Robin" Remailly (who became a member of the Holy Modal Rounders in the 1970s).
Jesse Colin Young wrote two ballads on side two, "Tears Are Falling" and "Foolin' Around (The Waltz)" which alternates between 4/4 and 3/4 time signatures. Classical cello was added to "Foolin' Around" by George Ricci. Side two ends with two blues standards, Jimmy Reed's "Ain't That Lovin' You" and Mississippi John Hurt's "C.C. Rider". The last song featured a hard-rocking guitar jam that was common in the late 1960s, especially for San Francisco, which would soon become the Youngbloods' destination both geographically and musically.
The Youngbloods were an American rock band consisting of Jesse Colin Young (vocals, bass), Jerry Corbitt (guitar), Lowell Levinger, nicknamed "Banana" (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was "Get Together".
Jesse Colin Young (born Perry Miller, November 22, 1941, Queens, New York City) was a moderately successful folk singer with two LPs under his belt – Soul of a City Boy (1964) and Youngblood (1965) – when he met fellow folk singer and former bluegrass musician from Cambridge, Jerry Corbitt (born Jerry Byron Corbitt, January 7, 1943, Tifton, Georgia). When in town, Young would drop in on Corbitt, and the two played together exchanging harmonies.
Beginning in January 1965, the two began performing on the Canadian circuit as a duo, eventually adopting the name "The Youngbloods". Young played bass, and Corbitt played piano, harmonica and lead guitar. Corbitt introduced Young to a bluegrass musician, Lowell Levinger (born Lowell Levinger III, 1946, Cambridge, Massachusetts). Levinger, known as "Banana", could play the piano, banjo, mandolin, mandola, guitar and bass; he had played in the Proper Bostonians and the Trolls, and played mainly piano and guitar in the Youngbloods. He knew of a fellow tenant who could flesh out the band, Joe Bauer (born September 26, 1941, Memphis, Tennessee), an aspiring jazz drummer with experience playing in society dance bands.
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Once the line-up was set, Jesse Colin Young and the Youngbloods, as the group was then known, began building a reputation from their club dates. (Early demo sides from 1965 were later issued by Mercury Records on the Two Trips album.) Their first concert had been at Gerde's Folk City in Greenwich Village; months later, they were the house band at the Cafe Au Go Go and had signed a recording contract with RCA Records. Young, however, was not satisfied with RCA. "Nobody at [RCA] was really mean or anything; everybody was just kind of stupid," he explained to Rolling Stone magazine. "They never knew what to make of us, and tried to set us up as a bubblegum act... they never knew what we were, and never knew how to merchandise us."
The arrangement did produce one charting single in "Grizzly Bear" (#52, 1967). Several critically praised albums followed: The Youngbloods (1967, later retitled Get Together); Earth Music (1967); and Elephant Mountain (1969), with its track, "Darkness, Darkness".
In 1967, when "Get Together", a paean to universal brotherhood, first appeared, it did not sell very well, reaching only No. 62 on the chart. But two years later – after Dan Ingram had recorded a brotherhood promotion for WABC-AM in which the song was used as a bed for the promotion, and after the National Council of Christians and Jews subsequently used the song as their theme song on television and radio commercials – the track was re-released and cracked the Top 5. This disc sold over one million copies, and received a gold record, awarded by the R.I.A.A. on 7 October 1969.
Johnny Carson once reportedly refused to allow the band to perform on The Tonight Show Starring Johnny Carson, saying they were overly demanding during the pre-show soundcheck. In a 2009 interview, Young stated that the band refused to perform because the show reneged on a promise that they would be allowed to play a song from their new album Elephant Mountain, instead demanding that they only play "Get Together".
With Corbitt's departure from the band (for a solo career) in 1969, before the band recorded the Elephant Mountain album, Levinger assumed lead guitar duties and played extensively on Wurlitzer electric piano. The band became adept at lengthy improvisations in their live performances (as captured on the albums Rock Festival and Ride the Wind released after the band moved over to their own Warner Brothers distributed Raccoon label).
In 1971 the group added bassist Michael Kane to their line-up and put out two more albums Good & Dusty (1971), which featured an answer to Merle Haggard's Okie from Muskogee, "Hippie from Olema", and High on a Ridgetop (1972) before disbanding. Young, Levinger and Bauer all went on to solo careers, of which only Young had any notable success. Levinger, Bauer and Kane were part of another group, Noggins, in 1972 that only lasted for one album, Crab Tunes. Bauer died of a brain tumor in September 1982, at the age of 40.
In 1971 Jerry Corbitt and former Youngbloods producer Charlie Daniels formed a band called Corbitt & Daniels and toured.
In 1976 HT Rabin, drummer from Alias, joined the Youngbloods for a brief tour.
Banana supplied guitar, banjo, synthesizer, and back-up vocals to Mimi Fariña's 1985 solo album, Solo, and also toured with her on and off from 1973 until the 1990s. During the 1980s and 1990s, he played with the jam rock band Zero on keyboards, vocals and rhythm guitar.
In late 1984, The Youngbloods briefly reunited for a club tour. The 1984 line-up contained Young, Corbitt and Levinger, plus new members David Perper (drums, ex-Pablo Cruise) and Scott Lawrence (keyboards, woodwinds). Once the tour was completed, the group disbanded once again by mid-1985.
Following the September 11 terrorist attacks, the media conglomerate Clear Channel Communications included The Youngbloods' recording of "Get Together" on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.
Jerry Corbitt died of lung cancer on March 8, 2014. He was 71.
Personnel✪ Jesse Colin Young – bass, lead vocals, rhythm guitar✪ Jerry Corbitt – rhythm guitar, backing vocals✪ Lowell "Banana" Levinger – lead guitar, electric piano✪ Joe Bauer – drums, percussion
Original Album Mono Version:01. Grizzly Bear 02:2302. All Over The World (La-La) 03:1803. Statesboro Blues 02:2204. Get Together 04:4105. One Note Man 02:2706. The Other Side Of This Life 02:3107. Tears Are Falling 02:2908. Four In The Morning 02:5509. Foolin' Around (The Waltz) 02:5610. Ain't That Lovin' You, Baby 02:4711. C. C. Rider 02:41
Original Album Stereo Version:12. Grizzly Bear 02:2313. All Over The World (La-La) 03:1614. Statesboro Blues 02:2015. Get Together 04:3916. One Note Man 02:2617. The Other Side Of This Life 02:3018. Tears Are Falling 02:2819. Four In The Morning 02:5320. Foolin' Around (The Waltz) 02:5221. Ain't That Lovin' You, Baby 02:4122. C. C. Rider 02:40
Bonus Tracks:23. Get Together (Promotional Single Version) 03:2724. Merry-Go-Round 02:1325. Se Qualcuno Mi Dira (Get Together Italian Version) 03:4726. Qui Con Noi, Tra Di Noi (Grizzly Bear Italian Version) 02:20
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The YoungbloodsMarch 30, 1969The Avalon Ballroom, San Francisco, CA.FM broadcast on KPFA
01. Ride the Wind 06:4702. Sugar Babe 03:1503. Four in the Morning 05:5404. Too much monkey Business 05:0805. Banana's 05:4506. Dolphins 11:2207. The Wine Song 03:3308. Darkness, Darkness 05:1009. Beautiful 07:32Part 1:
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November 16, 2016, 12:45 am
Size: 177 MBBitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan SHM-CD Remaster
Supersonic Sounds The Book of Am part I,& Part 2 (SP/UK/F, 1970-1977)*****
A couple years ago a group member of ‘Book of Am’ contacted me, because I once airplayed the 1998 Synton bootleg reissue of the 'Book of AM' album. He told me how he was surprised at the collector’s interest, and that this was not the name of the group, which was actually Can Am des Puig*, while Book of Am was the album title, and how he wished that he would be able to re-release the album as it was intended, together with the illustrated book and with the second never released album. About a year ago this publication was announced on the Gong homepage, and I inscribed myself immediately, but it took over a year before the album finally was released. I can imagine why, because it must have cost a fortune to make photo masters of the delicate watercolour paintings. I can only say that the expensive price is worth the purchase. It has an introduction in English, Spanish and Catalan. The original group name seemed to have been left out now so as not to confuse anyone.
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The background story :
After having settled down in Ibiza after their studies, Juan Arcocha and Leslie MacKenzie decided to go on a kind of spiritual quest, looking for a creative source of inspirations. The last stop of their long journey was Bodh-Gaya in India, in December 1973, where the Tibetans prepared New Year celebrations with the Daila Lama. It was the place where Siddhartha became the Buddha some 4000 years ago. It seemed to be the same ideological destiny point for any foreigners with similar goals. They met a Mexican improvised revolutionary music group led by one Alberto Ruz, Icelanders led by Gerhardt of Ice, who made illustrations with poetry, based upon Moslem, South American and Greek thoughts, and Brother John, who was specialized in Christianity and Zen. For them it seemed as if religions and philosophies of the whole world came gathered together in a summit of an experience.
Back in Ibiza they wanted to transmit their collected visions, which led to an etched book, ‘Garland of Visions of the Absolute’, based upon an obscure poem that was the basis of Advainta Vedanta (experiencing the non-dualistic reality). The times were right and the book sold well. So in 1975 they started a second book based upon three parts : morning, afternoon and evening, with 25 etchings, and texts based upon a collection of poems and songs they found representable as examples of what inhabited common ideas in religions and some other group philosophies. The texts were collected along their travels and from a research session at the Warburg Institute in London. The first idea was, to accompany the art with song improvisations on guitar, flute, suji-box and drum. The book was finished mid 1977, but the colours were too subtle that they said in Madrid they couldn’t print it. Disappointed they returned home via Deia, where Robert Graves had lived since 1929, trying to meet him, because a Welsh poem “Song of Amergin” was in this book and the group had liked his version in “The White Goddess”, and refered many times to it. At the place there was held a meeting with musicians, where Daevid Allen turned up. Daevid told him about his work with Soft Machine, about Gong, presented his partner and artist Gillie Smyth, and the Banana Moon studio. He loved the idea of making a record of the book of Am, and the group quickly took the opportunity. Guests were Patrick on 12-string guitar, Stephanie Shepard and Pat Meadows (not mentioned in the liner notes) on flute, Phil Shepherd on percussion and some vocals, and Lally Murray on voice (not mentioned on the published LP). At the end of the session two Gong enthusiasts from UK also participated: Jerry C. Hart and Tony Bullocks, together with Catalan singer Carmetta Mansilla, a trio that joined their weekly improvisation sessions and became part of the group. Daevid sold them cheaply a 4-track recorder. At that stage Jean-Paul Vivini, came to the group with a synthesizer. From January to March 1978 they recorded two open real tapes of 45 minutes each. The recordings were produced in a logic order to accompany the etchings. Daevid also took care that the first album found a publisher that printed the first master by the end of that year. They didn’t come to publish part 2, or to go further that part II of the morning section because of family obligations. Perhaps we can still expect in the afternoon and evening times of their lives the continuing of this project ? I surely hope that the release and recognition of their hard work now becomes or is like their midday experience.
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The songbook :The 144 paged book can be read partly and vaguely as a story but can more be seen as a source of inspirations with some common themes that holds them together. I’m glad to see how most texts refer to the inspiration of music and a definition and spiritual/religious context of music. Just a few texts are more vaguely ideas that they wanted to take with them as some/luggage on their travel/quest, while a few other stories sound like experiences on a journey, within the triple context of morning/afternoon/evening. Visually it has something of William Blake’s poetry with drawings and engravings. -(William BLake also showed his uniting mystic visions on religious and human-spiritual themes, of which some of his work now and then was partly put into music as well)-. This is more like an amateur form of the kind, with clearly structured lines and forms, associated from known or less known drawings and sources and compilations of their own invention. The texts that come from Welsh (book of Taliesin, Mabinogion) and British origin (British Edda, R.Graves, W.Blake), and come from Ancient Egyptian (book of the dead, papyrus of Ani, pyramid texts, book of breathings), Hermetic, Chassidic, Greek (Hesiod theogony, Aeneid), Icelandic (Edda), Biblic, Tibetan Buddhist (songs of Milarepa), Indian (poems of Kabir, Tantric yoga, Upanishads, Abharva Veda), Babylonic and Zoroastrian (Nuyaishes), Taoist and other sources, while the etchings also contain herbal associations. This whole collection looks for a timeless, inspiring and commonly uniting source. The art book in this way can work also inspiring for any future musical inspirations, for who knows any followers who can try something similar, based upon this book.
All the necessary background notes and references were added on additional pages.
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The music CD1:The most beautiful tracks for me are each time, the openers of sections, or the openers of a spiritual energy of a strong focus, amongst more improvised tracks that are more slowly and continually still developing, ie open ended in some way. “The Book of Am” starts with the harmonic singing of “Am” (where Om can be expected), followed by the beautiful “The Song Of AM”, a song which introduces the songbook.* This track is comparable to Incredible String Band, and has a beautiful, delicate dreamy melancholic sphere, with flute and guitar improvisation, and female angelic vocals, a track, alone, making it worth checking out the album, followed by a well fitting “the song of the void” (from Papyrus of Ani). Several of the following tracks are in a simpler and more improvised style compared to the aforementioned ISB, and with a different focus and interest. “Fire” is free improvised, with ethereal female vocals and electronic effects, becoming air-like thin. After “The Cauldron”, and by the time of “O Keeptress” (a track collected from the Icelandian poet Gernardt of Ice -mentioned before in the introduction-), this trio of songs by the same vocalist, gives an impression of being a bit too sparsely arranged ; they might have sounded nicer with just a bit more arrangement on them. A welcome change is the very beautiful first song of Morning, “As the wind blows” (Tagore) with tampura, tabla and guitar improvisation, with very self-unfolding energy, and with beautiful heartfelt, celebrative vocals that are like an ode to life. This is followed by the beautiful “Hear the voice of the bard” (W.Blake) with a melancholic singing-with-heart, by Juan Arcocha, with a similar vocalic focus as on the previous “Song of Am” and perhaps “Song of the void”. The song accompanied by delicate 12-string guitars picking with bits of echo, fit also beautifully with the original engraving by the songbook artist. This is followed by the next tampura droning track, “I am that living Soul” (pyramid texts), (comparable in style to “As the wind blows”). The tampura’s Indian droning core is combined with rhythmic, more earthly coloured hand percussion, which in combination and with additional flutes, make a perfect harmony with the higher region territories to which the vocals sing to, as a beautiful homage with spiritual-life-energy.
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CD2: This sphere unfolds further on “Who can be muddy” (Lao Tse), with acoustic guitars, and vibrating electronic music, and vocals, “Musical of the Spheres” (orphic tablet), and “Hermes”, the last track is once more with male vocals, followed by "Taliesin Bardic Lore" (a track which is accidentally not listed as a title on the track list page). All these tracks have a similar, delicate and beautiful quality. But also, "Enchanted Bard", which is accompanied by acoustic and amplified guitar, tampura and a bit of electronic touches, is truly enchanting. It comes into the condition of an almost too perfect moment, which is taken into a continuum for a while. "The White Lion on the Mountain" is one of the so many songs by the enlightened Milarepa, here completely newly invented into a psychfolk/acid folk teritory. "I streched Forth" (Thomas Aquinas) is the most psychedelic track, in an Indian raga mode (voice, guitar, flute, percussion). "Love’s Strength" has even more percussion, is almost ritualistic, and with the additional electronica gets a pretty weird avant-garde, atmospherical touch. Only one track of the third section of the book, 'Afternoon', was recorded, which is "I am Yesterday", a text taken from the Egyptian Book of the Dead. This seems to be a very poetic text with deeper contexts, referring to some hermetic principles.
I was amazed by this second’s album's overall quality, which sounds like a more consistent, enjoyable album even, compared to the already great first record. I'm really glad that with this book it isn't missed, at least not by those who can afford it, and are quick enough to order, or by all the usual blogs related thieves who find one collector who doesn't care to share the music. In this case the album will still remain a bit obscure.
This is a limited Edition of 2x500 copies, packaged in a hardcover book with 2 vinyl LPs or 2 cd's.
* I asked for a confirmation of Jerry Hart, to ask if I remembered it well. He answered me : "Can Am des Puig means 'House of Am on the Hill' in Catalan. It's the name of Juan and Leslie's house in Ibiza and was also the adoptive name of their rented house in Deia, where we recorded the album. (Can = house, Puig = hill or mountain, hence the 'Puig Mayor' in Mallorca is the highest mountain on the island. BTW, Puig is pronounced 'pooch'). While we were never a 'band' as such and never played gigs or any public performances, attributing the music to the house where the music was played and recorded is very appropriate."
Part I01. Introduction (1:10)02. The Song Of Am - Dawn (4:41)03. The Song Of The Void (3:04)04. Come Unto Me (1:15)05. The Song-Ship Journey's West (2:33)06. Fire (4:09)07. The Cauldron Of Regeneration (3:50)08. O Keeptress (7:02)09. Homage To Ra (6:47)10. As The Wind Blows (2:55)11. Hear The Voice Of Bard (2:58)12. I Am That Living Soul (4:09)
Part II01. Who Can Be Muddy (6:49)02. Favours Of The Muse (1:46)03. The Music Of The Spheres (4:27)04. Hermes (3:52)05. Taliesin (5:02)06. Enchanted Bard (7:20)07. The White Lion Of The Mountain (6:06)08. I Stretch Forth (4:39)09. Love's Strength (4:02)10. I Am Yesterday (4:10)1.
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November 16, 2016, 1:00 am
Size: 106 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
Will Z. explores several genres, mainly psychedelic folk, incorporating Indian music and experimental elements. He is also known for his work with Book of AM ‘cult’ project and the band Cosmic Trip Machine.
This album is a collection of dark electric numbers, originally intended for the final part of his previous album, 12 Visions, and songs composed from 1997 to 1999, when Will Z. was a teenager. When he rediscovered some tapes with the demo songs, 15 years later, he decided to work on these tracks and to go to studio with them.
The Dark Tales recordings began in July 2013 and, after a long serie of sessions, the album was completed in April 2014. Almost 50 songs were recorded in the end by Will Z., with the help from Sammy Goldstein on drums, oG on glissando guitar and Alice Artaud.
Will Z. is a singer, songwriter, multi-instrumentalist and producer from Belgium who explores several genres, mainly psychedelic rock and acid folk, incorporating Indian music and experimental elements. He is also known for his work with The Book Of AM'cult' project and the band Cosmic Trip Machine.
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In 2012, Will Z. was totally immersed in The Book Of AM production and recordings. He discovered it was the kind of music he wanted to play, but felt it would be a solo adventure. He released a totally improvised meditation opus called Shambhala album in almost 10 days, then, the following year, a "negative" version of his first solo album. The result, 12 Visions (inspired by the island of Mallorca, the alchemy book, Twelve Philosophical Keys, and J-K Huysmans novel, Là-Bas) gained an instant cult status. During 2013 and 2014, he worked on The Book Of Intxixu, sequel of The Book Of AM with Daevid Allen and Gilli Smyth from Gong, and Dark Tales Of Will Z., a collection of dark electric numbers.
His fourth album, New Start, out in June 2, 2015, was inspired by Jain philosophy, the celebration of the birth of his son, an homage to these great artists with whom he’d collaborated. In 2015, Will Z. went on a tour, mainly in Belgium and Germany, performing concerts based on 12 Visions, Dark Tales and New Start songs. He recorded a Live album called The Saint, The Martyr And The Monk to celebrate this epic and final tour. A New Mirrored You, his fifth album, is based on Swan Lake by Tchaikovsky and A New Life by Dante Alighieri.
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Played, produced and composed by Will Z., featuring Cosmic Trip Machine and Alice Artaud. Recorded and mixed by Jean-Pol Gerard at NoHype Studio during 2013 & 2014. Mastered by Open Your Eyes.
Personnel♦ Will Z.♦ Cosmic Trip Machine ♦ Alice Artaud ♦ Recorded and mixed by Jean-Pol Gerard at NoHype Studio during 2013 & 2014. ♦ Mastered by Open Your Eyes.
Link: Will Z.
01. Total Darkness 02:42 02. Satan Girl 04:0003. The Eye of Destiny 02:4904. Venenum Versus Viam 04:0805. Spider Blues 03:1806. 171bpm 03:4607. My Dark Side 04:0908. I'm Not Me 02:4409. Captain Blizzard 02:4210. Ego Ritual (Road to Germany) 07:3011. Pure Beauty 03:2812. Trouble Me 05:181.
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November 16, 2016, 1:12 am
Size: 118 MBBit Rate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
New Start takes the listener on a beautiful, cosmic journey of discovery. Its rich textures and haunting melodies are evocative, meditative and timeless. This warm, sensual album will wrap you in its sonic embrace and touch your soul. It's a total trip, a rather floaty, psychedelic mind ride that will expand your mind in mystical, psychedelic ways you're never previously experienced. New Start will be the last time you'll hear this great team of psych and folk musicians working together on new and original music.
Will Z. is a singer, songwriter, multi-instrumentalist and producer, first known for his work with his band Cosmic Trip Machine, then The Book of AM 'cult' project. A solo artist he has explored several genres, from dark occult rock and hard rock to acid-folk and baroque pop, incorporating Indian music and experimental elements.
New Start began in 2012 when Will Z. helped Juan Arkotxa, Leslie MacKenzie and Carmeta to finish The Book of AM, a unique combination of recordings and artwork which has since gained ‘cult’ status. After the release of The Book of AM, Juan Arkotxa and Leslie MacKenzie asked Will Z. to work on the sequel of their project, called The Book of Intxixu, with Daevid Allen.
The leader from Gong organized a reunion in Glasgow during the last Gong tour and started collaborating with the AM team. Working with such talented musicians was a great privilege that inspired Will Z. to compose New Start, an album inspired by Jain philosophy, to celebrate the birth of his son and to pay homage to these great artists with whom he’d collaborated.
New Start takes the listener on a beautiful, cosmic journey of discovery. Its rich textures and haunting melodies are evocative, meditative and timeless. This warm, sensual album will wrap you in its sonic embrace and touch your soul. It’s a total trip, a rather floaty, psychedelic mind ride that will expand your mind in mystical, psychedelic ways you’re never previously experienced. New Start will be the last time you’ll hear this great team of psych and folk musicians working together on new and original music.
♦ Will Z. - lead vocals, 12 string guitar, acoustic guitar, electric guitar, Wah-Wah Fuzz guitar (Schaller Electronic Germany), Korg MS20, piano, percussions, sitar, bass, mellotron, EMS Synthi AKS, xylophone ♦ Juan Arkotxa - flutes ♦ Leslie MacKenzie - percussion on Jain Devotion Part V ♦ Carmeta Mansilla - vocals on Jain Devotion Part II ♦ Daevid Allen - glissando guitar on Evil Namo ♦ oG - glissando guitar on Jain Devotion Parts IV & V ♦ Alice Artaud - vocals on Greek Loop ♦ Adam Geoffrey Cole - Oud on Jain Devotion Part IV ♦ Anne - synth effect on Jain Devotion Part V ♦ Louis Z. - baby
01. Jain Devotion (Parts I-III) 13:1902. Namo 05:1103. Evil Namo 03:3204. Greek Loop 02:2205. Nefle 05:4006. Jain Devotion (Parts IV-V) 11:53
Bonus:07. Can Am Des Puig - Dawn 03:0808. Can Am Des Puig - Book of AM 05:59
1. New Startor2. New Startor3. New Start
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November 18, 2016, 10:50 pm
Size: 80.1 MBBit Rate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Bell & Arc’s one and only record is a prime cut of early 1970s British rock and roll. Born out of the psychedelic ashes of Skip Bifferty, Bell & Arc saw a reunion of sorts between singer Graham Bell and his former band mates, keyboardist Mick Gallagher and guitarist John Turnbull. Anyone delving into this record expecting the underground freak-beat of that earlier band, however, is in for a rude surprise. This band is an entirely different beast, and even Graham Bell’s singing has undergone some serious evolution since Skip Bifferty sank in 1969.
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Heavy threads of American soul music, as well as tasteful touches of gospel and country, are what inform this record more than anything. From the insistent groove of “High Priest of Memphis” to the rollicking banjo rolls in “Keep A Wise Mind,” it is clear what musical traditions these cats are mining. Graham Bell’s vocals here are so soulful it almost hurts, with the obvious reference point being the shredded-throat testifying of fellow countryman Joe Cocker.
Turnbull’s guitar is also on fire, whether he’s indulging in tight wah-pedal workouts in “Let Your Love Run Free” or keeping things beautifully restrained in the band’s sizzling, slow-burn workout of Leonard Cohen’s “So Long, Marianne.” In the meantime, I would assert that it is Gallagher’s rhythm piano which seems to be the bedrock of the band’s sound. Each cut displays inspired playing that really seals together the spirit of the band. His concluding improvisations on “Yat Rock” are particularly enjoyable, where he compliments his driving rhythm playing with the occasional Jerry Lee Lewis run.
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Side A of this record is one of those rare cases where every song is absolutely killer, and the energy just does not let up. The opening three song punch blows me away every time. By the second side, things start to lose a little steam, but only barely. In fact, “Dawn,” the one acoustic track on the album, is a pleasant, hazy respite from the high-octane rave-ups that surround it. In fact, the guitar dynamics and subdued atmosphere might actually make it a highlight. “Children of the North Prison” draws the band back, and throws out one of the catchiest hooks on the record against a great ascending piano line. In the years since I first happened on this record, it has slowly but surely become one of my absolute mainstays. It’s hard not to be drawn in to Arc’s tight grooves and Bell’s cosmic rock and roll songs, and I dare say it makes some fantastic road music. Check out the (out-of-print, but easy to find) Rock and Groove Records reissue, or keep your eye peeled for one of the original copies. I should probably note that it looks as though the British and American copies of this one have different artwork; the British record has a bright red cover, with what looks like layered fists.
01. High Priest of Memphis - 3:3002. Let Your Love Run Free - 6:0003. Keep a Wise Mind - 3:1904. So Long Marianne - 3:4405. She Belongs to Me - 4:2906. Yat Rock - 6:0807. Dawn - 3:0008. Children of the North Prison - 4:1509. Everyday - 3:53
1. Bell + Arcor2. Bell + Arcor3. Bell + Arc
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November 23, 2016, 12:48 am
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Size: 79.8 MBBit Rate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Bobby Brown's 1972 LP The Enlightening Beam of Axonda is a holy grail for collectors of rare psych, and one of the most idiosyncratic works to emerge from the West Coast petri-dish of psychedelics and self-motivated outsiders. The LP was originally issued in a small run on Destiny Records, and today trades hands for absurdly inflated prices.
Most people associate the DIY musical aesthetic and attitude with the early tremors of punk rock, but it goes back much further than that. You could make a case that it stretches back to early folk and gospel, where each artist literally had to do everything themselves; there is certainly precedent for blues, as well. But for the sake of this article, we’re going to look at the early ‘70s—and 1972, to be exact.
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By this time, the Summer of Love mentality was waning, and music was no longer a leading source of social protest. In fact, the music of the early ‘70s was mostly characterized by the rise in MOR pop/rock and a renewed focus on making music that just sounded good. AM radio was flooded with bands like Bread, America, and Seals and Croft (all of which I love, by the way); and songs like "Aubrey" and "A Horse with No Name" were pouring out of every rocking hatchback.
It was a far cry from the LSD-fueled psych-pop of the previous decade. And while many artists found success in compromise, there were still isolated segments of the musical populace who were determined to continue doing things their own way.
And one of these musicians was frequent Hawaii resident and psych auteur Bobby Brown.
I first came across Brown through some online forums and the recommendations of a few random users. At the time, I was listening to musicians like Tim Buckley, Jackson C. Frank and The Incredible String Band; and so, based on my appreciation for those artists, I was directed to Brown’s 1972 record, "The Enlightening Beam of Axonda."
As I searched for any information on the album and Brown himself—and precious little was forthcoming—I slowly began to get a relative picture of the man and his music. With echoes of primitive new age, folk and pop, Brown created music that attempted to detail the natural beauty of the landscape around him, which at the time were the pristine shores and verdant forests of Hawaii. This was even evident in the titles to songs like "My Hawaiian Home" and "Oneness with the Forest."
To help facilitate his musical vision, Brown constructed and maintained what he called "the universal one-man orchestra." This elaborate instrument was actually an amalgam of numerous different instruments from around the world, which was meant to be played by hand and foot simultaneously. Irish harp, koto, flute, sitar, dulcimer and thumb piano (among many others) were all represented in some fashion within the machine, which had a total of 311 strings.
"The Enlightening Beam of Axonda" was less about a strict musical formalism and more about the evocation of time and place. The songs tended to run together, as there were only slightly discernible breaks between some tracks. But that’s not to say the record sounded overly homogenous. Within each track were acres of fertile musical landscape, just waiting for some person to come along and dig in. And that’s what Brown wanted—observation of the world around you and an appropriate reaction on the part of the listener, whatever that reaction might be.
There was no exclusivity in his music, only an inherent humbleness and communal inclusiveness. And yes, he did have the requisite hippie lifestyle and wide-eyed ‘60s ideals, but these things never felt out of place in his life and music. If anything, they lent the album a naiveté that paired perfectly with the often-abstract lyricism.
Brown's tendency toward spoken-word, stream-of-conscious soliloquies and overt Middle Eastern instrumentation can occasionally feel a bit more fey and dated than some of his psych peers, but "Axonda" sounds far more complete and wonderfully detailed in its depiction of man and his place within the world than many of his '70s musical cohorts. Each individual song goes through numerous iterations and forms, which present a series of cyclical melodies and atypical rhythms.
And while I was immediately intrigued by Brown's use of harmony and musical didacticism (his views on the conservation of nature are quite evident through his lyrics), the album required repeated listens to completely get its hooks into me. The ways in which he twisted melodies through his homemade instruments required a primer period of adjustment. This wasn't the Bee Gees, after all.
But the album felt honest and open and even seemed to revel in its transparent intentions. Brown signed a good many of the original LPs he sold and included his home address and phone number in case you wanted to get in touch about setting up a performance. These were the actions of a man who honestly felt the need for connection with his audience. There was no musical subterfuge here, only an open invitation to his fans.
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For the past fifteen years, Bobby has stuck with his vision of a "one man show", always creating new instruments and new styles of singing and playing as he went along. Bobby's voice is perhaps his most remarkable instrument. Covering a six octave range (possibly the widest range ever recorded) it is capable of creating almost any texture he desires. But his "one man band" orchestra is not to be overlooked.
Originally composed of about fifty instruments it contained 311 strings and took three hours to set up and tune. Instruments varied from a tiny electrified spring to a monstrous fifteen foot electrified drone. Some were of original invention, while others were electrified versions of instruments found around the world. With this set, he recorded his first album THE ENLIGHTENING BEAM OF AXONDA. An extension of his doctoral thesis begun at UCLA, it contains a story about possible new discoveries in physics that could lead to technological advances that would in turn lead to a very unique and very optimistic view of the future.
01. I Must Be Born 02. My Hawaiian Home 03. Mama Knows Boys A Rambler 04. Mambo Che Chay 05. Oneness With The Forest 06. Tiny Wind Of Shanol 07. Bray 08. Axonda 09. Goin'On Through 10. Preparation Dimension Of Heaven1.
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November 28, 2016, 10:23 pm
On November 7th of 2014, on the famous Circuit Paul Ricard located at Le Castellet in South of France, François Gissy has reached an incredible speed of 333 km/h on the rocket-propelled bicycle designed by his friend Arnold Neracher.
More than 300 km/h on a skinny and completely stripped bicycle, this is amazing, and crazy! Who thought that one day a daredevil on a bicycle, with a rocket under the saddle, could travel the quarter mile in less than 7 seconds?
Data of the fastest run set on 7 November 2014:Peak speed: 333 km/h (207 mph) attained after around 250 meters.
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November 30, 2016, 10:04 pm
Anyone who have a copy?
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Enjoy, ChrisGoesRock
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