Size: 153 MB Bit Rate: 256 mp3 Found in DC++ World Were Pentangle a folk group, a folk-rock group, or something that resists classification? They could hardly be called a rock & roll act; they didn't use electric instruments often, and were built around two virtuoso guitarists, Bert Jansch and John Renbourn, who were already well-established on the folk circuit before the group formed. Image may be NSFW. Clik here to view.Yet their hunger for eclectic experimentation fit into the milieu of late-'60s progressive rock and psychedelia well, and much of their audience came from the rock and pop worlds, rather than the folk crowd. With Jacqui McShee on vocals and a rhythm section of Danny Thompson (bass) and Terry Cox (drums), the group mastered a breathtaking repertoire that encompassed traditional ballads, blues, jazz, pop, and reworkings of rock oldies, often blending different genres in the same piece. Their prodigious individual talents perhaps ensured a brief lifespan, but at their peak they melded their distinct and immense skills to egg each other on to heights they couldn't have achieved on their own, in the manner of great rock combos like the Beatles and Buffalo Springfield. When Pentangle formed around late 1966 or early 1967 (accounts vary), Jansch and Renbourn had already recorded one album together (Bert and John), and done some solo recordings as well. Jansch was more inclined toward blues and contemporary songwriting than Renbourn, who was stronger in traditional British folk music. Jacqui McShee, whose bell-clear, high singing set the standard (along with Sandy Denny) for female British folk-rock vocals, began rehearsing with the pair. After a false start with a forgotten rhythm section, Thompson and Cox -- who had been working with Alexis Korner -- were brought in to complete the quintet.
Pentangle's first three albums -- The Pentangle (1968), the double-LP Sweet Child (1968), and Basket of Light (1969) -- are not only their best efforts, but arguably their only truly essential ones. With Shel Talmy acting as producer, the band rarely took a misstep in its mastery of diverse styles and material. Thompson and Cox gave even the traditional folk ballads a jazz swing and verve; the guitar interplay of Jansch (who was also a capable singer) and Renbourn was downright thrilling, each complementing and enhancing the other without showing off or getting in each other's way. McShee's beautiful vocals, though not as emotionally resonant as her close counterpart Sandy Denny, were an under-appreciated component to the band's success with the pop audience. And Pentangle were very popular for a time, at least in England, where Basket of Light made number five, and "Light Flight" was a small hit single. They introduced some electric guitars on their early-'70s albums, which generally suffered from weaker material and a less unified group effort.
The original lineup broke up in 1973; Jansch and Renbourn (who had never really abandoned their solo careers) continued to record often as soloists, and remained top attractions on the folk circuit. Thompson joined John Martyn for a while, and has remained active as a session musician, in addition to recording some work of his own for the Hannibal label. The original group reunited for the reasonably accomplished Open the Door album in the early '80s, and other versions of the group recorded and toured throughout the '80s and '90s, usually featuring McShee and Jansch as the sole remaining original members.
The Pentangle - Berkeley Community Theater, California 1970-05-29 - Friday 8:00 pm single show Line-up: ★ John Renbourn: acoustic guitar, sitar, vocals ★ Bert Jansch: acoustic & electric guitars, banjo, vocals ★ Jacqui McShee: vocals ★ Danny Thompson: double bass ★ Terry Cox: drums, glockenspiel, vocals. 01 - A few seconds of tuning up 02 - Sally Go Round The Roses 03 - Bruton Town 04 - Sally Free & Easy 05 - Sarabande 06 - Hunting Song 07 - In Time 08 - Lyke-Wake Dirge 09 - Light Flight 10 - Goodbye Pork Pie Hat 11 - Speak Of The Devil 12 - Train Song 13 - House Carpenter 14 - Pentangling
Seasick Steve - "Down On The Farm" and "Thunderbird"
Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in life than other musicians. A storytelling singer reviving traditional country blues, Wold spent his childhood in California, but left home at 14. As a hobo, he traveled for several years, jumping trains and working odd jobs.
After drifting around the U.S. and Europe, he finally ended up in Norway. Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television, and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he'd finally released some official material. His first solo album, Doghouse Music, out in late 2006, was performed almost entirely by Wold. Another record, Cheap, was recorded with the Swedish rhythm section the Level Devils.
An amorous seven-track Valentine's Day EP called Songs for Elisabeth (six of the cuts were culled from previous releases) arrived in 2010. With a rustic and at times almost punk-blues approach to his material, Wold increasingly merged country blues trance boogie with a street-holler voice that makes Tom Waits seem like a mainstream crooner, and the best of his songs carry a hard-earned wisdom that can only come from living on the street one block over from the edge of civility.
He released the stark and powerful You Can't Teach an Old Dog New Tricks in 2011, and returned in 2013 with his sixth offering, Hubcap Music, which featured guest appearances from Jack White and Led Zeppelin bassist John Paul Jones. In 2015, Seasick Steve showed that his blues power was still running strong with the release of the album Sonic Soul Surfer. His creative surge didn't stop there and the singer/songwriter followed up with his eighth studio effort, Keepin' the Horse Between Me and the Ground in 2016.
Size: 66.5 MB Bit Rate: 256 mp3 Ripped by: ChrisGoesRock Artwork Inclded Source: 24-Bi Remaster American Blues were an American 1960s Texas-based garage rock band, who played a psychedelic style of blues rock music influenced by the 13th Floor Elevators. They are most notable for including two future members of the band ZZ Top in their ranks, Dusty Hill and Frank Beard.
From 1966 to 1968, they played the Dallas-Fort Worth-Houston circuit and headlined in three clubs all called "The Cellar", in Dallas at clubs such as "The Walrus" on Mockingbird Lane, and in Houston at "Love Street Light Circus Feel Good Machine" on Allen's Landing, as late as 1968.
Around 1968 the band (the two Hill brothers and Beard) decided to leave the Dallas–Fort Worth area, relocating to Houston. At this time, however, guitarist Rocky Hill wanted to focus on "straight blues", while his brother Dusty wanted the band to rock more. Rocky left the band, and the remaining two members joined the recently formed ZZ Top. Rocky Hill continued to tour around Texas, and elsewhere, becoming one of a number of guitarists well-known within the state for their blues guitar prowess, such as Rocky Athis and Charlie Sexton. In this role, his playing in Austin was said[by whom?] to have been an influence on guitarist Stevie Ray Vaughan's formative years, as well. He sometimes referred to himself as "The Anti-Clapton", and one writer with the Houston Press called Rocky "perhaps the wildest and scariest – both onstage and off – of all the Texas white-boy blues guitarists. Formed in Dallas, Texas, USA, in 1968, the American Blues evolved out of local club attraction the Warlocks when Rocky Hill (guitar), Dusty Hill (b. Joe Hill, 19 May 1949, Dallas, Texas, USA; bass), Doug Davis (organ) and Frank Beard (b. 11 June 1949, Frankston, Texas, USA; drums) took their new name upon adopting a more ‘progressive’ sound.
The American Blues Is Here, released on the local Karma Records label, featured their reworking of Tim Hardin’s ‘If I Were A Carpenter’ and generated sufficient interest to secure a major contract with Uni Records. The American Blues Do Their Thing offered a form of hard rock psychedelia, as evinced by such titles as ‘Chocolate Ego’ and ‘Nightmare Of A Wise Man’, but the album failed to spark national interest. The group disintegrated soon afterwards, with first Beard, then Dusty Hill, joining ZZ Top. John Rockford "Rocky" Hill (December 1, 1946 – April 10, 2009) was a blues guitarist, singer, and bassist from Dallas, Texas, United States. Hill was the older brother of ZZ Top bassist, Dusty Hill. Joseph Michael "Dusty" Hill (born May 19, 1949) is the bassist, keyboardist, and co-vocalist with the American rock group ZZ Top. Hill was born in Dallas, Texas, and grew up in the Lakewood neighborhood of East Dallas. He attended Woodrow Wilson High School (Dallas) where he played the cello. Along with his brother Rocky Hill and future fellow ZZ Top member Frank Beard, Dusty Hill played in local Dallas bands the Warlocks, the Cellar Dwellers, and American Blues. From 1966 to 1968, American Blues played the Dallas-Fort Worth-Houston circuit. In 1969, Hill was a member of a fake version of the British band The Zombies with Beard. In 1968, the band decided to leave the Dallas–Fort Worth area and relocate to Houston. At this time, however, guitarist Rocky Hill wanted to focus on "straight blues", while Dusty wanted the band to rock more. Rocky left the band and Dusty and Beard moved to Houston, joining guitarist/vocalist Billy Gibbons of Houston psychedelic-rockers Moving Sidewalks in the recently formed ZZ Top just after they released their first single in 1969. Members ♦ Rocky Hill - guitar ♦ Dusty Hill - bass ♦ Richard Harris - drums ♦ Doug Davis - piano on "Mellow" ♦ Frank Beard - drums 01. You Were So Close To Me 03:24 02. Wonder Man 02:26 03. Just Plain Jane 02:34 04. Shady 02:05 05. Comin' Back Home 05:35 06. Captain Fire 03:18 07. Chocolate Ego 03:04 08. Nightmare Of A Wise Man 03:24 09. Dreams 02:52 10. Softly To The Sun 02:33
01. Psych-Out - Movie Promo Spot 02. Fever Tree - Now Sounds spot for Houston Post 03. Boyce & Hart - Coke Spot # 1 04. The Litter - 7-Up Spot 05. The Trip - Movie Promo Spot 06. Cream - Falstaff Beer Spot 07. Electric Prunes - Vox Wah Wah Spot 08. Six Feet Under - Boogie Man Bash Spot 09. Sopwith Camel - Levis Spot # 1 (Funny Fabric) 10. The Living Eye Club, Houston - Promo 11. Vanilla Fudge - Coke Spot # 1 12. Iron Butterfly - Ban Roll-On Spot 13. 1966 Plymouth Baracuda Spot 14. Jefferson Airplane - Levis Spot # 1 (Grace - White Levis) 15. Moody Blues - Coke Spot # 1 16. Shadows of Knight - Band Promo Spot (Buy Willie Jean) 17. Paul Revere & Raiders - The Judge, Pontiac GTO Promo 18. The Nazz - Band Promo Spot # 1 (Call of the Wild Nazz) 19. Easy Beats - Coke Spot # 1 20. Batman Merchandise - J.C. Penny Spot, Dallas Ft. Worth 21. Quicksilver - Chevy Camaro Spot 22. Bee Gees - Coke Spot # 1 23. Hell's Angels on Wheels - Movie Promo Spot 24. Blues Magoos - Great Shakes Spot 25. Left Banke - Coke Spot 26. Charlatan's - Alabama Bound LP Promo (Magician) 27. Jefferson Airplane - Levis Spot # 2 (Spencer-Twig City) 28. Los Bravos - Coke Spot 29. Paul Revere & Raiders - Revolution LP Promo 30. Troggs - Coke Spot 31. Sopwith Camel - Levis Spot # 2 (Take Out The Stretch) 32. The Nazz - Band Promo Spot # 2 (Tommy Truckdriver) 33. The Who - Great Shakes Spot 34. Hullabaloo Club Promo, Ann Arbor Michigan 35. Vanilla Fudge - Coke Spot # 2 36. Vox Wah Wah Promo Spot 37. Charlatans - Groom & Clean Spot 38. Easy Beats - Coke Spot # 2 39. The Baroques - Iowa/Mary Jane Promo Spot 40. Bobby Fuller - Gallancamps Shoe Spot 41. American Breed - Coke Spot # 1
Psychedelic Promos & Radio Spots Vol. 2
01. The "In Sound" Featuring The Song "Up There" by the SCOUNDRELS 02. KIM FOWLEY – Outrageous LP Promo 03. The Galaxy Club, Belvue, WA, Featuring WEST COAST NATURAL GAS 04. The "In Sound" With The BLUES MAGOOS 05. NIKITA THE "K"– Radio Moscow - Blues Magoos Spoof by the "Red Magoos" 06. GREEN SLIME – MGM Movie Promo 07. CHAD & JEREMY – Of Cabbages & Kings LP Promo 08. The "In Sound" With SEAN BONNIWELL 09. LEE LEANS, "Jeans by Lee"– Radio Spot 10. THE WHO – BBC Radio One Promo 11. THE SEX MACHINE – Club Spot On WHAT Radio Station, Philadelphia, PA 12. THE ZOMBIES – Bunny Lake Is Missing – Movie Promo 13. The "In Sound" With The KITCHEN CINQ 14. Trident Records Promo, Featuring MYSTERY TREND, BLACKBURN & SNOW & SONS OF CHAMPLAIN 15. KIM FOWLEY – Underground Animal LP Promo 16. PAUL REVERE & RAIDERS – SS-396 Car Promo (Full Song) 17. KNICKERBOCKERS – Lakeland FL, Concert Promo 1 18. BRAWLEY MALE – Radio Spot For Clothing Store 19. SHERBET – Coke Spot (Australian Band) 20. The "In Sound" with THE MONKEES 21. VELVET UNDERGROUND – 3rd LP Promo 22. EVERGREEN BATTLE OF THE BANDS – Seattle, WA Concert Promo 23. BOSS KHJ – "Hit Bound"– LA Radio Station Jingle. 24. KHJ – Mustang Promo 25. THE LIVERPOOLS – Thom McCann’s Shoe Spot 26. GOLDEN EARRING – Coke Spot 27. The "In Sound" With ROGER McGUINN 28. CREAM – Fallstaff Beer Spot (With Announcer) 29. LEFT BANKE – Hertz Rent-A-Car Spot 30. Cheetah Club– Promo for LA Nightclub featuring HAMILTON STREETCAR & KITCHEN CINQ 31. MOBY GRAPE – Truly Fine Citizen LP Promo 32. DR. WEST’S MEDICINE SHOW & JUNK BAND – Eggplant LP Promo 33. VELVET UNDERGROUND – White Light, White Heat LP Promo 34. The "In Sound" With ? AND THE MYSTERIANS 35. MILTONE BERLE – Yellow Submarine – Promo Single 36. UCNCB – The Utica Club – Promo 37. ROLLING STONES – Dallas Concert Promo Sponsored by "Sumpin’ Else" TV Show. 38. VENTURES – Underground Fire LP Promo 39. VENTURES – Hawaii Five-O LP Promo 40. LEFTE BANKE – Toni Hair Spray Radio Spot 41. THE HAPPENING CLUB – Seattle, WA, Night Club Promo featuring SONICS & GASS COMPANY 42. KNICKERBOCKERS – Lakeland FL, Concert Promo 2 43. BOYCE & HART – Coke Spot # 2 44. AVE DIAMOND – Excerpts From "The Diamond Mine" Radio Program On KBLA, Burbank, CA 45. HULLABALOO CLUB – Promo for LA Night Club 46. The "In Sound" With EVERY MOTHER’S SON 47. BOOKET T. & THE MG’s – McLemore Avenue LP Promo 48. B. MITCHELL REED – Leather Ltd. Ad, KMET, LA, CA 49. TOM DONAHUE – Jeans West Spot, KSAN, SF, CA 50. LEOPOLD RECORDS – X-69 Spot, KSAN, SF, CA
Size: 182 MB Bit Rate: 256 + 320 mp3 Found at RCA Studios Artwork Included G.I. Blues is the eleventh album by Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2256, in October 1960. Recording sessions took place on April 27 and 28, and May 6, 1960, at RCA Studio C and Radio Recorders in Hollywood, California. The album topped the Billboard Top Pop Album chart and has been certified by the RIAA as a platinum album.
Music on this album comprised songs that had appeared in the film of the same name. The song "Wooden Heart" was released as a single in the United Kingdom, where it was #1 for six weeks.
In the United States, Joe Dowell recorded a cover version of "Wooden Heart" that topped the Billboard Hot 100. RCA later released "Wooden Heart" by Presley as the b-side of a single twice, once in 1964 on the back of a reissue of "Blue Christmas," and again on the flip of a belated issue in 1965 of "Puppet On A String" from the Girl Happy movie. Four songs from this album appear on the 1995 soundtrack compilation: "G.I. Blues,""Wooden Heart,""Shoppin' Around," and "Doin' the Best I Can."
Due to copyright reasons, the European version of the soundtrack album and film substitutes the opening track "Tonight Is So Right for Love" with the song "Tonight's All Right for Love," adapted from a melody by 19th century waltz-king Johann Strauss II. Interestingly, the melody for "Tonight Is So Right for Love" was taken directly from a barcarolle composed by Jacques Offenbach, one of Strauss's contemporaries. An American release of "Tonight's All Right for Love" did not occur until it appeared on the compilation album Elvis: A Legendary Performer Volume 1 in 1974. The version of "Blue Suede Shoes" used on the soundtrack is a new recording of the song Presley first recorded in 1956, and is one of only a few songs that Presley would re-record in a studio setting during his career, others being "Love Letters" and "A Little Less Conversation."
Soundtrack recordings for Paramount's "G.I. Blues" motion picture. Recorded April 27-28, 1960 at RCA Studios, Hollywood, CA & and on May 6, 1960 at Radio Recorders, Hollywood, CA Musicians: ♣ Elvis Presley: vocals; guitar on "Shoppin' Around" ♣ Scotty Moore: guitar ♣ Tiny Timbrell: guitar ♣ Neal Matthews: guitar ♣ Dudley Brooks: piano ♣ Jimmie Haskell: accordion ♣ Ray Siegel: bass ♣ DJ Fontana: drums ♣ Frank Bode: drums ♣ Hoyt Hawkins: tambourine ♣ The Jordanaires: back-up vocals ♣ Joseph Lilley: producer/arranger ♣ Thorne Nogar: engineer (May 6th session) ♣ unknown(s): engineer (April 27-28th sessions) Elvis Presley - "G.I. Blues 1960 at RCA Studios, Hollywood" 01. Shoppin' Around (Tk.4) 01:46 02. Tonight Is So Right For Love (Tk.3) 02:18 03. Shoppin' Around (Tk.6,7,9,10) 04:15 04. Pocketful Of Rainbows (Tk.15,16) 03:14 05. Tonight's All Right For Love (Tk.6) 01:23 06. What's She Really Like (Tk.9-11) 04:01 07. Frankfurt Special (Fast, Tk.3,4,7) 04:43 08. Big Boots (Fast, Tk.3) 01:23 09. Wooden Heart (Tk.1-3) 03:34 10. Frankfurt Special (Medium, Tk.6-8) 05:27 11. Big Boots (Fast, Tk.5) 01:20 12. Doin' The Best I Can (Tk.3) 03:22 13. What's She Really Like (Tk.12-13) 03:05 14. Shoppin' Around (Tk.3,5) 03:16 15. Big Boots (Slow, Tk.2,4,6) 03:17 16. Big Boots (Fast, Tk.6-7) 01:46 17. Tonight's All Right For Love (Tk.14-17) 04:33 18. Vienna Woods Rock And Roll (Tk.4) 02:06 On April 27, 2016, RCA remastered the album for compact disc, adding eight outtakes from the recording session as bonus tracks. Two songs were previously released, the acoustic version of "Big Boots" appearing on the posthumous 1978 album Elvis Sings for Children and Grown-Ups Too, and the substitute "Tonight's All Right For Love." Elvis Presley - G.I. Blues (US 1960) The finished Original Album as Bonus: 01. 4/27/60 Tonight Is So Right for Love - Abner Silver and Sid Wayne 2:14 02. 4/28/60 What's She Really Like - Abner Silver and Sid Wayne 2:17 03. 5/6/60 Frankfort Special - Sid Wayne and Sherman Edwards 2:58 04. 4/28/60 Wooden Heart - Ben Weisman, Fred Wise, Kathleen Twomey, Bert Kaempfert 2:03 05. 4/27/60 G.I. Blues - Sid Tepper and Roy C. Bennett 2:36 06. 5/6/60 Pocketful of Rainbows - Ben Weisman and Fred Wise 2:35 07. 5/6/60 Shoppin' Around - Aaron Schroeder, Sid Tepper, Roy C. Bennett 2:24 08. 5/6/60 Big Boots - Sid Wayne and Sherman Edwards 1:31 09. 4/27/60 Didja' Ever - Sid Wayne and Sherman Edwards 2:36 10. 4/28/60 Blue Suede Shoes - Carl Perkins 2:07 11. 4/27/60 Doin' the Best I Can - Doc Pomus and Mort Shuman 3:10
Size: 162 MB Bit Rate: 320 mp3 Found at Outer Space Some Artwork Included One of the most colorful characters in the annals of rock & roll, Kim Fowley was, over the course of his decades-long career, a true jack-of-all-trades: singer, songwriter, producer, manager, disc jockey, promoter, and published poet. He was also the catalyst behind much of the pop music to emerge from the Los Angeles area during the 1960s and '70s, guiding several of his associates and protégés to fame and fortune, while remaining himself a shadowy cult figure well outside the margins of the mainstream.
The son of actor Douglas Fowley (who appeared in Singin' in the Rain), Kim Fowley was born July 27, 1942, in L.A., and made his first recordings with drummer Sandy Nelson during the late '50s. After working with a number of short-lived groups including the Paradons and the Innocents, Fowley found his first taste of success by producing the Top 20 hit "Cherry Pie" for schoolmates Gary S. Paxton and Skip Battin, who performed under the name Skip & Flip. With Battin, Fowley next created the group the Hollywood Argyles, who topped the charts in 1960 with the novelty smash "Alley Oop."
The duo subsequently masterminded Paul Revere & the Raiders' first hit, "Like Long Hair," and in 1962 helped launch the Rivingtons, scoring with the classic "Papa-Oom-Mow-Mow." Another novelty hit, B. Bumble & the Stingers'"Nut Rocker," reached number one in the U.K. (and would be covered by Emerson, Lake & Palmer), and in 1964 Fowley even began handling promotional chores for singer P.J. Proby; that same year, he also produced the girl group smash "Popsicles and Icicles" by the Murmaids. In the mid-'60s, Fowley became immersed in the Los Angeles counterculture, befriending Frank Zappa and his band the Mothers of Invention, and later appearing on their Freak Out! LP. A prolific songwriter, he also composed material recorded by the Byrds, Cat Stevens, Them, and Kiss, and produced the likes of Gene Vincent, Warren Zevon, Soft Machine, and Helen Reddy.
Finally, in 1967 Fowley issued his own solo debut, Love Is Alive and Well, a record that found him closely aligned with the flower power movement. (Fowley also claimed to have staged the first "love-in" in Los Angeles.) A series of solo records followed, including 1968's suitably titled Outrageous, 1970's The Day the Earth Stood Still, and 1973's International Heroes, but none garnered the commercial success of so many of his other projects. In 1975, after completing the LP Animal God of the Streets, Fowley returned to his Svengali role by assembling the notorious Runaways, a teenage hard rock girl group featuring a young Joan Jett, Lita Ford, and Cherie Currie. Designed as equal parts manufactured novelty and bid for female rock & roll domination, the group didn't sell many records in their original run but proved to be massively influential, and after the original group splintered, Fowley even launched another Runaways in the '80s. (Another girl group, the Orchids, was his idea as well, as were the Hollywood Stars, conceived as the L.A. answer to the New York Dolls.)
Fowley became a mover and shaker in the early days of the Los Angeles punk scene, creating yet another manufactured band, Venus and the Razorblades, and staging "New Wave Nights" at Hollywood clubs, one of which spawned the early live album from the Germs, Germicide. Fowley's standing within the musical community faded over the course of the following decades, though he never truly went away, and in his later years, he worked with the likes of Ariel Pink and BMX Bandits.
He continued recording for his small but avid cult following, most notably with 1980's Hollywood Confidential, 1993's Hotel Insomnia, and 1995's Kings of Saturday Night (a collaboration with Ben Vaughn), as well as two albums with a rotating cast of Detroit-based musicians, Michigan Babylon and Detroit Invasion. Fowley also partnered with Norton Records to release several collections of rarities from his catalog, and their affiliated publishing house Kicks Books issued a collection of his writings, Lord of Garbage. Fowley died on January 15, 2015 in West Hollywood, California after a battle with bladder cancer; he was 75 years old. Kim Fowley - Love is Alive and Well (US 1967) 01. Love Is Alive and Well 1:34 02. Flower City 2:07 03. Flower Drum Drum 2:58 04. This Planet Love 2:10 05. War Game 3:07 06. Reincarnation 2:08 07. See How the Other Half Love 2:00 08. Flowers 1:45 09. Super Flower 1:59 10. Me 1:45 Bonus: Kim Fowley - Outrageous (US 1968) 01. Animal Man 2:44 02. Wildfire 4:09 03. Hide and Seek 2:08 04. Chinese Water Torture 0:45 05. Nightrider 2:22 06. Bubble Gum 2:27 07. Inner Space Mystery 4:01 08. Barefoot Country Boy 2:02 09. Up, Caught in the Middle, Down 14.30 Extra Bonus: 01. One Man Band - 02.13 02. Kangaroo - 03.55 03. Kim Fowley Single - The Trip - 02.01
Size: 157 MB Bit Rate: 320 mp3 Found at: [BBB]BluesLovers Hub Artwork Included Buddy Guy: I have always found it fascinating that greatest Blues Guitarists who influenced Buddy, were actually influenced by him in great length. Buddy Guy’s showmanship and at the same time modesty is worth its own story. Never dreaming of reaching any heights, he was beyond happy just being near his favorite Bluesmen.
Born in Louisiana’s countryside, without ever seeing running water until he was in his late teens. His first guitar experience was with a rubber band, then a two stringer which he made on his own (out of windscreen strings used to protect windows from mosquitoes) and taught himself how to play. This was after hearing a friend of the family come visit for Christmas and play John Lee Hooker’s “Boogie Chillin”.
Exposed to the great Delta Blues Musicians of that time, Buddy began performing in the area of Baton Rouge before moving to Chicago in late 1950’s. His showmanship was borrowed from Guitar Slim, a Bluesman known for his playing from outside the club with a 150-ft chord and entering the bars on top of another man’s shoulders all while playing a Strat.
In Chicago, Buddy Guy began visiting Blues Clubs on all sides of town and listening to Muddy Waters, Howlin’ Wolf, Little Walter, Junior Wells, Sonny Boy, Otis Spahn, Hubert Sumlin and many others in their prime. Being able to be used as session guitarist in Chess Records, Buddy managed two different Blues Guitar lives. One when he was performing – a wild side with or without clothes and being all over the place. Another – always being behind the star who was recording in the studio, just being there and doing what he is told. Buddy recalls those times as being on top of the world. It seemed as all his dreams came true while he was meeting more and more Blues Musicians. Buddy Guy’s career continues to flourish now in his late 70’s. A Polka-Dot Strat, huge smile on his face and soul-burning licks either on stadiums or in his own Blues Club – Buddy Guy’s Legends in Chicago.
Every time you would think it does not get any better, he comes out and plays one louder, one smoother, one more blue note and one meaner tune. He is keeping the Blues alive as he had promised those with whom he made it into what it is. Through him there will be others always keeping the Blues alive. Buddy is known for his signature Polka-Dot Fender Stratocaster. Passion for vintage tweed Fender amps and a rich choice of Ernie Ball .11 strings. His main axe is a cream-colored Strat, custom built Chicago workshop amps made after Fender Bassman and a 0.73 dunlop picks of unknown material.
Mr. Guy has been my personal influence and teacher. A belief that all things are possible regardless of your background, resources or any factors for that reason. I have always listened to his unique but most versatile style of playing with some extent of curiosity. It is almost as if his music answers my questions which I cannot even ask. It’s the feeling that got me closer in my search for Blues Guitar. I had the greatest blessing of seeing BG live a couple of times and both of them I could not stay still. The memories will remain forever and I will share them with the kids down the road.
I wish I could come to the man at some point and exchange a few words with him as he did with the greats of his time. I wish Buddy Guy lives for decades to come and enjoys what he does as sincerely as he did back in Baton Rouge. Hopefully at some point, I will be able to express my respect to the man himself. Hopefully, influenced by him, I will be a part of what will keep their legacy. Thank you Buddy Guy, for sincere, unhinged, passionate protection of what kept so many people from despair and gave so many others hope and strength to move on. Thank you for keeping the Blues alive. Buddy Guy Legends: ddy Guy’s Legends, the well of memories that will quench my thirst for a couple lives to come. If I reincarnate as a caterpillar, I’ll still tell the butterflies around, about the times I’ve been in this Chicago’s Blues club.
The club itself was established in 1989 and the sign stating “Honorary Buddy Guy Way” is hanging right in front of the entrance. There, you can always listen to live Blues and every January, Buddy Guy performs from Thursday to Sunday for an entire month as part of his “Residency Performance”. The place had seen the the greatest people visit throughout it’s 25 years of existence. Both, top-grade musicians and visitors with great taste of music. I’ve called Legends at 2 pm the day of the show. Asked the kind lady on the phone what time should I get there to find a seat for Buddy Guy performance at 11.30 pm. The kind lady said “Now”. I was somewhat intimidated by the Legends “First-come-first-serve” rule but I urge all the first-comers to dismiss doubts. The comfort and intelligent design of the stage did not make it an issue. A gray-haired couple next to me were giving me a run for the money, dancing to the Damn Right Blues Band till 3 am. When you anxiously locate 700 S. Wabash, you see the corner building with the walls covered in mosaic faces of Chicago Blues Legends: Little Walter, Stevie Ray Vaughan, John Lee Hooker, Howlin’ Wolf. Immediately you know that you will remember this visit.
Walking into Buddy Guy’s Legends, you see a cozy, subtle grandeur of Blues history and memorabilia all over. Everywhere around the perimeter, signed guitars are hanging under the ceiling. The walls are covered with glassed pictures, outfits and other items from fans, Buddy Guy and the best of Blues legends history. The stage itself is a short pedestal in the middle of the back wall. It’s surrounded by a number of tables (that were all packed with people drinking since 2 pm) and on both sides of the hall, bar sections are serving guests. I was truly enjoying how efficient was the entire building as an organism. No lines, no waiting, no discomfort or loss in space. The staff needs an article of their own for the welcoming, helpful assistance and thorough service provided while making you feel like you are at home. In front of my eyes, one of the security gentlemen took that gray-haired couple from behind a few tall men and moved them to a place where they could see the “Puma” shoes on Buddy Guy’s feet. I don’t think that it’s something coming form instructions, to do among the avalanche of other duties and I choose to believe that it was a great gesture of human kindness. Special “thank you” to all the staff hard work, making our time there memorable. Special thanks to a beautiful girl, working there that I had a crush on. Thought I might get bored if I come too early before the main show. The Blues was there throughout the day: Lunch Session, Dinner Jam, Warm-up & Buddy Guy himself. However, my thoughts were fast-dismissed when I came up to the second floor of the Blues club.
There I saw more walls covered with stories of Blues decades past, more guitars, another bar and pool tables. All over, large screens were streaming what was going on downstairs for those who may have felt fatigue and wanted to rest at one of many tables around. There, hours went by as I was reading the priceless walls, meeting like-minded people, talking to the band members and playing dozens of pool games. A word of caution: If you care for your beer, finish it before you go outside to smoke. When you will be back, your Buddy Brew won’t be waiting there, where you left it. Same goes for the food. I did not care, the Buddy Brew is a homemade beer of Buddy Guy’s Legends and is more than affordable compared to the bars of Chicago. More so, it was fantastic. I took one home with me and opened it 5048 miles later to relive the memories I’ve gathered one more time. Buddy Guy had much of his stage act inspired by Guitar Slim. This includes beginning to play before he enters the room. He’d done it ever since playing in 1950s Baton Rouge. It hadn’t changed and when Buddy Guy stormed onto the stage from the backdoor, well into “Damn Right I Got The Blues”, the crowd exploded. Buddy Guy and the Damn Right Blues Band gave a proper show. BG played with a pick, fingers, his tongue and even with his rear, while saying “I just wanted you to know that I can do that”. I considered describing it in detail but would much rather add to the pool of people who would say that a Buddy Guy show is a must-see. It really is, and it is full of exciting surprises. The man will soon turn 79 and he still jumps around the room, setting it ablaze better than most of the performers I’ve seen live and on record.
After the show, the band spent another hour or so welcoming the guests (unless they really need to go to the bathroom after a three-hour performance) and BG would be signing things at the gift shop next to the entrance or saying hello to the guests. People of all ages (21+) come to Buddy Guy’s Legends and they all share the same sweet aftertaste that lasts them for decades to come. I, in my twenties will say the same thing that a college professor well in his sixties told me when he learned that I was going to visit Legends. He said that it was a blast and that I should go. I am telling everyone who will have an opportunity to go – it is a blast and you should. Ric Hall: If there were a Lexicon of Chicago Working Musicians, Ric Jaz’s photo would be included right along side the entry: ‘Working Musician’. Born in the Windy City, he truly is a prime example of the best of Chicago musicians; possessing the talent and mastery over his instrument, the guitar as well as audience-pleasing performing capabilities expected of a seasoned professional musician. Ric has played with Soul, R&B, Jazz and Blues bands in Chicago, nationally and internationally, serving as rhythm section leader for the The Dells – legendary band from Harvey, Illinos. In June 2004 Ric took on the duties of rhythm guitar player in the Buddy Guy Band, where he is gaining a quiet but loyal following and greater national exposure on tour with Mr. Guy. Ric also operates a small independent recording studio, recording and producing local artists in addition to his own projects.To not include Ric Jaz in your listing would be a terrible omission – he serves as good will ambassador for the Chicago Music scene while away from his home city and as a local attraction when he is in town playing with Buddy Guy, Linsey Alexander, Joe Bar and Jimmy Tillman.
Otis Taylor: Otis Taylor (born July 30, 1948, Chicago, Illinois, United States) is an American blues musician. He is a multi-instrumentalist whose talents include the guitar, banjo, mandolin, harmonica, and vocals. In 2001, he was awarded a fellowship to the Sundance Film Composers Laboratory. Taylor was born in Chicago and moved at a young age to Denver, Colorado, where he grew up. He originally grew up playing the banjo, but his father wanted him to be a jazz musician. Upon hearing that the banjo was originally an African instrument turned almost exclusively into a white bluegrass instrument in part through the derogatory black-face minstrel shows of the 19th century, Taylor dropped the banjo and began to focus solely on the guitar and harmonica. He played music professionally both in Europe and the United States in a variety of blues-oriented bands, including Zephyr, until 1977, when he left the music industry for other pursuits, including becoming an antique dealer. Taylor returned to music in 1995, and as of 2015, has released fourteen blues albums. His music tends to focus on the hard realities of life, especially relating to the black community. Some common themes in his music are murder, racism, poverty and the need for redemption. To date, Taylor has twelve Blues Music Awards nominations while White African was named 'Best Artist Debut'. Down Beat magazine critics' Poll named Taylor's Truth is Not Fiction as Blues CD of the Year for 2002. Living Blues readers' poll awarded Taylor (along with Etta James) the "Best Blues Entertainer" title in 2004. Down Beat named Taylor's Double V as Blues CD of the Year for 2005. Down Beat named Definition of a Circle as Blues CD of the Year for 2007. They also then named Recapturing the Banjo as "Blues CD of the Year, 2008." His 2008 effort, Recapturing the Banjo, was an attempt to reconnect himself and the world with the true African origins of the banjo. "There may not be," claimed Down Beat in a review, "a better roots album released this year or decade than Recapturing the Banjo." Taylor was the support act on Gary Moore's 2007/8/9 European tours and played on his last album. In May 2009, Taylor won a Blues Music Award for his banjo playing. He held the first Trance Blues Festival in Boulder, Colorado, in November 2010. His 2015 release Hey Joe Opus Red Meat was editor's choice for album of the year in Blues Music Magazine and Premier Guitar Magazine. Album of the year by Blues411 and #2 by Twangville. Named to top 30 albums of the year by The Blues magazine (UK). It received 4 and half stars from Down Beat and was named to their top 100 albums.
Eddy Clearwater: Once dismissed by purists as a Chuck Berry imitator (and an accurate one at that), tall, lean, and lanky Chicago southpaw Eddy Clearwater is now recognized as a prime progenitor of West Side-style blues guitar. That's not to say he won't liven up a gig with a little duck-walking or a frat party rendition of "Shout"; after all, Clearwater brings a wide array of influences to the party. Gospel, country, '50s rock, and deep-down blues are all incorporated into his slashing guitar attack. But when he puts his mind to it, "The Chief" (a nickname accrued from his penchant for donning Native American headdresses on-stage) is one of the Windy City's finest bluesmen. Eddy Harrington split Birmingham, AL, for Chicago in 1950, initially billing himself on the city's South and West sides as Guitar Eddy. His uncle, Rev. Houston H. Harrington, handed his nephew his initial recording opportunity; the good reverend operated a small label, Atomic-H. Eddy made the most of it, laying down a shimmering minor-key instrumental, "A-Minor Cha Cha," and the Berry-derived "Hillbilly Blues" (both on Delmark's Chicago Ain't Nothin' but a Blues Band anthology). Drummer Jump Jackson invented Eddy's stage moniker as a takeoff on the name of Muddy Waters. As Clear Waters, he waxed another terrific Berry knock-off, "Cool Water," for Jackson's LaSalle logo. By the time he journeyed to Cincinnati in 1961 to cut the glorious auto rocker "I Was Gone," a joyous "A Real Good Time," and the timely "Twist Like This" for Federal Records producer Sonny Thompson, he was officially Eddy Clearwater. Things were sparse for quite a while after that; Clearwater occasionally secured a live gig dishing out rock and country ditties when blues jobs dried up. But Rooster Blues' 1980 release of The Chief, an extraordinarily strong album by any standards, announced to the world that Eddy Clearwater's ascendancy to Chicago blues stardom was officially underway. The '90s found Clearwater waxing two encores for Rooster Blues, a set for Blind Pig (1992's Help Yourself), Mean Case of the Blues, in 1996 on his reactivated Cleartone Records, followed by Cool Blues Walk in 1998, Chicago Daily Blues in 1999, and Reservation Blues in mid-2000. With consistently exciting live performances, Clearwater cemented his reputation as a masterful showman whose principal goal is to provide his fans with a real good time. Keeping in that tradition, Clearwater teamed up with like minded showmen Los Straitjackets, releasing Rock n Roll City in 2003 on Rounder, followed five years later by his first session for the Alligator label, West Side Strut. 11th Annual'XRT Bluesbreakers Broadcast Buddy Guy's Legends Chicago, IL US 2008-06-05 Otis Taylor 01. Announcer/Intro 1:56 02. Ran So Hard the Sun Went Down 3:36 03. Announcer/Interview 2:08 04. Absinthe 4:44 05. Announcer 1:44 06. You Don't Know Me w/Buddy Guy 6:41 Buddy Guy w/Rich Hall (Acoustic) 07. Announcer/Intro 0:16 08. Hootchie Cootchie Man 4:12 09. Announcer/Interview 2:09 10. Feels Like Rain 5:10 Eddie "The Chief" Clearwater Band 11. Announcer 1:07 12. I Hope You Don't Take It Wrong 5:15 13. Announcer/Interview 1:58 14. Blue Over You 7:05 15. Announcer/Interview 1:36 16. Walk Through the Park 5:40 17. Announcer/Band Intro 1:23 Eddie "The Chief" Clearwater w/Buddy Guy 18. Announcer 0:36 19. Got My Mojo Workin' 9:00
Size: 77.5 MB Bit Rate: 256 mp3 Found in OuterSpace Some Artwork Included Sleepy Hollow were a Philadelphia power-pop trio that on their only album followed the same trail that Badfinger or the Raspberries used to fill the void the Beatles had left. This album was reissued on 1977 as "Billay" by the scam label Tiger Lily. The albums starts with Sincerely Yours, almost a retake of the Shangri-las Remember (Walking in the Sand) full of drama, strings and synthesizers as sung by an angry John Lennon.
One Time sounds like an A Hard Day's Night - Help lost track with a George Harrison slide solo straight from the All Must Things Past era and feel-good la-la-las. It's followed by Take Me Back, a plaintive mid-tempo with a functional string arrangement and more Harrison-like guitars. Talking Out Of Turn follows, again resting on a Harrison approach. Next is Lay it on the Line a mournful ballad accompanied by a guitar played through a flanger and catchy lines all over. Love Minus You with its McCartneysque piano it's a good track, albeit some strange drum rolls on the end of every chorus. Lady starts as an acoustic effort and develops into a baroque-pop tune which sounds more akin to the Left Banque for a change. Roller Coaster Man it's an up-tempo rocker not far from the Raspberries, with a sparkling piano line, a horn section, a sax solo and a final coda that without fail is going to bring the Beach Boys to the back of your mind. The album closes with Hades, a slow and spooky christmas tune lead by a grand piano and full orchestra arrangements.
All in all, a solid work primarily recommended to early 70s pop lovers. Does it stands to its reputation as a "hidden gem"? Well, it's up to you to decide that. I don't think it could be match with the best efforts of Badfinger or Big Star, but that's a hard mountain to climb for everyone else too. Sleepy Hollow were a power pop trio who hailed from Philadelphia,USA and comprised of members, Richard Billay (vocals,guitar,piano), Richie Bremen (bass) and Joe Zucca (drums). The band released a single album on the Family record label in 1972. Family was an independent label that released a handful of records between 71 and 74 before going bust and is probably most known for releasing Billy Joel's debut solo LP. The music on the album evokes late period Beatles with Billay doing a fine Lennon snarl on LP opener "Sincerely Yours". "Take Me Back" is a pure Raspberries-esque ballad with some fine George Harrison influenced slide guitar.
"Talking Out Of Turn" sounds like it came straight off Emitt Rhodes' Mirror album and the guitar solo sounds uncannily like the one on "Hotel California" by the Eagles, pre-dating it by a good five years! "Lady" is a gentle McCartney style acoustic ballad with string section added by co-producer Tom Sellers (known for his top 20 hit cover of the Who's "Overture From Tommy" as the Assembled Multitude in 1971). Closing track "Hades" is an epic, Christmas themed ballad with massive orchestration, clocking in at over 6 minutes and an unlikely choice for a single release. The LP was re-released in 1977 under the name "Billay" on the infamous tax scam label, Tiger Lily. In true Tiger Lily style, it was released without the band's knowledge. Not a lot of info can be found about what happened to the band after the album came out but a YouTube search brought up a great power popper by Billay/Sleepy Hollow called "I Surrender" and the artwork attached to the video shows Sleepy Hollow plus another new member and appears to be a collection of recordings dating from 1974-1998. If anyone knows of these recordings I would be grateful of any details. 01. Sincerely Yours 03:01 02. One Time 02:05 03. Take Me Back 03:53 04. Talking Out Of Turn 02:48 05. Lay It On The Line 02:43 06. Love Minus You 02:30 07. Lady 02:40 08. Roller Coaster Man 02:58 09. Hades 06:16
Size: 202.3 MB Bit Rate: 256 mp3 Found in DC++ World Some Artwork Included The first compilation of its kind to open up the late Sixties U.S. vaults of EMI labels Capitol, Tower, Imperial, Liberty, etc. Psychedelia is currently celebrating its 40th anniversary since the original Summer Of Love. Many of the tracks on this CD have never been reissued - more so than the previous volumes in this Series, Take My Tip and Insane Times.
Psychedelia was borne in the mid-60s on the West Coast and this CD includes several of the movement's pioneers from the San Francisco, Bay Area and LA scenes - namely Quicksilver Messenger Service, the Steve Miller Band and Mad River, plus the maverick talents of Captain Beefheart. Plus the Beach Boys, of course! Kim Fowley was/is a charismatic svengali-likle producer who has recorded a plethora of different artists - but his classic track 'Bubblegum' was later covered by Sonic Youth. Hour Glass evolved into the Allman Brothers! The Balloon Farm's 'A Question Of Temperature' and the Third Bardo's 'I'm Five Years Ahead Of My Time' are two of the finest examples of psychedelic garage punk ever recorded. This excellent compilation contains 24 tracks with a running time of nearly 80 minutes. Among Psych collections, this baby is most certainly amongst the very best. From the opening of the fuzz-drenched guitar by The Balloon Farm with "A Question Of Temperature", there is not a clunker in this entire collection.
Luckily for us, EMI utilized it's canon of various labels such as Capitol, Tower, Liberty, Roulette, Imperial, and Blue Thumb, to give us a delightful trippy collection of rare 45's, demos, and selected L.P. tracks. As I said, there is not a bad track here with all tracks being at least good, with most tracks being very good to excellent. With the selections coming between the years of 1966 to 1969, and only 1 from 1970, this cd has truly hit the Mother Lode of 60's American Psychedelia. Some of my favorites are The Third Bardo with "Five Years Ahead Of My Time", Detroit's SRC with "Up All Night", Morning dew with "Crusader's Smile", The Fallen Angels with "Mother's Homesick Too", a totally fuzz-drenched, Psych instrumental by The Human Beinz titled ""April 15th", and even an early Steve Miller Band gem labeled "The Beauty Of Time Is That It's Snowing", which was from their 1968 debut, "Children Of The Future".
Moving along to other choice tracks, we get the very rare Mother Trucker's Yellow Duck with "One Ring Jam", Chris & Craig with the middle-Eastern influenced "Isha", with harpsichord and trippy-harmony vocals, Mad River with the instrumental "Wind Chimes", Gandalf with the Raga-rock guitar of "Can You Travel In the Dark Alone?", Hour Glass with "Bells", David Axelrod with the Jazz-Psych "Urizen", The Common People with "Soon There'll Be Thunder", and Quicksilver Messenger Service with the rare B-side "Bears" It is rather ironic that the last track in the collection done by
Captain Beefheart & His Magic Band, titled "Ah Feel Like Ahcid", is essentially the only track that is Not Psychedelic-flavored but more a Raw-Blues gumbo mix. I think the reason it was used was to complete the collection with the title. Along with the excellent Psychedelic musical selections, we also get an excellent 16 page, very well annotated booklet written by Mr. John Reed that gives valuable info about each and every track on this collection. Also, each tune has either the picture of the L.P. it was taken from or the photo of the 45, is it was a single. I have over 20 Psychedelic compilations in my collection and this one certainly takes it's place at the top. You could call it "Psychedelic Nuggets"! As it says in the great liner notes, "Tune In, Turn On, Drop Out"! I give this baby my 100% SMRZ Guarantee! MOST HIGHLY RECOMMENDED!! (By SMRZ!!)
01. The Balloon Farm - A Question Of Temperature - 2.39 02. The Third Bardo - Five Years Ahead Of My Time - 2.14 03. The Book of Changes - I Stole The Goodyear Blimp - 2.22 04. First Crew To The Moon - The Sun Lights Up The Shadows Of Your Mind - 2.19 05. SRC - Up All Night - 3.06 06. Morning Dew - Crusader's Smile - 2.47 07. The Fallen Angels - Mother's Homesick Too - 2.22 08. The Human Beinz - April 15th - 6.55 09. Kim Fowley - Bubblegum - 2.28 10. T.I.M.E. - Tripping Into Sunshine - 3.06 11. The Steve Miller Band - The Beauty Of Time Is That It's Snowing - 5.18 12. The Beach Boys - Never Learn Not To Love - 2.31 13. Chris & Craig - Isha - 2.16 14. The Raik's Progress - Sewer Rat Love Chant - 2.38 15. Mother Tucker's Yellow Duck - One Ring Jane - 4.23 16. Mad River - Wind Chimes - 7.10 17. Gandalf - Can You Travel In The Dark Alone - 3.04 18. Hour Glass - Bells - 2.25 19. Food - Forever Is A Dream - 4.06 20. David Axelrod - Urizen - 4.00 21. The Common People - Soon There'll Be Thunder - 2.21 22. Fargo - Sunny Day Blue - 2.30 23. Quicksilver Messenger Service - Bears - 2.08 24. Captain Beefheart & His Magic Band- Ah Feel Like Ahcid - 3.04 Some Bonus: 25. Ant Trip Ceremony - Four In The Morning - 4.31 26. Bob Smith - Don´t Tell Lady tonight - 3.09 27. Bubble Puppy - Hot Smoke and Sasafrass - 2.33 28. Darius - Sweet Mama - 2.34 29. Euclid - It´s All Over Now - 3.23 30. Gold - Fried Neck Bones (Fillmore West) - 5.33
Size: 68.2MB Bit Rate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster New King of Blues Harmonica, the first album recorded by Little Sonny, finds the harpist living up to his name, turning out a hard-driving collection of Chicago blues. At times, he's a little too hung up on sounding like Sonny Boy Williamson, but for the most part, this is thoroughly enjoyable, high-octane Chicago blues. However, the presence of an organ on most of the record may be a little distracting for purists.
Little Sonny (aka Aaron Willis) grew up in Alabama, but came into his own as part of the fertile Detroit blues scene before finding a home with the famous Stax soul music label. On this album, he deftly mixes deep blues with soulful R&B with excellent results. It’s a pretty heavy burden to be called the "new king" of anything, let alone something as rich as the blues harmonica legacy, but he is up to the task.
Little Sonny sings on a few tracks, and he has a fine voice, opening with the classic Jimmy Reed shuffle “Baby, What You Want Me to Do,” the band takes things at a nice easy gallop. “Don't Ask Me No Questions” has a Little Walter-ish feel, with Sonny making the strutting lyric his own. “Goin’ Down Slow” revisits some classic blues territory to good effect, with Sonny taking his time and delivering the vocal and harp with class and dignity.
The Hohner 1896 Marine Band 10-hole diatonic harmonica
The remainder of the album consists of instrumentals featuring Little Sonny’s harmonica playing. While he never did quite ascend to the the level of king, he was quite a player as these performances demonstrate. Songs like “Eli’s Pork Chop” mix the down home blues with some soulful touches to good effect, with the organist in the band and occasional horn accompaniment move things along nicely. Blues fell on hard times for a while in the 1970‘s, with clubs closing and some of the legendary musicians falling ill and passing on. But Little Sonny was an example of the torch of the blues being passed on to a younger man, and on this album he held that torch high. People who’ve heard Little Sonny’s albums, New King of the Blues Harmonica and Black and Blue on Enterprise Records (a division of the Stax Organization), are surprised to see him in person. From the funky music he plays, listeners expect an old, raggedy, hard-drinking stereotype of the typical down-and-out bluesman.
"I suppose some of the things I’ve been through should have driven me to drink," admits the youthful, clean-cut Sonny, who doesn’t drink, smoke, or mess with dope. "I’ve seen too many bad examples of too much alcohol. Also, my mother was very religious, and I promised her I’d never drink. If I’ve got an audience, that’s all the alcohol I need. I couldn’t go onstage and do a good job if I were high." Little Sonny surprises many people, especially young blues fans, with his sober approach to the blues, but he’s just trying to be himself. "The idea that a man has to use foul language, dress raggedy and bummy, and get into cuttin’ and shootin’ scrapes in order to sing the blues is just a sham. I feel what I sing and play because of the things I’ve been through. I’ve had my share of hard times, but that doesn’t give me an excuse to drink and swear and cut up." When Sonny plays his harmonica or sings the blues, all the rugged experiences he’s survived come out in his music.
Born in a one-room country shack in Greensboro, Alabama on October 6, 1932, he spent many of his younger days hungry and barefoot. He’s never seen his father. And he was looked after by his mother who made their clothes without the benefit of a sewing machine. "The other kids used to laugh at me, but I made up my mind that I was going to be somebody regardless of what people thought. When I started playing music, people told me to my face that I’d never make it," Sonny admits. "The blues is a living thing, and I have lived the blues. When I think of the unfair things that have happened to me because of the color of my skin, of all the times I’ve had to go in the back door, I know I’ve paid my dues." Sonny, who was born Aaron Willis, listened to the blues on the radio when he was a boy. His mother considered the blues "the old people’s way, something dirty," but she bought her son five-cent harmonicas. Sonny tried to play them without much success. Baseball was his main interest. He played on sandlot teams in Alabama for a few years before moving to Detroit seventeen years ago. "I knew no baseball scout was going to see me as far back in the woods as I was. I didn’t really have aspirations of being a musician when I came to Detroit. But then, I saw Sonny Boy Williamson." Sonny was "spellbound at the way he played. After the show I went home and practiced for hours. Every day after that I would practice until I got the sound I wanted."
Sonny Boy Williamson also inspired Aaron Willis to adopt the name Little Sonny. Working in a used car lot by day, Little Sonny would go from bar to bar at night making a little money taking pictures and hoping for a chance to sit in with the musicians onstage. After sitting in with Washboard Willie at the Good Times Bar one evening, Sonny was offered ten dollars a night, three nights a week by the club owner. Within six months, Sonny formed his own group. During the years that followed, he worked five shows a night in many Detroit bars and clubs, packing the rooms every weekend. He spent two years at the Bank Bar, four and a half at the Congo Lounge, five years in the Apex Bar, and two years at the Calumet Show Bar. He still took Polaroid pictures of the customers between sets and often he earned more money from the photography than from entertaining. It was a rough grind, but he managed to make a living and eventually to buy a car and a home for his wife and four children. Sonny has had some unpleasant experiences with small record companies over the years. He sent a homemade demo tape of "I Got to Find My Baby" to Duke Records in Texas. They sent him a contract and issued the rough tape. He never got near a recording studio. The musician’s union got him out of that one. All Sonny received for recording "Love Shock" with the JVB Recording Company was twenty-five dollars he borrowed from them. He started his own label Speedway and although he couldn’t get any airplay, he sold enough copies of "The Mix Up" in the clubs he worked to clear expenses. Excello Records bought "Love Shock" from JVB and got Sonny’s name on a two-year contract. But they never recorded him, so he sat it out. "Orange Pineapple Cherry Blossom Pink" sold well for Wheelsville, USA Records, but Sonny was never paid. Then, Revilot Records expressed an interest and he cut "The Creeper." It sold fairly well, but Sonny didn’t like the way the sound was mixed. He was in control of the next few sessions which produced "Don’t Ask Me No Questions" and "Sonny’s Bag," his first Top Twenty hit in Detroit. From then on, things got better. Late in 1969, Al Bell, executive vice president of the Stax Organization, offered Sonny his first opportunity to cut an album. New King of the Blues Harmonica,released on the Enterprise label, was recorded in five and a half hours. Sonny and his band knew all the songs so there were few retakes. For his second album, Black and Blue, Sonny flew to the Stax studios in Memphis and recorded eleven sides in one weekend. It was the #1 blues album in Detroit and #3 on the local LP charts. Sonny has played several music festivals, he headlined two blues concerts at Wayne State University, he’s been written about in several books on the blues, and, in general, his reputation has been growing. Sonny’s music has been called everything from blues to jazz, and some listeners detect spiritual and rock influences. He enjoys listening to and learning from all kinds of music. "I’m working on my own ideas," says Sonny, "not something the other man has already done. A lot of other blues musicians say I’m playing rock music because it’s up-tempo, and it’s a different style. They’ve never heard it before and they refuse to say it’s blues. "Other harmonica players will play their part of a song then pause, then play again. Well, I’m constantly playing. I breathe in and out of the harmonica, and I fill in where other musicians would have a space," says Sonny, who prefers an Old Standby 34B harmonica for its fast action and tone quality. Little Sonny has been playing the blues for sixteen years. He’s had over a dozen singles and two albums. He’s received excellent reviews for his performances and recordings. But he knows that there’s still more territory to be covered before he can sit back and say he’s had that really big break. "I’ll pay my dues until the day comes," he says. "My time will come, and I’m going to work for it." That’s what the blues is all about. 01. Baby, What You Want Me To Do 03:54 02. Eli's Pork Chop 06:39 03. Hey Little Girl 02:38 04. Hot Potato 03:11 05. Don't Ask Me No Questions 03:58 06. Tomorrow's Blues Today 02:45 07. Back Down Yonder 02:43 08. Sad Funk 03:04 09. The Creeper Returns 04:12
Size: 141 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Classic caveman garage rawk from San Diego. This CD combines their Voxx debut album with the live tracks, outtakes and demos from their later LP's "The Mirror Cracked", also on Voxx. The Gravedigger Five was a garage rock revival band formed in 1984 in San Diego, California. The band was part of the Paisley Underground, a musical movement centered around Los Angeles, California, which referenced 1960s West Coast pop and garage rock. The band's lineup consisted of Leighton Koizumi on vocals and sound effects, Ted Friedman on lead guitar, John Hanrattie on rhythm guitar and backup vocals, Dave "The Animal" Anderson on drums and percussion, and originally Chris Gast, who was replaced on bass and backing vocals by Tom Ward. When the Gravedigger Five broke up, members of the band went on to form The Morlocks and Manual Scan.
The members of the Gravedigger Five began playing together around 1983, practicing under the name "The Shamen" in bassist Chris Gast's garage. The group began writing songs together while its members were still teenagers; lead singer Leighton Koizumi was only sixteen years old when the band began to perform. When the band eventually went on to play the Whiskey A Go Go, the band members had to wait outside between sets, as the members were too young to be in the club. The name "The Shamen" was abandoned after the group discovered that the name was already in use by another band, and so after a night of brainstorming, purportedly at a local Bob's Big Boy, the group renamed their band the Gravedigger Five, a take-off on the old "Monster Mash" backing group The Cryptkicker V. All Black and Hairy After only a few performances the group caught the interest of Voxx Records owner Greg Shaw, who signed the band to his imprint in January, 1984. The band recorded their first LP the same year, sleeping together in a car in an alley adjacent to the studio while not recording. Their first LP, "All Black and Hairy," was released towards the end of 1984, but even before its release original bassist Chris Gast was ejected from the band as a result of his substance abuse problems. Shortly after Gast's dismissal the rest of the band fell apart and the group disbanded. The band released its entire catalogue posthumously. Following the breakup of the band, Voxx released the band's first LP, "All Black and Hairy," in 1984.
The Mirror Cracked In 1987, three years after the breakup of the band, Voxx Records released a second Gravedigger Five LP. Under the title "The Mirror Cracked," Voxx packaged a number of unreleased All Black and Hairy session tracks, backed with eight crudely-recorded live tracks recorded in 1984. The Gravedigger Five's second release contained a number of cover songs, including two Stoics songs, "Enough of What I Need" and "Be a Caveman." The LP also contained a version of "No Good Woman," with fellow Paisley Underground alum Paula Pierce of The Pandoras on backing vocals. Lead singer Koizumi took offense to the mediocre way the album was assembled. After the Gravedigger Five After the Gravedigger Five disbanded, Koizumi and Friedman moved to the Bay Area where they founded The Morlocks, another Paisley Underground garage rock revival band which continued the Gravedigger Five sound. Dave Anderson and Tom Ward continued on together in the band Manual Scan, and afterwards Anderson went on to perform with The Trebles, The Answers, The Crawdaddies and Skid Roper. The band reunited for one final show in 1999, playing Cave Stomp at New York’s annual garage rockathon. This would be the last time a full reunion would be possible as bassist Chris Gast died in New York in 2000. 01. All Black and Hairy 02. Tomorrow Is Yesterday 03. No Good Woman 04. Do Like Me 05. Hate 06. She's a Cur 07. Searching 08. She's Gone 09. Night of the Phantom 10. Don't Tread on My 11. One Ugly Child 12. She Got 13. Stoneage Stomp 14. Mirror Cracked 15. Enough of What I Need 16. Be a Caveman 17. No Good Woman - Gravedigger Five, Paula Pierce 18. It's Spooky 19. Drivin' Me Insane 20. Stop It Baby 21. Searchin' [Live] 22. She's Gone [Live] 23. Enough of What I Need [Live] 24. Be a Caveman [Live] 25. She's a Cur [Live] 26. Mirror Cracked [Live] 27. Night of the Phantom [Live] 28. Tomorrow Is Yesterday [Live] + Surprise Album (1984 Release)
Disc 1 01. Neil Young (with Crazy Horse) - Cinnamon Girl (2:59) 02. The Grateful - Dead Doin’ That Rag (abridged) (2:22) 03. Geoff & Maria Muldaur - All Bowed Down (2:47) 04. The Everly Brothers - Empty Boxes (mono) (2:46) 05. Doug Kershaw - Son Of A Louisiana Man (2:16) 06. David Blue - Atlanta Farewell (abridged) (1:48) 07. Arlo Guthrie - Every Hand In The Land (2:21) 08. The Blue Velvet Band - Weary Blues From Waitin’ (3:07) 09. Theo Bikel - Piggies (3:13) 10. Joni Mitchell - “My American Skirt” (0:35) 11. Joni Mitchell - The Fiddle And The Drum (2:47) 12. John Renbourn - Transfusion (1:58) 13. Bert Jansch - Poison (3:11) 14. The Pentangle - Once I Had A Sweetheart (4:41) 15. Joni Mitchell - “Spoony’s Wonderful Adventure” (0:38) 16. Peter, Paul & Mary - Going To The Zoo (3:16) Disc 2 01. Sweetwater - Day Song (1:46) 02. Louie Shelton - A Walk In The Country (1:59) 03. Lorraine Ellison - Stay With Me (3:35) 04. Van Dyke Parks - Music For Ice Capades TV Commercials (1:49) 05. Randy Newman - Yellow Man (2:15) 06. Pearls Before Swine - These Things Too (3:24) 07. Hamilton Camp Star - Spangled Bus (2:44) 08. Ella Fitzgerald - The Hunter Gets Captured By The Game (3:01) 09 The Fugs Yodelin’ Yippie (2:17) 10. The Mothers Of Invention - Electric Aunt Jemima (1:41) 11. Jethro Tull - Fat Man (2:45) 12. Mephistopheles Take A Jet (2:33) 13. The Jimi Hendrix - Experience Stone Free (3:37) 14. The Kinks - Nothing To Say (mono) (3:15) 15. Fats Domino - Everybody’s Got Something To Hide Except Me And My Monkey (2:44) Disc 1 01. Wild Man Fischer - Songs For Sale (0:32) 02. Jethro Tull - My Sunday Feeling (3:36) 03. The Pentangle - Sweet Child (5:09) 04. Van Morrison - Slim Slow Slider (3:18) 05. Family - Second Generation Woman (3:13) 06. Neil Young - I’ve Been Waiting For You (2:30) 07. Tom Northcott - Sunny Goodge Street (2:59) 08. Wild Man Fischer - Songs For Sale (0:19) 09. The Everly Brothers - T For Texas (3:46) 10. The Everly Brothers - Lord Of The Manor (4:45) 11. Van Dyke Parks - The All Golden (3:45) 12. Van Dyke Parks - Music For A Datsun Television Commercial (1:02) 13. Sal Valentino - Alligator Man (2:36) 14. The Beau Brummels - Deep Water (2:30) 15. Randy Newman - Davy The Fat Boy (2:47) Disc 2 01. Tiny Tim - Mr. Tim Laughs (0:25) 02. The Mothers Of Invention - The Voice Of Cheese (3:47 03. The Mothers Of Invention - The Air (2:50) 04. The Fugs - The Divine Toe (Part I) (3:06) 05. The Fugs - Wide, Wide River (2:48) 06. Arlo Guthrie - The Pause Of Mr. Claus (7:56) 07. Sweetwater - Why Oh Why (3:01) 08. Joni Mitchell - Nathan La Franeer (3:15) 09. Eric Andersen - So Good To Be With You (3:08) 10. The Electric Prunes - Finders Keepers (3:01) 11. The Kinks - Picture Book (2:35) 12. The Jimi Hendrix Experience - Red House (3:49) 13. Miriam Makeba - I Shall Be Released (2:54) Disc 1 01. The Fifth Avenue Band - Nice Folks (2:27) 02. John Sebastian - Red-Eye Express (2:57) 03. The Beach Boys - This Whole World (1:56) 04. Geoff & Maria Muldaur - New Orleans Hopscop Blues (2:45) 05. Arlo Guthrie - Coming In To Los Angeles (3:04) 06. Eric Andersen I Was The Rebel, She Was The Cause (2:36) 07. Norman Greenbaum - Jubilee (2:58) 08. Savage Grace - Ivy (4:09) 09. Van Morrison - Caravan (4:58) 10. Fleetwood Mac - Oh Well – Parts 1 & 2 (9:02) 11. The Pentangle - Sally Go Round The Roses (3:36) 12. Jethro Tull - Nothing Is Easy (4:24) 13. Small Faces - Flying (4:17) 14. Family - No Mule’s Fool (3:18) 15. The Kinks - When I Turn Out The Living Room Light (mono) (2:24) Disc 2 01. The Everly Brothers - I’m On My Way Home Again (2:21) 02. Tim Buckley - Happy Time (3:12) 03. Joni Mitchell - Big Yellow Taxi (2:17) 04. Neil Young - The Loner (3:51) 05. Gordon Lightfoot - Approaching Lavender (2:53) 06. Randy Newman - Mama Told Me Not To Come (2:11) 07. James Taylor - Fire And Rain (3:24) 08. Dion- Sit Down Old Friend (3:26) 09. Ed Sanders - The Illiad (4:07) 10. GTO’s - Kansas And The GTO’s (1:30) 11. GTO’s The Captain’s Fat Theresa Shoes (1:56) 12. Captain Beefheart And His Magic Band - Ella Guru (2:27) 13. GTO’s - The Original GTO’s (1:06) 14. The Mothers Of Invention - WPLJ (2:53) 15. Wild Man Fischer - The Taster & The Story Of The Taster (2:57) 16. Pearls Before Swine - Footnote (1:18) 17. The Grateful Dead - Turn On Your Love Light (abridged) (6:45)
All files comes from: Willard's Wormholes website at http://www.willardswormholes.com/ If you want more of these Warner Albums, take a look in there. //ChrisGoesRock
Size: 72.2 MB Bitrate: 256 mp3 Ripped by: chrisGoesRock Artwork Included Source: Japan 24-Bit Remaster Ike & Tina Turner were an American rock & roll and soul duo, made of the husband-and-wife team of Ike Turner and Tina Turner in the 1960s and 1970s. Spanning sixteen years together as a recording group, the duo played among its repertoire, rock & roll, soul, blues and funk. They are known for their wild and entertaining dance shows and especially for their scintillating cover of "Proud Mary", for which they won a Grammy Award. The duo were inducted to the Rock & Roll Hall of Fame in 1991.
Origins Ike Turner's first taste of musical stardom occurred in 1951 when his band, The Kings of Rhythm, recorded the blues single, "Rocket 88", later debated as the first rock and roll record ever issued. However, due to music industry regulations, the song was credited to Jackie Brenston and His Delta Cats. Brenston later left for his own solo career, while Ike and his band concentrated on performing at local haunts in St. Louis. In 1956, a sixteen-year-old named Anna Mae Bullock had moved from her hometown of Nutbush, Tennessee to live with her mother and sister in St. Louis. Within a year, Anna Mae frequented nightclubs with her sister. It was at one of these nightclubs that she first spotted Turner performing with the Kings of Rhythm. After seeing members of the audience getting chances to sing, she determinedly tried to secure her spot, finally succeeding by grabbing the microphone from a begrudging rival and launching into a version of B.B. King's "I Know You Love Me Baby". Her now-trademark raspy-throated vocals impressed Ike so much (he was known to have said to her, "Girl, I didn't know you can sing!" afterwards) that he allowed the girl known by friends as "Little Ann" in his band as a background singer. However, that changed after a male singer failed to show up for a recording session and Anna Mae, then eight months pregnant with her second child (her only child with Ike), recorded what became "A Fool in Love".
Originally Ike's intent was to erase her but after hearing her vocals he not only relented but also changed her stage name to Tina and appended his own surname to both, even though Ike was then still married to another woman. He also changed his group's name from The Kings of Rhythm to The Ike & Tina Turner Revue. The original group was extended to include three new background singers later known as "The Ikettes". Throughout their recording career, the ensemble was known simply as Ike and Tina Turner with Tina fronting the band through Ike's leadership. Success Released in the winter of 1960, Ike & Tina's first single, "A Fool in Love", became an instant hit reaching number two on the Billboard Hot R&B Sides chart and number twenty-seven on the American pop singles chart, firmly launching the duo into the national spotlight with Tina being the major attraction to their live shows. That was followed a year later by "It's Gonna Work Out Fine" (written by Rose Marie McCoy), which included Mickey from one-hit wonders duo Mickey & Sylvia as "Ikey" in the background. That song gave them their first Grammy nomination and peaked at number fourteen on the pop singles chart. A third hit, 1962's "Poor Fool", was a sequel to "A Fool in Love", which peaked at number thirty-eight.
However, their chart success was limited compared to their live shows that included a series of grueling one-nighters and the occasional big shows. Ike & Tina's touring popularity helped them land national teen shows including Shindig!, Hollywood A Go-Go and American Bandstand. With Ike leading the band and Tina and the Ikettes dancing up a storm with Tina showcasing a shouting soulful voice, the Ike & Tina Turner Revue were a national attraction by the mid-1960s even with limited top forty pop success. In 1966, Phil Spector signed Ike & Tina to his Phillies label and recorded the landmark single, "River Deep - Mountain High", with Ike accepting $25,000 from Spector not to participate in the recording and to be allowed to record Tina alone. While the record failed to grant success on the American pop charts peaking at a dismal eighty-eight (commonly blamed on the over-hyping of the single by radio djs before its release), the song later became an international hit reaching number three on the UK pop chart. the Revue opened for the Stones on their 1966 and 1969 US tours gaining international acclaim. By 1969, that acclaim was finally getting them more chart action with the release of the blues-heavy "Outta Season" and The Hunter. From the album "The Hunter" Tina received another Grammy Nomination for Best R&B Female Vocal Performance for the song "Bold Soul Sister". That same year, the group opened for the Stones on their Altamont festival (one song from their performance appears in the 1970 documentary of the concert, Gimme Shelter). That year, they scored a hit with their version of Sly & the Family Stone's "I Want To Take You Higher." Also in 1970, they appeared on The Ed Sullivan Show and performed an early version of what would be their biggest hit to date - a cover of the Creedence Clearwater Revival song, "Proud Mary" and "Bold Soul Sister".
Released in the spring of 1971, "Proud Mary" gave the duo their biggest chart success, reaching number four on the American pop singles chart and winning the Grammy Award for Best R&B Vocal Performance by a Duo or Group in 1972. In 1971, they performed in Africa for a documentary film titled Soul II Soul; and were more briefly seen performing in the Milos Forman film Taking Off. The duo scored their final Top 30 chart hit with the Tina-penned semi-autobiographical "Nutbush City Limits" in 1973. Decline By 1975, the Ike & Tina Turner Revue's popularity was fading. Seventeen years after she was first allowed in Ike's band, Tina began to take more steps toward a solo career, appearing without Ike on shows such as The Cher Show and The Mike Douglas Show. That same year, she gave a rousing performance in the rock musical Tommy as the Acid Queen. Fearful of Tina's growing independence after years of what she described as imprisoned torture at his hands, Ike—high on cocaine and prescription pills—abused Tina in order to keep her within his control. Years later, Tina recalled in her I, Tina autobiography that Ike had used abuse to control her throughout the group's tenure and the pair's 16-year marriage.
Tina finally escaped from Ike after another violent confrontation while en route to a hotel in Dallas before a show. Tina said she ran out of the hotel's back door and kept running until she saw a Ramada Inn Hotel where, with only 36 cents in her purse, she left Ike for good and the Ike & Tina Turner Revue abruptly came to an end. Tina then filed for divorce and the former duo fought over legal matters in divorce court until the matter was resolved in 1978 with Ike retaining all monetary assets. During this time, Tina was sued by concert promoters for concerts missed with Ike. Solo careers Tina was allowed to keep the stage name Ike had given her and within six years climbed her way back to the top, finding success while performing in Europe, Africa, Asia, Australia, and most famously at New York City's Ritz Theater and later opening for rock acts David Bowie, The Rolling Stones, and Rod Stewart, the latter of which brought Tina with him to perform their rendition of "Hot Legs" on Saturday Night Live. Tina eventually found solo superstardom following the release of 1984's Private Dancer album which sold 11 million copies, and included the biggest hit of her recording career, "What's Love Got to Do With It", which peaked at number one on the US pop chart, a position Ike & Tina never reached while together. Ike, in the meantime, failed to gain any solo success during the first years without Tina and was besmirched by legal troubles including a conviction on drug charges. After his release from prison in 1993, Ike found musical acclaim on his own as a blues musician, eventually winning his first solo Grammy in 2007 with the album Risin' With the Blues. Tina, in the meantime, had become an international rock superstar with successful albums and selling out stadiums throughout the 1980s and 1990s winning eight Grammys in the process. Having established herself as a pop superstar, Tina semi-retired from performing after a successful stadium tour in 2000. In 2005, she released her highly successful album All The Best which debuted at #2 on the Billboard 200. The album went multi platinum in many countries including the U.S. and the UK. In 2008, Tina delivered a heart stopping performance at the Grammy Awards alongside Beyonce Knowles. In October 2008, Tina returned to performing with her "Tina Live" world tour.
Controversy Though regarded as one of the most explosive rock music duos in history, Ike & Tina's musical success has been overshadowed by stories of domestic abuse committed by Ike against Tina and Ike's legal battles, which have subsided since his 1993 release from prison. Ike's reputation was further damaged after the release of the 1993 Tina Turner biopic, What's Love Got to Do with It, which documented the Turners' turbulent marriage and depicted Ike — played by Laurence Fishburne in the film — as a jealous and violent wife batterer. After the film and Tina's I, Tina autobiography (the film's basis), Ike steadfastly denied the abuse allegations saying that he only hit Tina a few times and that Tina often hit back. In his own autobiography, 1999's Takin' Back My Name, he admitted that he "slapped Tina...there have been times I have punched her for no reason" but hadn't done anything he wouldn't mind anyone doing to his "own mother". He denied ever beating her as alleged in Tina's book. During an appearance in St. Louis, controversy arose around Ike again when he was denied having a day in his honor due to his history of abuse against Tina. Ike publicly apologized to his former wife for "all the things that I've done that hurt her" but admitted he couldn't change the past. Ike Turner died from an apparent cocaine overdose on December 12, 2007 at his home in San Diego. He was 76 years old. Tina is living with her partner of twenty-three years, German-born Erwin Bach, in Switzerland and France. 01. Please, Please, Please - Ike & Tina Turner 02. Feelin' Good - Jimmy Thomas 03. The Love Of My Man - Venetta Fields 04. Think - Bobby John 05. Drown In My Own Tears - Stacy Johnson 06. I Love The Way You Love - Robbie Montgomery 07. For Your Precious Love - Vernon Guy 08. All In My Mind - Ike & Tina Turner 09. I Can't Believe What You Say - Ike & Tina Turner 1. Revue Live or 2. Revue Live or 3. Revue Live
Size: 127 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster Ike & Tina Turner were an American rock & roll and soul duo, made of the husband-and-wife team of Ike Turner and Tina Turner in the 1960s and 1970s. Spanning sixteen years together as a recording group, the duo played among its repertoire, rock & roll, soul, blues and funk. They are known for their wild and entertaining dance shows and especially for their scintillating cover of "Proud Mary", for which they won a Grammy Award. The duo were inducted to the Rock & Roll Hall of Fame in 1991. Ike Turner's first taste of musical stardom occurred in 1951 when his band, The Kings of Rhythm, recorded the blues single, "Rocket 88", later debated as the first rock and roll record ever issued. However, due to music industry regulations, the song was credited to Jackie Brenston and His Delta Cats. Brenston later left for his own solo career, while Ike and his band concentrated on performing at local haunts in St. Louis. In 1956, a sixteen-year-old named Anna Mae Bullock had moved from her hometown of Nutbush, Tennessee to live with her mother and sister in St. Louis. Within a year, Anna Mae frequented nightclubs with her sister. It was at one of these nightclubs that she first spotted Turner performing with the Kings of Rhythm. After seeing members of the audience getting chances to sing, she determinedly tried to secure her spot, finally succeeding by grabbing the microphone from a begrudging rival and launching into a version of B.B. King's "I Know You Love Me Baby". Her now-trademark raspy-throated vocals impressed Ike so much (he was known to have said to her, "Girl, I didn't know you can sing!" afterwards) that he allowed the girl known by friends as "Little Ann" in his band as a background singer. However, that changed after a male singer failed to show up for a recording session and Anna Mae, then eight months pregnant with her second child (her only child with Ike), recorded what became "A Fool in Love".
Originally Ike's intent was to erase her but after hearing her vocals he not only relented but also changed her stage name to Tina and appended his own surname to both, even though Ike was then still married to another woman. He also changed his group's name from The Kings of Rhythm to The Ike & Tina Turner Revue. The original group was extended to include three new background singers later known as "The Ikettes". Throughout their recording career, the ensemble was known simply as Ike and Tina Turner with Tina fronting the band through Ike's leadership. Released in the winter of 1960, Ike & Tina's first single, "A Fool in Love", became an instant hit reaching number two on the Billboard Hot R&B Sides chart and number twenty-seven on the American pop singles chart, firmly launching the duo into the national spotlight with Tina being the major attraction to their live shows. That was followed a year later by "It's Gonna Work Out Fine" (written by Rose Marie McCoy), which included Mickey from one-hit wonders duo Mickey & Sylvia as "Ikey" in the background. That song gave them their first Grammy nomination and peaked at number fourteen on the pop singles chart. A third hit, 1962's "Poor Fool", was a sequel to "A Fool in Love", which peaked at number thirty-eight. However, their chart success was limited compared to their live shows that included a series of grueling one-nighters and the occasional big shows. Ike & Tina's touring popularity helped them land national teen shows including Shindig!, Hollywood A Go-Go and American Bandstand. With Ike leading the band and Tina and the Ikettes dancing up a storm with Tina showcasing a shouting soulful voice, the Ike & Tina Turner Revue were a national attraction by the mid-1960s even with limited top forty pop success. In 1966, Phil Spector signed Ike & Tina to his Phillies label and recorded the landmark single, "River Deep - Mountain High", with Ike accepting $25,000 from Spector not to participate in the recording and to be allowed to record Tina alone. While the record failed to grant success on the American pop charts peaking at a dismal eighty-eight (commonly blamed on the over-hyping of the single by radio djs before its release), the song later became an international hit reaching number three on the UK pop chart. the Revue opened for the Stones on their 1966 and 1969 US tours gaining international acclaim.
By 1969, that acclaim was finally getting them more chart action with the release of the blues-heavy "Outta Season" and The Hunter. From the album "The Hunter" Tina received another Grammy Nomination for Best R&B Female Vocal Performance for the song "Bold Soul Sister". That same year, the group opened for the Stones on their Altamont festival (one song from their performance appears in the 1970 documentary of the concert, Gimme Shelter). That year, they scored a hit with their version of Sly & the Family Stone's "I Want To Take You Higher." Also in 1970, they appeared on The Ed Sullivan Show and performed an early version of what would be their biggest hit to date - a cover of the Creedence Clearwater Revival song, "Proud Mary" and "Bold Soul Sister". Released in the spring of 1971, "Proud Mary" gave the duo their biggest chart success, reaching number four on the American pop singles chart and winning the Grammy Award for Best R&B Vocal Performance by a Duo or Group in 1972. In 1971, they performed in Africa for a documentary film titled Soul II Soul; and were more briefly seen performing in the Milos Forman film Taking Off. The duo scored their final Top 30 chart hit with the Tina-penned semi-autobiographical "Nutbush City Limits" in 1973. 01. Goodbye So Long 2:10 02. If I Can't Be First 2:11 03. Chicken Shack 1:56 04. I Don't Need 2:16 05. I Wish My Dreams Would Come True 1:45 06. Hard Times 2:18 07. Flee Flee Flee 2:27 08. It's Crazy Baby 2:58 09. Gonna Have Fun 2:07 10. Am I a Fool in Love 2:57 11. Something Came Over Me 2:44 12. Hurt Is All You Gave Me 2:30 13. Don't You Blame It on Me 1:47
Bonus Tracks 14. All I Could Do Was Cry (aka Stop The Wedding) 15. You Can't Miss Nothing 16. My Baby Now 17. Flee Flee Fla 18. Makin' Plans Together 19. Give Me Your Love 20. I Can't Believe What You Say 21. I Need A Man 22. Baby, Don't Do It 23. Over You 24. He's The One 25. Shake It Baby 26. Five Long Years 27. What Do You Think I Am 28. You Can't Have Your Cake And Eat It Too
Size: 144 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster A great record from the Ikettes! It only takes one listen to this album to realize how much better this trio was than most of the other "girl" groups around at the time -- working with a depth and tightness that's way more than simple girl pop -- and which shows their close ties to the Ike Turner empire! The voices of all three singers are wonderful, and many of the tunes have the same sort of energy as the best grooves of the time from Ike & Tina -- upbeat and snapping, and almost with a trace of Northern Soul at times -- but a grittier undercurrent at others. Tracks include the super "Peaches 'N Cream", "Sally Go Round The Roses", "I'm So Thankful", "Lonely For You", and "Not That I Recall".
This Japanese CD expands the original album tremendously -- from 12 tracks to 29 with the addition of lots more singles and material issued by some group members as solo artists. Bonus tracks include "How Come", "Your Love Is Mine", "Sha La La", "You're Trying To Make Me Lose My Mind", and "Fine Fine Fine" by The Ikettes -- plus "I'm Leaving You", "You're Still My Baby", "Give Me A Chance", and "Through With You" by Venetta Fields; "Blue With A Broken Heart" by Flora Williams; and "Easy Living" by Dee Dee Johnson. 01.I'M SO THANKFUL [3:10] 02.DA DOO RON RON [2:27] 03.CAMEL WALK [2:39] 04.CAN'T SIT DOWN 'COS I FEEL SO GOOD [2:21] 05.(NEVER MORE) LONELY FOR YOU [2:21] 06.NOT THAT I RECALL [2:05] 07.PEACHES 'N' CREAM [2:31] 08.SALLY GO ROUND THE ROSES [2:38] 09.DON'T FEEL SORRY FOR ME [3:01] 10.FINE,FINE,FINE [2:36] 11.NOBODY LOVES ME [2:45] 12.IT'S BEEN SO LONG [3:12] 13.CAMEL WALK [2:39] (Bonus) 14.THE BIGGEST PLAYERS [1:41] (Bonus) 15.HOW COME [1:57] (Bonus) 16.BLUE WITH A BROKEN HEART (aka BLUE ON BLUE) [2:57) (Bonus) 17.YOU'RE STILL MY BABY [3:36] (Bonus) 18.I'M LEAVING YOU [3:00] (Bonus) 19.THROUGH WITH YOU [3:26] (Bonus) 20.GIVE ME A CHANCE (TRY ME) [2:29] (Bonus) 21.CHEATER [2:22] (Bonus) 22.YOU'RE TRYING TO MAKE ME LOST MY MIND [2:12] (Bonus) 23.YOUR LOVE IS MINE [2:21] (Bonus) 24.YOU CAN'T HAVE YOUR CAKE AND EAT IT TOO [2:53] (Bonus) 25.THE LOCO-MOTION [2:20] (Bonus) 26.SHA LA LA [2:54] (Bonus) 27.CAMEL WALK [2:33] (Bonus) 28.(NEVER MORE) LONELY FOR YOU [2:20] (Bonus) 29.EASY LIVING (aka LIVING FOR YOU) [2:11] (Bonus)
Size: 79.6 MB Bitrate: 256 mp3 Artwork Included Source: Japan SHM-CD Remaster River Deep Mountain High is a studio album by the American R&B duo Ike & Tina Turner. The album contains songs from several different sources, 5 songs produced by the legendary producer Phil Spector and 7 songs that are older recordings produced by Ike Turner. It was released in September 1966 (1966-09) on A&M Records. "River Deep – Mountain High" is a 1966 single by Ike & Tina Turner. Considered by producer Phil Spector to be his best work, the single was successful in Europe, peaking at #3 in the United Kingdom, though it flopped on its original release in the United States. Spector claimed to be pleased with the response from the critics and his peers, but he then withdrew from the music industry for two years, beginning his personal decline. After Eric Burdon and the Animals covered the song in 1968, it was re-released a year later, and has since become one of Tina Turner's signature songs, though it charted even lower, "Bubbling Under" at #112. In 1999, "River Deep – Mountain High" was inducted in the Grammy Hall of Fame.
Written by Spector, Jeff Barry, and Ellie Greenwich, "River Deep - Mountain High" was among the first recordings that Ike & Tina Turner did for Phil Spector's Philles Records. Spector was well aware of Ike Turner's controlling attitude in the studio, and resultantly drew up an unusual contract: the River Deep – Mountain High (album) and single would be credited to "Ike & Tina Turner", but Ike was paid $20,000 to stay away from the studio, and only Tina Turner's vocals would be used on record. The track was recorded using Spector's "Wall of Sound" production technique, cost a then-unheard of $22,000, and required 21 session musicians and 21 background vocalists. Due to Spector's perfectionism in the studio, he made Turner sing the song over and over for several hours until he felt was the perfect vocal take for the song. The recording of the song was later dramatized for Tina Turner's biopic, What's Love Got to Do with It. At Ike Turner's 2007 funeral, Phil Spector chastised the film's depiction saying that he had a good relationship with Ike Turner and that the film was "garbage" stating that he insisted for Ike's name to be included on the recording despite the fact that executives of Spector's label Philles had only wanted Tina billed on the recording. The single entered the lower end of the Billboard 100 and stopped at #88 on the pop charts. Even though it had better fortune in the United Kingdom, peaking at #3 in the singles charts on first release, Spector was so disillusioned that he ceased involvement in the recording industry totally for two years, and only intermittently returned to the studio after that; he effectively became a recluse and began to self-destruct.
Ike Turner remarked that he felt the record didn't do well in America because the sound was "pop or white", while Tina Turner's voice was R&B, so that "America mixes race in it"—though the writer Michael Billig observed that earlier records which had mixed black singers with a white pop sound had sold well, so it was likely to be that in 1966 the black political movement was encouraging African Americans to take a pride in their own culture, and "River Deep – Mountain High" was out of step with that movement. Later Rolling Stone was to put it at #33 on its list of the 500 Greatest Songs of All Time. George Harrison praised the record, declaring it "a perfect record from start to finish.""River Deep - Mountain High" compared a woman's love and loyalty, respectively, to that which that a child feels for a doll, and a puppy has for his master. In 1967, Harry Nilsson (who had worked with Spector as a songwriter early in his career) released a cover version of the song on his first RCA Victor album, Pandemonium Shadow Show. This was followed by an epic ten-minute version recorded by Deep Purple for their 1968 album, The Book of Taliesyn. An edited version was released as a single in the United States and reached #53 in early 1969 and #42 on the Canadian RPM charts.
The original Ike and Tina Turner version of the song was re-released the same year to a more receptive public and since then has gained the recognition Spector wanted from the record. Numerous versions have been recorded since, including two different recordings by Ike and Tina Turner that do not feature Spector's "Wall of Sound" production style, as well as some by Tina Turner herself without Ike Turner. Eric Burdon & The Animals recorded an extended version of the song, with additional musical sections and a heavily dramatized arrangement, for their 1968 album Love Is. An edited version was released as a single, and the full version also appears on their 1969 compilation The Greatest Hits of Eric Burdon and The Animals. In 1985, Burdon recorded a live version of it and released it in 1992 on "That's Live". The Australian band, The Easybeats, did a cover version in 1967. Another cover version was by 2 of Clubs, a Cincinnati-based American female pop duo, which failed to chart. 01."River Deep, Mountain High" (Jeff Barry, Ellie Greenwich, Phil Spector) - 3:38 02."I Idolize You" - 3:46 03."A Love Like Yours (Don't Come Knocking Everyday)" (Holland-Dozier-Holland) - 3:05 04."A Fool in Love" - 3:13 05."Make 'Em Wait" - 2:22 06."Hold on Baby" (Jeff Barry, Ellie Greenwich, Phil Spector) - 2:59 07."I'll Never Need More Than This" (Jeff Barry, Ellie Greenwich, Phil Spector) - 3:33 08."Save the Last Dance for Me" (Doc Pomus, Mort Shuman) - 3:02 09."Oh Baby!" (Kent Harris) - 2:46 10."Every Day I Have to Cry" (Arthur Alexander) - 2:40 11."Such a Fool for You" - 2:48 12."It's Gonna Work Out Fine" (J. Michael Lee, Joe Seneca) - 3:14
Yet their hunger for eclectic experimentation fit into the milieu of late-'60s progressive rock and psychedelia well, and much of their audience came from the rock and pop worlds, rather than the folk crowd. 
