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Yoko Ono - Plastic Ono Band (Canadian Edition 1970) + Live Jam
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Yoko Ono/Plastic Ono Band is the avant-garde debut studio album by Yoko Ono. The album came after recording three experimental releases with John Lennon and a live album as a member of The Plastic Ono Band.
With the exception of "AOS", a 1968 live recording, the entire album was recorded in one afternoon in October 1970 during the John Lennon/Plastic Ono Band sessions at Ascot Sound Studios and Abbey Road Studios, using the same musicians and production team.
Also recorded on this day were "Don't Worry Kyoko (Mummy's Only Looking for Her Hand in the Snow)" which ended up on the next album Fly, and "Between the Takes" which was released on Fly's 1998 CD reissue.
"Greenfield Morning I Pushed an Empty Baby Carriage All Over the City" was based around a sample from a discarded tape of George Harrison playing a sitar and a Ringo Starr drum break with an added echo effect plus Ono's vocals with a lyric referencing a miscarriage. Ono's vocalisations on tracks such as "Why" and "Why Not" mixed hetai, a Japanese vocal technique from kabuki theatre, with modern rock 'n roll and raw aggression influenced by the then-popular primal therapy that Lennon and Ono had been undertaking.
Initially on Apple Records, through EMI, Yoko Ono/Plastic Ono Band was released to considerable critical disdain in 1970, at a time when Ono was being widely blamed for disbanding The Beatles. Yoko Ono/Plastic Ono Band failed to chart in the UK but reached number 182 in the US. Notable exceptions were the estimations of Billboard who called it 'visionary' and critic Lester Bangs who supported it in Rolling Stone. More recently, the album has been credited (like those of The Velvet Underground) with having an influence, particularly on musicians, grossly disproportionate to its sales and visibility. Critic David Browne of Entertainment Weekly has credited the album with "launching a hundred or more female alternative rockers, like Kate Pierson & Cindy Wilson of the B-52s to current thrashers like L7 and Courtney Love of Hole".
The covers of Yoko Ono/Plastic Ono Band and John Lennon/Plastic Ono Band albums are nearly identical; Lennon pointed out the difference in their 1980 Playboy interview ("In Yoko's, she's leaning back on me; in mine, I'm leaning on her"). The photos were taken with a cheap Instamatic camera on the grounds of Tittenhurst Park (their home at the time) by actor Daniel Richter (as listed in the album's credits), who was working as their assistant.
01. Why 05:37 [An edited version became the B-side to Lennon's single "Mother"]
02. Why Not 09:55 [Excerpted in a 1980 RKO Radio tribute, featuring Lennon's last recorded interview]
03. Greenfield Morning... 05:38 [The title and lyrics come from Ono's book Grapefruit]
04. AOS 07:06 [Featuring Ornette Coleman, recorded on 29 February 1968, predating the rest of the material]
05. Touch Me 04:37 [Also selected as a B-side, to "Power to the People", replacing Ono's "Open Your Box" for the US market]
06. Paper Shoes 07:26 [Referenced by Lennon during the 1980 RKO interview]
Bonus Tracks
07. Open Your Box 07:35
08. Something More Abstract 00:44
09. Why (Extended Version) 08:40
10. The South Wind 16:41
Extra Bonus Live Material:
11. Cold Turkey 08:35
12. Don't Worry Kyoko 16:00
13. Well (Baby Please Don't Go) 04:40
14. Jamrag 05:36
15. Scumbag 06:07
16. AU 06:23
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Muddy Waters - Muddy Waters Woodstock Album (US 1975)
Bitrate: 256
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Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Recorded in 1975, The Muddy Waters Woodstock Album was the brainchild of the Band's Levon Helm and producer/songwriter Henry Glover. At the time, the duo's production company, RCO, had recently set up shop in a barn-turned- studio in Woodstock, New York, and Muddy Waters was their first client.
As chronicled in the newly penned liner notes by Billboard's Chris Morris, the disc proved to be the last that Waters would record for Chess.
It was, however, a memorable farewell - The Muddy Waters Woodstock Album was awarded the 1975 Grammy Award for Best Ethnic or Traditional Recording.
Of all the post-Fathers & Sons attempts at updating Waters' sound in collaboration with younger white musicians, this album worked best because they let Waters be himself, producing music that compared favorably to his concerts of the period, which were wonderful.
Waters covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let the Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album.
This record got lost in the shuffle between the collapse of Chess Records and the revival of Waters' career under the auspices of Johnny Winter, and was forgotten until 1995.
Personnel
✪ Muddy Waters - vocal/guitar
✪ Paul Butterfield - harmonica
✪ Henry Glover - producer
✪ Levon Helm - bass/drums/producer
✪ Garth Hudson - accordion/keyboards/saxophone
✪ Howard Johnson - saxophone
✪ Sammy Lawhorn - guitar
✪ Bob Margolin - guitar
✪ "Pinetop" Perkins - piano
01. Why Are People Like That 03:37
02. Going Down To Main Street 04:16
03. Born With Nothing 05:23
04. Caledonia 06:19
05. Funny Sounds 04:34
06. Love, Deep As The Ocean 05:13
07. Let The Good Times Roll 05:15
08. Kansas City 05:12
Bonus Track:
09. Fox Squirrel 03:54
Extra Bonus Concert:
Tuesday June 15, 1976
Muddy Waters Paul's Mall,Boston
WBCN-FM Stereo
Personnel
♣ Muddy Waters - guitar, vocals
♣ Willie "Big Eyes" Smith - drums
♣ Luther "Guitar Jr." Johnson - guitar
♣ Calvin Jones - bass
♣ Bob Margolin - guitar
♣ Joe "Pine Top" Perkins - piano
♣ Jerry Portnoy - harmonica
01. Dj Intro 00:23
02. Instrumental #1 (cut in) 04:55
03. Instrumental #2 08:12
04. Instrumental #3 03:25
≈≈≈≈ Enter Muddy Waters ≈≈≈≈
05. Muddy Waters Day Proclamation 03:57
06. Caldonia 05:41
07. Kansas City 08:38
08. Hoochie Coochie Man 02:51
09. I Want You To Love Me 04:21
10. Baby Please Don't Go 04:05
11. Long Distance Call 07:29
12. Mannish Boy 05:22
13. Got My Mojo Working 03:05
Encore
14. You Don't Have To Go 03:48
15. Exit Music 01:43
16. dj outro 01:01
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Pictures of the day....
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| Muddy Waters 1958 Fender Telecaster Guitar |
ChrisGoesRock
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Various Artist - Psychedelic Artist From the US 60's
Size: 415 MB
Bitrate: 320
mp3
Found in DC++ World
Some Artwork Included
A.B. SKHY BIOGRAPHY:
A.B. Skhy was a blues-rock quartet from San Francisco consisting of guitarist Dennis Geyer, keyboard player Howard Wales, bass player Jim Marcotte, and drummer Terry Andersen. This lineup made the group's debut album, A.B. Skhy, in 1969, with a seven-piece horn section.
A little history here. A.B. Skhy were a great psychedelic/blues band originally from milwaukee, wisconsin, and soonrelocated in san francisco. They included in their line-up howard wales, well known for his work with jerry garcia, russell dashell later in the crowfoot, band that was also including don francisco, well known for his work with damon in a band called highway robbery, and terry andersen, later with harvey mandel, plus other musicians that ended to play with fellows like steve miller and elvin bishop. AB Skhy recorded 2 really fine lp's for MGM, the first just called AB SKHY and the second RAMBLIN' ON.
Led by singer/multi-instrumentalist Wayne Ceballos, the little know Aum stand as also-rans in the lexicon of sixties San Francisco bands. With drummer Larry Martin and bassist Ken Newell rounding out the trio, the group's initial reputation stemmed from their jam-oriented concerts.
Initially signed by the London-affiliated Sire label, as one would expect from the title, the group's 1969's Bluesvibes found them working in a distinctively blues-vein. Reflecting the band's live act, the Richard Gotthrer produced debut featured a series of seven extended jams, (the shortest song clocking in at four minutes). With Ceballos writing the majority of the material, in spite of period excesses (e.g. aimless soloing), originals such as Mississippi Mud and Chilli Woman weren't half bad. Moreover, Ceballos proved a decent singer, injecting considerable energy into his performances. Among the few short-comings, the band's ponderous cover of John Loudermilk's Tobacco Road would've been suitable for Vanilla Fudge.
The Blues Project was a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world's first jam bands, along with the Grateful Dead.
In 1964, Elektra Records produced a compilation album of various artists entitled, The Blues Project, which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album's release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles' arrival in the United States earlier in the year signified the end of the folk and acoustic blues movement that had swept the U.S. in the early 1960s. The ensuing British Invasion was the nail in the coffin.
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The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he sneaked into the "Like a Rolling Stone" recording session for Bob Dylan's album, Highway 61 Revisited. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately. Soon thereafter, the Blues Project gained a recording contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965. While the band was known for their lengthy interpretations of blues and traditional rock and roll songs, their first album saw them rein in these tendencies because of record label wariness as well as time restrictions.
The album was a moderate success and the band toured the U.S. to promote it. While in San Francisco, California in April 1966, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York's answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities.(Source: Rock Family Trees - television program)
Returning to New York, the band recorded their second album in the fall of 1966, and it was released in November. Projections contained an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock. The centerpiece of the album was an 11-and-a-half minute version of "Two Trains Running," which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental "Flute Thing", written by Kooper and featuring Kulberg on flute.
The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone. Kooper had formed his own band and played at the festival as well. Katz left soon thereafter, followed by Kalb. A fourth album, 1968's Planned Obsolescence, featured only Blumenfeld and Kulberg from the original lineup, but was released under the Blues Project name at Verve's insistence. Future recordings by this lineup would be released under a new band name, Seatrain.
In 1968, Kooper and Katz joined forces to fulfill a desire of Kooper's to form a rock band with a horn section. The result was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not take part in any subsequent releases. Katz, on the other hand, remained with the band into the 1970s. Track 11-14: The Blues Project, Matrix, S.F. September 7-15, 1966
It's a Beautiful Day was a band formed in San Francisco, California in 1967, the brainchild of violinist and vocalist LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members were his wife Linda (keyboards), Pattie Santos (vocals), Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from the Summer of Love, It’s a Beautiful Day never quite achieved the success of their contemporaries such as The Grateful Dead and Santana, with whom they had connections. It’s A Beautiful Day created a unique blend of rock, jazz, folk, classical and world beat styles during the seven years the band was officially together.
The band's debut album, It's a Beautiful Day, released in 1969, featured the tracks "White Bird", "Hot Summer Day", "Time Is" and "Bombay Calling". The intro of the last was used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its In Rock album. The vocals and violin playing of David LaFlamme plus Pattie Santos' singing attracted attention including FM radio play, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at #118.
By 1970 the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb.
The following album, Marrying Maiden, released in 1970, included memorable tracks and was also a chart hit. In that year, the group also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, The Netherlands and at the UK Bath Festival.
It's A Beautiful Day, track 15-18: Fillmore West-San Francisco, California, May 23-25 1968
Quicksilver Messenger Service (sometimes credited as simply Quicksilver) is an American psychedelic rock band formed in 1965 in San Francisco. They were most famous for their biggest hit, the single "Fresh Air" (from the album Just for Love), which reached #49 in 1970.
Quicksilver Messenger Service gained wide popularity in the San Francisco Bay Area and through their recordings, with psychedelic rock enthusiasts around the globe, and several of their albums ranked in the Top 30 of the Billboard Pop charts. Though not as commercially successful as contemporaries Jefferson Airplane and The Grateful Dead, Quicksilver was integral to the beginnings of their genre. With their jazz and classical influences and a strong folk background, the band attempted to create an individual, innovative sound. Member Dino Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swung rhythms and twanging guitar sounds.
im Murray left the group not long after they performed at the Monterey International Pop Festival in June 1967. The band began a period of heavy touring on the West Coast of the United States where they built up a solid following and featured on many star-studded bills at the Avalon Ballroom and the Fillmore West. Sound engineer (and infamous LSD chemist) Owsley Stanley regularly recorded concerts at major San Francisco venues during this period, and his archive includes many QMS live performances from 1966–67, which were released on his Bear Recordings label in 2008-2009.
QMS initially held back from signing a record deal at the time but eventually signed to Capitol Records in late 1967, becoming the last of the top-ranked San Francisco bands to sign with a major label. Capitol was the only company that had missed out on signing a San Francisco “hippie” band during the first flurry of record company interest and, consequently, Quicksilver Messenger Service was able to negotiate a better deal than many of their peers. At the same time, Capitol signed the Steve Miller Band, with whom Quicksilver Messenger Service had appeared on the movie and soundtrack album Revolution, together with the group Mother Earth.
These albums, which have been hailed as "...two of the best examples of the San Francisco sound at its purest," define the classic period in the group's career and showcase their distinctive sound, emphasizing extended arrangements and fluid twin-guitar improvisation. Cipollina's highly melodic, individualistic lead guitar style, combined with Gary Duncan's driving minor scale, jazzy sound guitar style, feature a clear, notable contrast to the heavily amplified and overdriven sound of contemporaries like Cream and Jimi Hendrix. In 2003 Happy Trails was rated at No. 189 in the Rolling Stone Top 500 albums survey, where it was described as "...the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience..." Archetypal QMS songs include the elongated, continually re-titled suite based on Bo Diddley's Who Do You Love??, featured on Happy Trails.
"Well, let's put it this way, at the end of 1968, I was pretty burned out. We'd been on the road for, really, the first time in our lives. I just left for a year. I didn't want to have anything to do with music at all. And I left for a year and rode motorcycles and lived in New York and L.A. and just kind of went crazy for about a year."
Freiberg later recalled that Duncan's departure shook the core of the band: "Duncan was the 'engine' man, it just didn’t WORK without him ... for me. I was really ... I was devastated...
For their 1969 album Shady Grove, Duncan did not participate, replaced by renowned English session keyboardist Nicky Hopkins, who had played on scores of hit albums and singles by acts like The Kinks, The Rolling Stones, The Beatles, The Who and Steve Miller, among many others. Hopkins' virtuoso piano boogie dominates the album, giving it a unique sound within the Quicksilver catalog.
Happy Trails They debuted at the end of 1965 and played around the Bay Area and then the West Coast for the next two years, building up a large following but resisting offers to record that had been taken up by such San Francisco acid rock colleagues as Jefferson Airplane and the Grateful Dead. Quicksilver finally signed to Capitol toward the end of 1967 and recorded their self-titled debut album in 1968 (by this time, Murray had left). Happy Trails, the 1969 follow-up, was recorded live. After its release, Duncan left the band and was replaced for Shady Grove (1970) by British session pianist Nicky Hopkins. By the time of its release, however, Duncan had returned, along with Valente, making the group a sextet.
Just for Love This version of Quicksilver, prominently featuring Valente's songs and lead vocals, lasted only a year, during which two albums, Just for Love and What About Me, were recorded. Cipollina, Freiberg, and Hopkins then left, and the remaining trio of Valente, Duncan, and Elmore hired replacements and cut another couple of albums before disbanding. There was a reunion in 1975, resulting in a new album and a tour, and in 1986 Duncan revived the Quicksilver name for an album that also featured Freiberg on background vocals.BILL GRAHAM ARCHIVES 1966-67 FILLMORE AUDITORIUM SAN FRANCISCO,CA.,USA
01. A.B. Skhy - The World Needs Love 11:04
02. A.B. Skhy - Thinking It Over 08:25
03. A.B. Skhy - Sweet Little Angel 08:42
04. A.B. Skhy - Just What I Needed 04:16
05. A.B. Skhy - St. James Infirmary 08:46
06. A.B. Skhy - Everyday I have The Blues 08:48
07. Aum - I Need You 05:30
08. Aum - Little Brown Hen 03:33
09. Aum - A Little Help From You 13:39
10. Aum - Bye-Bye Baby 10:40
11. Blues Project - I Can't Keep From Crying 06:04
12. Blues Project - Caress My Baby 08:08
13. Blues Project - Wake Me Shake Me 08:04
14. Blues Project - You Can't Catch Me 05:22
15. It's A Beautiful Day - Wasted Union Blues 12:19
16. It's A Beautiful Day - White Bird 06:48
17. It's A Beautiful Day - Hot Summer Wind 11:02
18. It's A Beautiful Day - Jam, Bombay Calling 10:08
19. Quicksilver Messenger Service - Hoochie Coochie Man 06:26 (February 4,1967)
20. Quicksilver Messenger Service - Hair Like Sunshine 05:37 (November 5,1966)
21. Quicksilver Messenger Service - Duncan & Brady 03:40 (February 4,1967)
22. Quicksilver Messenger Service - Walkin' Blues 03:37 (February 4,1967)
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Various Artist - Some Good Bands to Listen at on a boring Sunday...
Bitrate: 320
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Found in my Share
Some Artwork Included
THE DOORS:
The 1970 Isle of Wight Festival was held between 26 and 31 August 1970 at Afton Down, an area on the western side of the Isle of Wight. It was the last of three consecutive music festivals to take place on the island between 1968 and 1970 and widely acknowledged as the largest musical event of its time, greater than the attendance of Woodstock. Although estimates vary, the Guinness Book of Records estimated 600,000, possibly 700,000 people attended. It was organised and promoted by local brothers, Ron and Ray Foulk through their company Fiery Creations Ltd and their brother Bill Foulk. Ron Smith was site manager and Rikki Farr acted as compere.
The preceding Isle of Wight Festivals, also promoted by the Foulks, had already gained a good reputation in 1968 and 1969 by featuring acts such as Jefferson Airplane, T. Rex, The Move, The Pretty Things, Joe Cocker, The Moody Blues (performed at the 1969 festival), The Who, and Bob Dylan in his first performance since his 1966 motorcycle accident.
Political and logistical difficulties resulted in the organisers eventually realising that the festival would not make a profit and declaring it to be "a free festival", although the majority of the audience had paid for tickets in advance, and the event was filmed contemporaneously. The commercial failings of the festival ensured it was the last event of its kind on the Isle of Wight for thirty-two years.
Upon the release of their first album in the late '70s, Tom Petty & the Heartbreakers were shoehorned into the punk/new wave movement by some observers who picked up on the tough, vibrant energy of the group's blend of Byrds riffs and Stonesy swagger. In a way, the categorization made sense. Compared to the heavy metal and art rock that dominated mid-'70s guitar rock, the Heartbreakers' bracing return to roots was nearly as unexpected as the crashing chords of the Clash. As time progressed, it became clear that the band didn't break from tradition like their punk contemporaries. Instead, they celebrated it, culling the best parts of the British Invasion, American garage rock, and Dylanesque singer/songwriters to create a distinctively American hybrid that recalled the past without being indebted to it.
The Heartbreakers were a tight, muscular, and versatile backing band that provided the proper support for Petty's songs, which cataloged a series of middle-class losers and dreamers. While his slurred, nasal voice may have recalled Dylan and Roger McGuinn, Petty's songwriting was lean and direct, recalling the simple, unadorned style of Neil Young. Throughout his career, Petty & the Heartbreakers never departed from their signature rootsy sound, but they were able to expand it, bringing in psychedelic, Southern rock, and new wave influences; they were also one of the few of the traditionalist rock & rollers who embraced music videos, filming some of the most inventive and popular videos in MTV history. His willingness to experiment with the boundaries of classic rock & roll helped Petty sustain his popularity well into the '90s.
The group spent much of 1968 seeing the singles "Call Me Lightning,""Magic Bus," and "Dogs" -- inspired by Townshend's interest in dog racing -- fail to meet expectations. Track Records, squeezed for cash even with Hendrix's burgeoning sales, assembled Direct Hits, which compiled the band's recent singles (minus the Shel Talmy-produced Brunswick sides). In the United States, Decca Records -- with only two actual "hits" by the group to work with, plus "Magic Bus" (which did unexpectedly well on that side of the Atlantic) -- released Magic Bus, an unacknowledged compilation album built around the hit and drawn from U.K. singles, EPs and recent album tracks. It was misleadingly subtitled "The Who on Tour," and that's a lot of what they did in 1968, especially in the United States, but not the way they did in 1967; this time, they were playing places like the Fillmore East, where they recorded one show for a possible live album. This plan went awry when the show wasn't quite good enough to represent the group, and was abandoned entirely with the vast changes in their songbook in 1969. While making their first serious long-term headway in the U.S., the band -- mostly Townshend, in collaboration with Lambert on the early libretto -- were devising and recording a large-scale work.
Tommy arrived in May of 1969, more than a year and a half after The Who Sell Out. However, it was still unfinished -- the band wanted to add more instruments on certain songs, and Entwistle was particularly upset at the bass sound on the released recording. But they were out of money and options, so Tommy was released as a work-in-progress. And for the first time, the stars lined up in the Who's favor, especially in the United States.
Live at Leeds While Tommy kept the band busy touring for almost two years, how to follow it stumped Townshend. As he worked on new material, the group released Live at Leeds in 1970 (which yielded the hit single "Summertime Blues"), as well as the single "The Seeker," giving them some breathing room Eventually, he settled on Lifehouse, a sci-fi rock opera strongly influenced by the teachings of his guru, Meher Baba, that pushed the group into new sonic territory with electronics and synthesizers. The rest of the Who wasn't particularly enthralled with Lifehouse, claiming not to understand its plot, and their reluctance contributed to Townshend suffering a nervous breakdown. Once he recovered, the group picked up the pieces of the abandoned project and recorded Who's Next with producer Glyn Johns. Boasting a harder sound, Who's Next was a major hit, and many of its tracks -- including "Baba O'Riley,""Bargain,""Behind Blue Eyes," and "Won't Get Fooled Again" (which were both issued as singles), and Entwistle's "My Wife" -- became cornerstones of '70s album-oriented FM radio. The Who's Next tour solidified the band as one of the two top live rock attractions in the world along with the Rolling Stones. Suddenly their history was of interest to millions of fans; Meaty Beaty Big and Bouncy, a 14-song retrospective of their singles, also sold in massive numbers.
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Recorded over three nights in August 1972, Deep Purple's Made in Japan was the record that brought the band to headliner status in the U.S. and elsewhere, and it remains a landmark in the history of heavy metal music. Since reorganizing with singer Ian Gillan and bassist Roger Glover in 1969, Deep Purple had recorded three important albums -- Deep Purple in Rock, Fireball, and Machine Head -- and used the material to build a fierce live show. Made in Japan, its selections drawn from those albums, documented that show, in which songs were drawn out to ten and even nearly 20 minutes with no less intensity, as guitarist Ritchie Blackmore and organist Jon Lord soloed extensively and Gillan sang in a screech that became the envy of all metal bands to follow.
The signature song, of course, was "Smoke on the Water," with its memorable riff, which went on to become an American hit single. But those extended workouts, particularly the moody "Child in Time," with Gillan's haunting falsetto wail and Blackmore's amazingly fast playing, and "Space Truckin'," with Lord's organ effects, maintained the onslaught, making this a definitive treatment of the band's catalog and its most impressive album. By stretching out and going to extremes, Deep Purple pushed its music into the kind of deliberate excess that made heavy metal what it became, and their audience recognized the breakthrough, propelling the original double LP into the U.S. Top Ten and sales over a million copies.
01. The Doors - Isle of Wight 1970-08-30 - The End 18:18
02. The Doors - Isle of Wight 1970-08-30 - When The Music's Over 13:31
03. The Doors - Stockholm '68 Tapes - Money 03:18
04. The Doors - Stockholm '68 Tapes - Back Door Man 04:29
05. Tom Petty - Unreleased Petty - Mr Tambourine Man 04:02
06. Tom Petty - Unreleased Petty - Worried Guy 03:21
07. Tom Petty - Unreleased Petty - Drivin' Down To Georgia 06:34
08. Tom Petty - My Fathers Place - Route 66 04:00
09. The Who - Complete Amsterdam 69' - Summertime Blues 03:54
10. The Who - Complete Amsterdam 69' - My Generation 14:41
11. The Who - Complete Amsterdam 69' - Young Man Blues 08:28
12. The Who - Complete Amsterdam 69' - Tattoo 04:24
13. Deep Purple - Made in Japan August 17 - Highway Star 07:12 (Another Version)
14. Deep Purple - Made in Japan August 17 - Strange Kind of Woman 08:28 (Another Version)
15. Deep Purple - Made in Japan August 17 - Black Night 06:58 (Another Version)
16. Deep Purple - Made in Japan August 15 - Lazy 10:59 (Another Version)
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Black Sabbath - Live at Montreux Casino, August 1970 and in Brussels 1970
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
“No questions asked of ultra-name board”. The end.
…… No, no, I will explain properly. This work, latest remastered of “MONTREUX 1970,” which caused a whirlwind in 2010. Is this “remastered” is or was a point, but first from the basic description. If you know the existing airport, … a while now wait.
Well, responsible for the corner of the sound source Big 3 “MONTREUX 1970” is, in 2010 to suddenly to transcendence sound board recording that has been excavated. Its contents, is the last day, Montreux performances August 31, 1970 debut album “BLACK SABBATH” tour, which celebrated its 45th anniversary this year. Its appearance and the other was a fuss. After all, five years ago did not know even that there was a live in “August 31, 1970”. And yet, because I’ve been jumped suddenly ultra-ultra-high quality sound board. The Ya its sound serving, well by far among the sound source Big 3, mono “Brussels 1970 (formerly Paris 1970)” What stage do you also referred to as the above …… than the video, even beyond the level of the live recording, studio album Beams Sound of. Moreover, initial BLACK SABBATH that has been recorded in the super sound quality, was “just now, in repainting the history”. Since recording of ultra-name board “PARANOID” is June 16 to 21, 1970, that two months later. It anymore, best of … (snip) in superb in superb in superb’s a British rock of …
This impact was also beyond the sea. According to the officials, how to obtain a press board of Tony Iommi and Giza? Butler himself “MONTREUX 1970” (the “LIVE LONGEST … DIE AT LAST”). It is said that much to Ai聴 (By the way, Ozzy Osbourne is so it was the end in “Hmm”: laughs). Question your identity our hearts even it’s a shock operation of shock Sakuchu that had to eagle Zukami!
This time, to deliver “DEFINITIVE MONTREUX 1970”, has been remastered the “really I had been the official release?” Motif. Intact original ultra-clear sound, modern force, the dynamism has been dusted plenty. When you be honest, sound source with the In “meaning the weight of the” original as it is of “MONTREUX 1970” is by far great. Well another, Metchakucha great (So, please do not let go of the person who you have absolutely!). Did on affirmed up there, if you Ai聴 from the usual, I recommend this work. After all, it is familiar way of also excellent when I heard sprinkled with studio albums remastered CD. Sharpness sharp edges Standing, thundering bass of plump sounds comfortably. Is irresistible, really.
Although it is your embarrassing story, Ever since then to hand this work, the recording order “because tour last day 1st album → this work → 2nd and Kana will listen in the order of the album” “Today in 1st album → 2nd album → this work as such will kana “try to repeat every day settlement. Subsequently you listened to as the “Iron Man and though why that after recording War Pigs is provisional lyrics that do wonder? … No way, do not remember yet!?”, etc., etc., as jumped almost 70 years. This fun, the real thrill to warp to ’45 before. Come, please experience you also in the press album.
Live at Montreux Casino, Montreux, Switzerland 31st August 1970
01. Intro - 01.22
02. Paranoid - 02.59
03. N.I.B. - 05.45
04. Behind The Wall Of Sleep - 06.03
05. Iron Man - 06.23
06. War Pigs - 07.43
07. Fairies Wear Boots - 08.42
08. Hand Of Doom - 08.30
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Size: 127MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
Along with their 1974 performance at the California Jam and the glorious 1975 Asbury Park show, Black Sabbath‘s December, 1970, performance in Paris, France is among the group’s most famous bootlegs. Various snippets have made the rounds over the years — mostly video — but the soundboard audio from the show, coupled with the fact that it’s the original lineup in their Paranoid-era, was too good for me to pass up on eBay recently. Maybe it was posting the “N.I.B.” video last week that did it. Maybe it was the wine. Could go either way.
Whatever the case, it was one of those shows I had downloaded forever ago, but definitely of a quality worth owning physically. Even as Ozzy butchers the lyrics to nearly every song — “War Pigs” and “Hand of Doom” are especially brutal — the energy with which he does so practically punches you in the face through the speakers, and Bill Ward holds down “Black Sabbath” like I haven’t heard in any other era of the band. All the material was fresh, immediate, and fortunately, the sound on the War Pigs bootleg is good enough to capture that.
I’m pretty sure it’s a home-print job, inkjet, burner, whatnot, but it’s a silver-backed disc and I paid less than $20 for it, and in this age of sabboots, each of those is rare enough on its own that to have them both at the same time feels like getting away with something. If you’re into Sabbath bootlegs, you probably already have this show one way or another — I’ve never had much interest in collecting bootleg videos, but I know plenty of people who do — but if you don’t, it’s an essential piece to the catalog.
There are plenty of other copies out there, and even if it’s a cheap inkjet knockoff that you’re getting, the War Pigs bootleg captures young Sabbath at their most vital and as they never would be again. If you see it, get it.
Live in Brussels 1970
01. Paranoid
02. Hand Of Doom
03. Rat Salad
04. Iron Man
05. Black Sabbath
06. N.I.B.
07. Behind The Wall Of Sleep
08. War Pigs
09. Fairies Wear Boots
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Chuck Berry - After School Session (Classic 1st Album US 1957) & Chuck Berry - One Dozen Berrys (Classic 2nd Album US 1958)
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Chuck Berry - After School Session US 1957
Chuck Berry's first album boasts a picture of him lifted from his appearance in the 1956-vintage rock & roll movie Rock, Rock, Rock — it's a daring pose if you look closely, the singer/guitarist/songwriter captured at his most animated, in what was a pretty bold pose for a black artist in an interracial movie, strutting and duck-walking across the screen with his guitar at full...exposure. That said, bold as the movie appearance was and the pose that was reflected in its cover, After School Session came out fairly late, given that his first hit, "Maybellene," dated from the summer of 1955.
It was the release and hit status of "School Day" in the early spring of 1957 that yielded this album, which is a brilliant compendium of the range, depth, and breadth of Berry's music across his first two years as a recording artist. The sounds ranged from the pounding, jargon-laden teen-oriented beat of "School Day" through those R&B and blues classics to the moody instrumental "Deep Feeling"; the Latin-flavored, Calypso-influenced "Havana Moon"; the slow, romantic ballad "Together (We'll Always Be)," which
showed Berry working in a '40s R&B-pop mode similar to the music of the Ink
Spots, and attempting a Nat King Cole style of soft singing; his more successful effort in that ballad vein, "Drifting Heart"; and the mysterious, ominous, darkly shimmering "Down Bound Train," which could almost have been Berry's (and black music's) answer to "Ghost Riders in the Sky."
The 2004 reissue of After School Session includes three bonus tracks that greatly extend the range of the original album — the driving rocker "You Can't Catch Me" (whose lyrics would greatly complicate John Lennon's life when he cribbed them for the opening of "Come Together" late in the Beatles' history); the even more pounding "Thirty Days"; and his debut hit, "Maybellene."
All of it (including the rest of the original album's contents) shows off a glorious remastered sound that lets you hear the room ambience at Chess Studios and make out the exact spatial relationship between Berry and his backup singers on "Thirty Days." It puts the original CD to shame sonically, and boasts superior historical notes as well.
01. School Days, Berry 02:56
02. Deep Feeling, Berry 03:04
03. Too Much Monkey Business, Berry 02:51
04. Wee Wee Hours, Berry 02:20
05. Roly Poly, Berry 02:42
06. No Money Down, Berry 02:59
07. Brown Eyed Handsome Man, Berry 02:18
08. Berry Pickin', Berry 03:09
09. Together (We'll Always Be), Berry 02:32
10. Havana Moon, Berry 02:47
11. Down Bound Train 02:50
12. Drifting Heart 02:49
Bonus Tracks:
13. You Can't Catch Me 02:44
14. I've Changed 03:06
15. Untitled Instrumental 02:23
16. Maybellene (Live) 02:05
17. Roll Over Beethoven (Live) 02:44
18. Rock And Roll Music (Demo) 02:40
19. Thirteen Question Method (Early Version) 02:40
20. Sweet Little Sixteen (Demo) 03:09
21. Sweet Little Sixteen (Take 3) 03:14
22. Night Beat (Take 3) (Instrumental) 02:55
23. Time Was (Slow Version) (Take 4) 02:37
24. Time Was (Slow Version) 02:02
25. Reelin' And Rockin' (Take 1) 03:38
26. Merry Christmas Baby 03:13
Chuck Berry - One Dozen Berrys US 1958
Chuck Berry's second album is ever so slightly more sophisticated than its predecessor. Although One Dozen Berrys is hooked around a pair of hit singles, "Sweet Little Sixteen" and "Rock & Roll Music," most of what's here doesn't really sound too much like either of those songs — rather, the other ten tracks each constitute a close-up look at some individual component of the types of music that goes into brewing up the Chuck Berry sound.
The best of the album's tracks is easily "Reelin'& Rockin'," which is also just about the dirtiest song that Berry released in all of the 1950s (and for many years after that), essentially a blues-boogie recasting, on a more overt level, of the extended feats of sexual intercourse alluded to in Bill Haley's "Rock Around the Clock."
01. Sweet Little Sixteen 03:01
02. Blue Feeling 02:58
03. La Jaunda (Espanol) 03:08
04. Rock At The Philarmonic 03:21
05. Oh, Baby Doll 02:35
06. Guitar Boogie 02:20
07. Reelin' And Rockin 03:15
08. In-Go 02:28
09. Rock & Roll Music 02:30
10. How You'Ve Changed 02:47
11. Low Feeling 03:04
12. It Don't Take But A Few Minutes 02:30
Bonus Tracks:
13. Rock and Roll Music (alternate) 02:26
14. Sweet Little Sixteen (Take 11) 03:09
15. Sweet Little Sixteen (Original Master) 03:46
16. Reelin And Rockin (Take 7/8) 03:46
17. Johnny - · B. Goode (Alternate Take 2/3) 03:21
18. Around And Around (Take 2 Overdub)02:49
19. Around And Around (Take 3 Overdub)02:43
20. Ingoe (Take 3 Overdub) 02:57
21. Lila de Beautiful (Alternate Take 15/16) 02:32
22. Lila de Beautiful (Take 6)02:10
23. 21 Blues 02:11
24. 21 02:27
25. 21 (Take 14) 02:38
26. Vacation Time 02:53
Part 01: Chuck Berry 01
Part 02: Chuck Berry 02
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Tamam Shud - Evolution (Great Aussie Psychedelic Rock 1969)
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
In the late '60s, director Paul Witzig traveled the globe, 16mm camera in tow, shooting silent footage of some of Australia's top surfers on the shores of North Africa, Puerto Rico, France and Portugal, as well as in locations all over their homeland. The end result was Evolution, and though the IMDb doesn't list any Witzig works outside of being a camera operator on Bruce Brown's classic surf documentary The Endless Summer, enthusiasts of the sport tell a remarkably different tale.
This Japanese papersleeve reissue of Evolution, part of EM Records' surf soundtrack series, includes 1971s Bali Waters EP, three cleaner songs with the progressive tack reaching to the fore. Bjerre sounds as strong as he did on the album, but the band is a little more reined in, with a polish that still evokes a surfborne spirit. These three tracks are fine, but not as gloriously blasted out as the album, as if the group was waiting for their career to foment. Still, it's not a bad way to finish off such a satisfying album, a true surprise in a time where hundreds of psych reissues of almost random quality surface at ridiculous prices. It's nice to roll with a winner now and again.
Line-up Musicians
♦ Dannie Davidson - drums
♦ Zac Zytnic - guitars
♦ Lindsay Bjerre - guitars, vocals
♦ Peter Barron - bass
01. Music Train (03:52)
02. Evolution (02:45)
03. I'm No One (02:08)
04. Mr. Strange (02:34)
05. Lady Sunshine (04:39)
06. Falling Up (02:48)
07. Feel Free (03:12)
08. It's a Beautiful Day (02:53)
09. Jesus Guide Me (03:53)
10. Rock on Top (02:49)
11. Slow One and the Fast One (06:58)
12. Too Many Life (03:04)
Bonus Tracks "Bali Waters EP (1972)
13. Bali Waters [Bali Waters EP 1972] (06:14)
14. Got a Feeling [Bali Waters EP 1972] (02.37)
15. My Father Told Me [Bali Waters EP 1972] (03:47)
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Evensong - Selftitled (Great Folkrock UK 1973)
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
The first official re-release of this album, with sound taken from the original master tapes and adding six bonus tracks. Evensong's self-titled album nowadays is a high-prized UK folk-pop artefact, originally released in 1973 to critical acclaim and strong sales. The duo's fragile, harmony-drenched songs are given instrumental muscle by seasoned session players Clem Cattini, B.J. Cole and Herbie Flowers, and ornate string arrangements courtesy of former Spencer Davis Group guitarist Ray Fenwick.
Evensong is a similar to the likes of Magna Carta or Strawbs mixed with American and Australian duo songwriter folk in a more British way and with more solo lead vocals, with one Christian song and with one theme inspiration on country folk. This is harmonious folk-pop for which their name Evensong, -which is an Anglican expression for evening prayer-, should describe the aspect of a pastoral softness in their music. One of the two musicians, the British born Michael Lawson had a first life in American rock'n roll touring and playing support acts for American bands and singers in Birmingham, like with a band called The Grasshoppers. After having played with few more bands like The Shanes, The D'Fenders, The N'Betweens and Varsity Rag when the last band split, Evensong was formed as a new inspiration and direction.
The next beauty, “Smallest man in the world”, has again more orchestral harmonies, comparable to the opener, with the inclusion of some flute. The next Christian song has a beautiful Bert Jansch-like guitar arrangement, congas and some electric guitar.
Surprisingly six bonus tracks were added of which 3 were recorded in the studios around the same time, and two came from their off-LP 1973 single. “Home Made Wine” for instance is with similar harmony vocals and acoustic/electric guitars but is rockier. Also here the American influence and accent is more dominant. These tracks still fit, but direct often towards a more (American) East Coast feeling.
In the mid 60s Mike Lawson played in Rock & Roll bands in Birmingham (The Shanes, The D'Fenders, The N'Betweens, Varsity Rag), supporting American bands and singers on tour. Tony Hulme worked as a ballad singer in the Manchester club circuit (named "Mr. Manchester") due to his stage show. Tony Hulme died in 2010.
01. Dodos and Dinosaurs - 03.50
02. I Was Her Cowboy - 03.18
03. Store of Time - 03.35
04. Gypsy - 02.38
05. Smallest Man in the World - 03.38
06. Take Your Son to Church Mother - 04.47
07. Borderline - 03.02
08. Firefly - 02.40
09. Rum Runner - 03.50
10. Sweetbriar Road - 04.02
Bonus Tracks
11. Homemade Wine [Unreleased CBS Studios 1971] - 02.59
12. Reaching Out for Someone [Unreleased CBS Studios 1971] - 02.52
13. Wooden Wheels [Unreleased CBS Studios 1971] - 04.32
14. Tell Me a Story [Unreleased CBS Studios 1971] - 2.22
15. Dance Dance Dance [Phillips Single 1973] - 02.46
16. Romeo [Phillips Single 1973] - 03.41
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Deep Purple - Made in Japan (Alternative Album UK 1972)
Bitrate: 320
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Ripped by: ChrisGoesRock
Some Artwork Included
Made in Japan is a double live album by English rock band Deep Purple, recorded during their first tour of Japan in August 1972. It was originally released in December 1972, with a US release in April 1973, and became a commercial and critical success.
The band were well known for their strong stage act, and had privately recorded several shows, or broadcast them on radio, but were unenthusiastic about recording a live album until their Japanese record company decided it would be good for publicity. They insisted on supervising the live production, including using Martin Birch, who had previously collaborated with the band, as engineer, and were not particularly interested in the album's release, even after recording. The tour was successful, with strong media interest and a positive response from fans.
The album was an immediate commercial success, particularly in the US, where it was accompanied by the top five hit "Smoke on the Water", and became a steady seller throughout the 1970s.
Deep Purple "Mk II" formed in July 1969 when founding members, guitarist Ritchie Blackmore, organist Jon Lord and drummer Ian Paice recruited singer Ian Gillan and bassist Roger Glover to progress from their earlier pop and psychedelic rock sound towards hard rock. They began touring extensively, becoming a well received live band, and had recorded several shows either to broadcast on the radio or listen to privately. However, they had rejected the idea of releasing a live album commercially as they believed it would be impossible to reproduce the quality and experience of their stage act on an LP.
The band's live setlist had been revamped at the start of the year, immediately after recording the album Machine Head, and that album made up a substantial proportion of new material. Although the setlist remained the same for most of the year, opening with "Highway Star" and closing with "Lazy" and "Space Truckin'", the band's musical skill and structure meant there was sufficient improvisation within the songs to keep things fresh. The original intention was the stage act would be used for about a year before being dropped, but Gillan and Glover both resigned from the band in June 1973. When this line-up reformed in 1984, the 1972 setlist made up a significant amount of material performed in concert.
The band considered the gig at Tokyo on 17 August to be the best of the tour. Glover remembered "twelve or thirteen thousand Japanese kids were singing along to 'Child in Time'" and considered it a career highlight, as did Gillan. At the venue, a row of bodyguards manned the front of the stage. When Blackmore smashed his guitar during the end of "Space Truckin'" and threw it into the audience, several of them clambered past fans to try and retrieve it. Blackmore was annoyed, but the rest of the band found the incident amusing. The gig was not as well recorded as the Osaka shows, though "The Mule" and "Lazy" were considered of sufficient quality to make the final release.
There were no overdubs on the album. Lord claimed once in a magazine interview that a line from "Strange Kind of Woman" had to be redubbed from a different show after Gillan had tripped over his microphone cable, but no direct evidence of this was found when the multitrack tapes were examined. According to Lord, the total budget for the recording was only $3,000 (equivalent to £35,696 in 2015).
"That double album ... wasn't meant to be released outside of Japan. They wound up putting it out anyway and it went platinum in about two weeks."
The band did not consider the album to be important and only Glover and Paice showed up to mix it. According to Birch, Gillan and Blackmore have never heard the finished album. The band did not want the album to be released outside Japan and wanted full rights to the tapes, but it was released worldwide anyway.
The album was released in the UK in December 1972, with a special offer price of £3.10, the same as a typical single LP from that period. It reached number 16 in the charts. The cover was designed by Glover and featured a colour photo of the band on the front and rear covers, and black and white photos in the inside gatefold. The release in the US was delayed until April 1973, because Warner Bros. wanted to release Who Do We Think We Are first. They were motivated into releasing it due to a steady flow of UK imports being purchased, and it was an immediate commercial success, reaching number 6 in the charts. Warner Brothers also released "Smoke on the Water" as a single, coupling the live recording on Made in Japan with the studio version on Machine Head, and it reached number 4 in the Billboard charts. A recording of "Black Night" from the Tokyo gig, one of the encores that was not on the album, was released as the B-side to the single "Woman from Tokyo" in Europe, and as a single in its own right in Japan.
In Uruguay, the album was released in 1974 as a single LP (with just the first two sides) on Odeon Records. It used a simplistic sleeve design unlike any other release, with a rising sun on the cover.
The response from critics was favourable. Rolling Stone's Jon Tiven wrote that "Made in Japan is Purple's definitive metal monster, a spark-filled execution ... Deep Purple can still cut the mustard in concert". Subsequently, a readers' poll in the magazine declared the album to be the sixth best live album of all time, adding the band have performed "countless shows since in countless permutations, but they've never sounded quite this perfect."
Recent reviews have been equally positive. Allmusic's William Ruhlmann considered the album to be "a definitive treatment of the band's catalog and its most impressive album". Rock author Daniel Bukszpan claimed the album is "widely acknowledged as one of the greatest live albums of all time". Goldmine magazine said the album "defined Deep Purple even as it redefined the concept of the live album." Deep Purple author Dave Thompson wrote "the standing of Deep Purple's first (and finest) live album had scarcely diminished in the quarter-century since its release".
Personnel
♫♪ Ritchie Blackmore - guitar
♫♪ Ian Gillan - vocals, harmonica, percussion
♫♪ Roger Glover - Bass, backing vocals
♫♪ Jon Lord - keyboards backing vocals
♫♪ Ian Paice – drums, percussion
01. Highway Star - 08.01 [Tokyo 17 August 1972]
02. Child in Time - 12.33 [Tokyo 17 August 1972]
03. Smoke on The Water - 07.28 [Osaka 16 August 1972]
04. Strange Kind of Woman - 11.03 [Tokyo 17 August 1972]
05. Lazy - 10.11 [Osaka 16 August 1972]
06. Space Truckin' - 20.08 [Osaka 16 August 1972]
07. Speed King - 08.28 [Osaka 15 August 1972]
08. Black Night - 08.01 [Tokyo 17 August 1972]
09. Lucille - 09.03 [Osaka 16 August 1972]
Part 1: Made in Japan
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The Next Morning - Selftitled (Psychedelic Soul US 1971)
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
A wickedly rare phase 'n' fuzz fueled slice of psychedelia circa 1970! - featuring ripsnorting guitar-work by Bert Bailey- these guys were Caribbean immigrants (four from Trindad, one from the Virgin Islands) and they idolized the Who and Jimi Hendrix.
African-American psychedelic groups, and rock bands from Trinidad, were both uncommon items around 1970. The Next Morning fit into both categories, making them an interesting curiosity regardless of their music. The music, however--average 1970 hard-rock with soul, hard rock, and psychedelic influences, particularly from Jimi Hendrix--is not as unusual as their origins. One would not suspect from listening that the group were largely from Trinidad, with the proliferation of heavy, bluesy guitar and organ riffs, and the strained soul-rock vocals of Lou Phillips. They recorded one album, released in 1971, that received little notice before their breakup.
I'll be the first to admit a fascination with black 1960s/1970s hard rock/psychedelic bands such as Black Merda, Ernie Joseph, and Purple Image. With the exception of Jimi Hendrix, these outfits were caught in an impossible Catch 22 situation whereby their music was simply too white for black audiences and too black for white audiences. How do you get out of that no win situation? You don't. That said, here's another little known outfit to add to the list.
The late-1960s found guitarist Scipio Sargeant having left his native Trinidad for New York City. Living in Brooklyn his lightening quick guitar began attracting attention, including that of fellow Trinidadian guitarist Bert Bailey. Discovering a shared interest in hard rock, the pair decided to form a band, quickly recruiting keyboardist Earl Arthur, brother/drummer Herb Bailey, and singer Lou Phillips. With Scipio switching to bass the quintet began attracting attention on the city's club circuit.
Propelled by Arthur's insane keyboards and Bert Bailey's wicked fuzz drenched guitar, self-penned material such as 'Changes of the Mind', 'Life Is Love', and 'Back To the Stone Age' offered up impressive slices of Hendrix-styled heavy rock. The comparison was further underscored by the fact that on numbers such as the growling title track Lou Phillips' vocals bore at least a modest resemblance to Hendrix. Admittedly there wasn't anything particularly original here, but the overall performances were quite attractive, making for a first-rate set that should appeal to all guitar rock lovers.
Personnel
• Earl Arthur - keyboards
• Bert Bailey - guitar
• Herbert Bailey - drums
• Lou Phillips - vocals
• Scipio Sargeant - bass, guitar
"The Next Morning" track listing:
(side 1)
1.) The Next Morning (Lou Phillips - Scipio Sargeant - Bert Bailey) - 4:53
The title track started out as an unexpectedly jazzy number (maybe a touch of Allman Brothers), before switching gears into a Hendrix-meets-Buddy Miles-styled rocker. Derivative, but still quite enjoyable with vocalist Phillips in fine form and Bert Bailey showing off his first rate chops. Excellent jam and a great way to kick the album off. rating: **** stars
2.) Life (Lou Phillips - Bert Bailey) - 2:50
Heavy pop ? One of the album's lesser tunes. rating: *** stars
3.) Changes of the Mind (Lou Phillips - Scipio Sargeant - Bert Bailey) - 5:54
The rocker 'Changes of the Mind' opened up as a showcase for Bailey's blazing fuzz guitar. Shame Lou Phillips' I wannabe-Jim-Morrison vocals were so shrill and irritating on this one. It was one of the tunes where his Caribbean accent stood out to poor effect. Still, the tune got progressively better when Phillips quit singing and the tune morphed into a jam tune. rating: *** stars
4.) Life Is Love (Lou Phillips - Earl Arthur) - 5:22
Earl Arthur's jazzy, slightly discordant B-3 opening wasn't very promising, but about a minute in the song took off in a heavy metal jam mode. Phillips sounded pretty stoned. Actually the whole band sounded pretty stoned on this one. Bailey contributed lots of wah wah and fuzz on this rocker. rating: **** stars
(side 2)
1.) Back To the Stone Age (Lou Phillips - Scipio Sargeant - Bert Bailey) - 5:15
Wow ! More Hendrix-styled rock and I guarantee Bailey's blazing fuzz guitar will make your speakers buzz. rating: **** stars
2.) Adelane (Lou Phillips - Bert Bailey) - 2:51
If I had to pick a song that had a "heavy"'70s aura, 'Adelane' would certainly be in the running. Best way to describe this one ? Molten ballad ... beats me, though Bailey turned in one of his prettiest solos. I can't imagine them playing this in a small club. They would have literally collapsed the place. rating: **** stars
3.) Faces Are Smiling! (Lou Phillips - Bert Bailey) - 4:35
'Faces Are Smiling!' found Sargeant and company going mellow ... well the first three minutes were mellow in an acid soaked and echo drenched fashion. Kicked along by some powerhouse Herbert Bailey drumming, this was one of my favorite tunes on the album. The second half of the tune found the band heading off in patented Hendirix-styled jam mode. rating: **** stars
4.) A Jam of Love (Lou Phillips - Scipio Sargeant - Herbert Bailey - Bert Bailey - Earl Arthur) - 6:18
The lone group collaboration, 'A Jam of Love' was seemingly their attempt at a ballad ... well at least the first half of the tune. The melody wasn't bad and Bailey got to add a bit of jazzy inflection to his lead guitar, but even with a heavy echo effect slapped on his vocals, Phillips simply didn't have the kind of voice to pull it off. Ballads were clearly not their forte. rating: ** stars.
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Elvis Presley - Rare Outtakes Tracks 1956-1961
Size: 360 MB
Bitrate: 320
mp3
Found in DC++ World
Some Artwork Inckuded
Source 24-Bit Remaster
1956–1958: Commercial breakout and controversy
On January 10, 1956, Presley made his first recordings for RCA in Nashville. Extending the singer's by now customary backup of Moore, Black, and Fontana, RCA enlisted pianist Floyd Cramer, guitarist Chet Atkins, and three background singers, including first tenor Gordon Stoker of the popular Jordanaires quartet, to fill out the sound. The session produced the moody, unusual "Heartbreak Hotel", released as a single on January 27. Parker finally brought Presley to national television, booking him on CBS's Stage Show for six appearances over two months.
While Presley was not an innovative guitarist like Moore or contemporary African American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argues that the album's cover image, "of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar ... as the instrument that best captured the style and spirit of this new music."
1958–1960: Military service and mother's death
On March 24, 1958, Presley was conscripted into the U.S. Army as a private at Fort Chaffee, near Fort Smith, Arkansas. His arrival was a major media event. Hundreds of people descended on Presley as he stepped from the bus; photographers then accompanied him into the fort. Presley announced that he was looking forward to his military stint, saying he did not want to be treated any differently from anyone else: "The Army can do anything it wants with me."
After training, Presley joined the 3rd Armored Division in Friedberg, Germany, on October 1. Introduced to amphetamines by a sergeant while on maneuvers, he became "practically evangelical about their benefits"—not only for energy, but for "strength" and weight loss, as well—and many of his friends in the outfit joined him in indulging.
Presley returned to the United States on March 2, 1960, and was honorably discharged with the rank of sergeant on March 5. The train that carried him from New Jersey to Tennessee was mobbed all the way, and Presley was called upon to appear at scheduled stops to please his fans. On the night of March 20, he entered RCA's Nashville studio to cut tracks for a new album along with a single, "Stuck on You", which was rushed into release and swiftly became a number one hit.
G.I. Blues, the soundtrack to Presley's first film since his return, was a number one album in October. His first LP of sacred material, His Hand in Mine, followed two months later. It reached number 13 on the U.S. pop chart and number 3 in the UK, remarkable figures for a gospel album. In February 1961, Presley performed two shows for a benefit event in Memphis, on behalf of 24 local charities. During a luncheon preceding the event, RCA presented him with a plaque certifying worldwide sales of over 75 million records. A 12-hour Nashville session in mid-March yielded nearly all of Presley's next studio album, Something for Everybody.
Another benefit concert, raising money for a Pearl Harbor memorial, was staged on March 25, in Hawaii. It was to be Presley's last public performance for seven years.
Lost in Hollywood
Parker had by now pushed Presley into a heavy film making schedule, focused on formulaic, modestly budgeted musical comedies. Presley at first insisted on pursuing more serious roles, but when two films in a more dramatic vein—Flaming Star (1960) and Wild in the Country (1961)—were less commercially successful, he reverted to the formula. Among the 27 films he made during the 1960s, there were few further exceptions. His films were almost universally panned; critic Andrew Caine dismissed them as a "pantheon of bad taste". Nonetheless, they were virtually all profitable. Hal Wallis, who produced nine of them, declared, "A Presley picture is the only sure thing in Hollywood."
In the first half of the decade, three of Presley's soundtrack albums hit number one on the pop charts, and a few of his most popular songs came from his films, such as "Can't Help Falling in Love" (1961) and "Return to Sender" (1962). ("Viva Las Vegas", the title track to the 1964 film, was a minor hit as a B-side, and became truly popular only later.) But, as with artistic merit, the commercial returns steadily diminished. During a five-year span
Shortly before Christmas 1966, more than seven years since they first met, Presley proposed to Priscilla Beaulieu. They were married on May 1, 1967, in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas. The flow of formulaic films and assembly-line soundtracks rolled on. It was not until October 1967, when the Clambake soundtrack LP registered record low sales for a new Presley album, that RCA executives recognized a problem. "By then, of course, the damage had been done", as historians Connie Kirchberg and Marc Hendrickx put it. "Elvis was viewed as a joke by serious music lovers and a has-been to all but his most loyal fans."
Disc 01
01. Heartbreak Hotel - Take 5 02:17
02. I Was The One - Take 2 02:32
03. I'm Counting On You (Take 2 Incomplete Dry Echo Tape) 01:35
04. Lawdy Miss Clawdy (Take 6) 02:19
05. Shake Rattle & Roll (Take 12) 01:41
06. I Want You I Need You I Love You (Take 3) 03:05
07. Don Davis Interviews Elvis 03:53
08. Rip It Up (Take 15) 02:04
09. Old Shep (Take 5) 04:01
10. Mean woman Blues - Version 2, BX-7 (Take 7) 02:32
11. Loving You (Binaural KX Main Version, Take 15) 01:40
12. Are You Lonesome Tonight - Takes 1 & 2 03:39
13. I Gotta Know - Takes 1 & 2 02:58
14. Such A Night - Take 1 03:14
15. Make Me Know It - Takes 17 & 18 02:47
16. Fever - Takes 2, 3 & End Taken Out 04:00
17. It's Now Or Never - Takes 3 & 4 03:56
18. Stuck On You - Takes 1-FS, 2 02:36
19. It Feels So Right - Take 2 02:06
20. Wooden Heart (take 1)
22. Pocketful Of Rainbows (version 1, take 4-7)
Disc 02
01. King Creole (revised version - take 13 - master) 02:18
02. Trouble (take 5 - master) 02:31
03. Young Dreams (take 8 - master) 02:41
04. Hard Headed Woman (take 10 - master) 02:03
05. Don't Ask Me Why (take 12 - master) 02:14
06. Sentimental Me (Take 1) 06:42
07. I'm Coming Home (Take 2) 02:42
08. In Your Arms (Take 1) 02:13
09. Judy (Take 1) 03:16
10. I Want You With Me (Take 1) 02:26
11. Little Sister (Take 3) 02:54
12. His Latest Flame (Take 2) 02:26
13. I'm Coming Home (Takes 1, 2) 03:23
14. I Feel So Bad (Take 1) 02:59
15. Starting Today (Take 2) 02:11
16. Your Cheatin Heart (Take 9) 02:53
17. Doncha Think It's Time (Take 47) 02:05
18. A Big Hunk O Love (Take 1) 02:27
19. Ain't That Loving You Baby (Take 1) 02:34
20. I Need Your Love Tonight (Take 15) 02:15
21. A Fool Such As I (Take 9) 02:50
22. I Got Stung (Take 12) 02:04
23. Press Interview Whit Elvis (At Brooklyn Army Terminal) 05:27
24. Elvis Presley's Newsreel Interview 02:23
25. Elvis Presley - Pat Hernon Interviews Elvis (In The Library Of The USS Randall At Sailing) 02:16
Part 1: Elvis 1
Part 2: Elvis 2
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Part 2: Elvis 2
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Part 2: Elvis 2
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Audience - Audience (1st Album Progressive Rock UK 1969)
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Howard Werth was born and raised in East London. The fledgling Werth was hooked on rock’n’roll from its inception, at an age when he was barely able to do more than eat, sleep and listen.
His musical taste buds were further tickled by his introduction to the jazz world of Charles Mingus, Thelonious Monk, Art Blakey and Miles Davis, along with his first introduction to the incredible voice of Ray Charles. In his early teens he was deeply drawn to the music of James Brown.
In the sixties Howard went to art school at the outset of the pop-art era and was trained by some of the major British exponents of that movement. Musically at the time Howard was indulging in the blues and r’n’b, which ran into his Motown / psychedelia period. At the same time Howard’s art & design skills had secured him a job at Pye Records designing album covers for The Kinks, Sandie Shaw, Marlene Dietrich and the Gerry Anderson Thunderbirds (and related) EP series, among countless other projects.
Towards the end of the decade Howard was working for IPC magazines as well as gigging at the Flamingo and various other London clubs of that era, and spending much of his spare time at the UFO Club, the Electric Garden, or the Drury Lane Arts Lab, where the notion of forming what was to become Audience first started to take form and nag at his creative nodes.
In early 1969 Audience took off and recorded the first of four albums, gigging in many and various corners of planet earth, creating merry and influencing the hippest, whilst charting in Europe, Australia and the U.S. along the way, as well as playing shows with Led Zeppelin and Pink Floyd, touring with Rod Stewart & The Faces and Jeff Beck (to name but a few), and being supported on a regular basis by bands such as Genesis.
When Howard brought Audience to a close in late 1972 he got to work on his first solo album “King Brilliant” (now reissued on Luminous Records) and it was around the time of this album that Howard was approached by The Doors and asked to fill the space left by Jim Morrison. Howard spent some time rehearsing with them, but after some agonising and deliberation, Ray Manzarek decided against The Doors reforming. However Howard was later to reunite with Ray in Hollywood, where they worked together extensively on Howard’s songs, some of which would later be re-worked to form the basis of the album “Six Of One and Half a Dozen of the other”, which was originally released on Howard’s own METAbop! label, in conjuction with Jake Riviera, Elvis Costello’s manager and business partner, the man who started Stiff Records.
A London-based band who were popular on the club and college circuit. After an album for Polydor, which is now rare and sought-after because it was withdrawn soon after its release, they were signed to Charisma after they were spotted by the label's boss Tony Stratton-Smith supporting Led Zeppelin at the Lyceum in London.
Friend's Friend's Friend and The House On The Hill were both creative and worthwhile rock albums. Both, especially the former, are dominated by the outstanding sax and flute playing of Keith Gemmell and Werth's strong and rather unusual vocals. Shel Talmy was lined up to produce the Friend's Friend's Friend album but declined at the last moment because he didn't like some of the material. He was looking for a big commercial album and while tracks like Belladonna Moonshine and It Brings A Tear probably appealed to him many of the others (e.g. Raid) were more experimental and didn't. As a result the band ended up producing the album themselves. Their Indian Summer 45, which sold quite well in the States, and the House On The Hill album were produced by Gus Dudgeon. This had a cover version (I've Put A Spell On You) but otherwise, like the first two, was made up of self-penned material including the R&B Jackdaw and the gentler I Had A Dream.
They also performed the score for the 'Bronco Bullfrog' movie (also released under the name 'Angel Lane') which was written by Howard Werth. It was a film shot in the East End with a team of kids from a theatre, none of whom were professional actors.
After the band split, Gemmel joined Sammy; Werth apparently went to the US in an attempt to make music with the surviving Doors members, before returning to the UK. In 1975 he recorded as Howard Werth and The Moonbeams. Trevor Williams went on to Jonathan Kelly's Outside, and then The Nashville Teens; Connor first joined Jackson Heights and then Hot Chocolate; and Judd joined first Sharks (May '73 - Jul '74), then The Andy Fraser Band, eventually becoming a session musician.
01. Banquet 03:47
02. Poet 03:05
03. Waverley Stage Coach 02:59
04. River Boat Queen 02:57
05. Harlequin 02:35
06. Heaven Was An Island 04:18
07. Too Late Im Gone 02:37
08. Maidens Cry 04:47
09. Pleasant Convalescence 02:30
10. Leave It Unsaid 04:10
11. Man On Box 03:05
12. House On The Hill 04:06
Bonus tracks
13. Paper Round 03:42
14. The Going Song 01:42
15. Troubles 01:22
16. Indian Summer 03:16
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Prog-Psych Bands from the UK & The Mary Long Story
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Alice Cooper - Various songs from the early 70's
"Halo of Flies" is a 1973 single by rock band Alice Cooper taken from their 1971 album Killer. The single was only released in the Netherlands, two years after the song appeared on the album.
From the Album "Billion Dollar Babies" 1973
Alice Cooper - School's Out (1972 UK TV Top Of The Pops Performance)
Size: 113MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
History:
Alice Cooper was an American rock band formed in Phoenix, Arizona in 1964. The band consisted of lead singer Vince Furnier, Glen Buxton (lead guitar), Michael Bruce (rhythm guitar, keyboards), Dennis Dunaway (bass guitar), and Neal Smith (drums). Furnier legally changed his name to Alice Cooper and has had a solo career under that name since the band became inactive in 1975. The band was notorious for their elaborate, theatrical shock rock stage shows. In 2011, the original Alice Cooper band was inducted into the Rock and Roll Hall of Fame.
After several years of little success, the Alice Cooper band rose to fame in 1971 with the success of the single "I'm Eighteen" and the album Love It to Death. The band peaked in popularity in 1973 with the album Billion Dollar Babies and its tour, which broke box-office records previously held by The Rolling Stones.
The band consisted of former members from the previous 60s garage rock band, the Spiders. They created everything as a group and wrote virtually the lion's share of what was to become the classic Alice Cooper canon. Neal Smith's sister Cindy Smith Dunaway (Dennis Dunaway's wife) designed the band's costumes and also performed in the stage show (she was the "dancing tooth" during the band's Billion Dollar Babies tour).
The Alice Cooper band was the subject of media criticism after Furnier (Alice Cooper) threw a live chicken into the audience during the 1969 Toronto Rock 'n' Roll Revival Festival. The audience ripped the chicken to shreds.
The band was featured on a Warner Bros sampler album Zapped of bands produced by Frank Zappa for the label, and then went on to release several chart-topping albums and headlining major tours before breaking up in 1975. Vincent Furnier took "Alice Cooper" as his own name and carried on with a new group of musicians, the original band becoming officially defunct. The band played their final show on April 8, 1974 in Rio de Janeiro, Brazil.
In autumn 1970, the Alice Cooper group teamed with producer Bob Ezrin for the recording of their third album, Love It to Death. This was the final album in their Straight Records contract and the band's last chance to create a hit. That first success came with the single "I'm Eighteen", released in November 1970, which reached number 21 on the Billboard Hot 100 in early 1971. Not long after the album's release in January 1971, Warner Bros. Records purchased Alice Cooper's contract from Straight and re-issued the album, giving the group a higher level of promotion.
Love It to Death proved to be their breakthrough album, reaching number 35 on the U.S. Billboard 200 album charts. It would be the first of eleven[fn 5] Alice Cooper group and solo albums produced by Ezrin, who is widely seen as being pivotal in helping to create and develop the band's definitive sound.
The group's 1971 tour featured a stage show involving mock fights and gothic torture modes being imposed on Cooper, climaxing in a staged execution by electric chair, with the band sporting tight, sequined, color-contrasting glam rock-style costumes made by prominent rock-fashion designer Cindy Dunaway (sister of band member Neal Smith, and wife of band member Dennis Dunaway). Cooper's androgynous stage role had developed to present a villainous side, portraying a potential threat to modern society. The success of the band's single and album, and their tour of 1971, which included their first tour of Europe (audience members reportedly included Elton John and a pre-Ziggy David Bowie), provided enough encouragement for Warner Bros. to offer the band a new multi-album contract.
Their follow-up album Killer, released in late 1971, continued the commercial success of Love It to Death and included further single success with "Under My Wheels", "Be My Lover" in early 1972, and "Halo of Flies", which became a Top 10 hit in the Netherlands in 1972. Thematically, Killer expanded on the villainous side of Cooper's androgynous stage role, with its music becoming the soundtrack to the group's morality-based stage show, which by then featured a boa constrictor hugging Cooper on-stage, the murderous axe chopping of bloodied baby dolls, and execution by hanging at the gallows. In January 1972, Cooper was again asked about his peculiar name, and told talk-show hostess Dinah Shore that he took the name from a "Mayberry RFD" character.
The summer of 1972 saw the release of the single "School's Out". It went Top 10 in the USA and to number 1 in the UK, and remains a staple on classic rock radio to this day. The album School's Out reached No. 2 on the US charts and sold over a million copies. The band relocated to their new mansion in Greenwich, Connecticut. With Cooper's on-stage androgynous persona completely replaced with brattiness and machismo, the band solidified their success with subsequent tours in the United States and Europe, and won over devoted fans in droves while at the same time horrifying parents and outraging the social establishment. In the United Kingdom, Mary Whitehouse, a Christian morality campaigner, persuaded the BBC to ban the video for "School's Out", although Whitehouse's campaign did not prevent the single also reaching number one in the UK. Cooper sent her a bunch of flowers in gratitude for the publicity. Meanwhile, British Labour Member of Parliament Leo Abse petitioned Home Secretary Reginald Maudling to have the group banned altogether from performing in the country.
In February 1973, Billion Dollar Babies was released worldwide and became the band's most commercially successful album, reaching No. 1 in both the US and UK. "Elected", a late-1972 Top 10 UK hit from the album, which inspired one of the first MTV-style story-line promo videos ever made for a song (three years before Queen's promotional video for "Bohemian Rhapsody"), was followed by two more UK Top 10 singles, "Hello Hooray" and "No More Mr. Nice Guy", the latter of which was the last UK single from the album; it reached No. 25 in the US. The title track, featuring guest vocals by Donovan, was also a US hit single. Around this time Glen Buxton left Alice Cooper briefly because of waning health.
With a string of successful concept albums and several hit singles, the band continued their grueling schedule and toured the United States again. Continued attempts by politicians and pressure groups to ban their shocking act only served to fuel the myth of Alice Cooper further and generate even greater public interest. Their 1973 US tour broke box-office records previously set by The Rolling Stones and raised rock theatrics to new heights; the multi-level stage show by then featured numerous special effects, including Billion Dollar Bills, decapitated baby dolls and mannequins, a dental psychosis scene complete with dancing teeth, and the ultimate execution prop and highlight of the show: the guillotine.
The guillotine and other stage effects were designed for the band by magician James Randi, who appeared on stage during some of the shows as executioner. The Alice Cooper group had now reached its peak and it was among the most visible and successful acts in the industry. Beneath the surface, however, the repetitive schedule of recording and touring had begun to take its toll on the band, and Cooper, who was under the constant pressure of getting into character for that night's show, was consistently sighted nursing a can of beer.
"Billion Dollar Babies Live in Houston 1973"
Alice Cooper band
★ Alice Cooper – vocals, harmonica
★ Glen Buxton – guitar
★ Michael Bruce – rhythm guitar, keyboards, backing vocals
★ Dennis Dunaway – bass, backing vocals
★ Neal Smith – drums, backing vocals
with:
★ Donovan – vocals on the song "Billion Dollar Babies"
★ Steve "The Deacon" Hunter – guitar - Solos on "Generation Landslide", "Billion Dollar Babies", "Sick Things", "Raped and Freezing", "Unfinished Sweet" and pedal steel on "Hello Hurray"
★ Mick Mashbir – guitar
★ Dick Wagner – guitar
★ Bob Dolin – keyboards
★ David Libert – backing vocals
★ Bob Ezrin – keyboards, producer
01. "Hello Hooray" (Live) (Kempf) - 03:04
02. "Billion Dollar Babies" (Live) (Cooper, Bruce, Smith) - 03:47
03. "Elected" (Live) (Cooper, Buxton, Bruce, Dunaway, Smith) - 02:28
04. "I'm Eighteen" (Live) (Cooper, Buxton, Bruce, Dunaway, Smith) - 04:50
05. "Raped and Freezin'" (Live) (Cooper, Bruce) - 03:14
06. "No More Mr. Nice Guy" (Live) (Cooper, Bruce) - 03:07
07. "My Stars" (Live) (Cooper, Ezrin) - 07:32
08. "Unfinished Sweet" (Live) (Cooper, Bruce, Smith) - 06:01
09. "Sick Things" (Live) (Cooper, Bruce, Ezrin) - 03:16
10. "Dead Babies" (Live) (Cooper, Buxton, Bruce, Dunaway, Smith) - 02:58
11. "I Love the Dead" (Live) (Cooper, Ezrin) - 04:48
12. "Coal Black Model T" - 02:28
13. "Son of Billion Dollar Babies" - 03:45
14. "Slick Black Limousine" (Cooper, Dunaway) - 04:26
Track 1 to 11 are recorded live in Houston 1973, previously unreleased on CD
Track 12 is an early version of "Slick Black Limousine", previously unreleased
Track 13 is a "Generation Landslide" outtake, previously unreleased
Track 14 was previously released in the UK only in 1973 as a free Flexi disc in NME magazine
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2. Alice Live 1973
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Request: Cross Country - Selftitled (Great and Hard to Find Rock Album US 1973)
Size: 77 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Cross Country is a band formed in 1973 by three fourths of the musical group The Tokens- Jay Siegel, Mitch Margo and Phil Margo. The group released one self-titled album.
Compared to those who know about Intercourse by The Tokens, only few will know about this hidden gem. Somehow hidden away by Atlantic Records, this may be the most incredible effort ever by Phil and Mitch Margo, and Jay Siegel of the original "The Tokens" who helped create the smash hit The Lion Sleeps Tonight in 1961.
Fantastic album. Harmony vocals are very reminiscient of the Beach Boys but with a subtle touch of country music. Don't know anything about these guys, but it's a shame they didn't make any more records.The song titles may lack imagination, but the music more than makes up for it. I'm a huge 70s country rock fan, & though I wouldn't call this country rock, it gets regular plays @ my house right between the Band, Byrds & Burritos.
Cross Country are a bit like Crosby Stills Nash & Young, at least in the tight harmonies and rural folky hippie rock they produce.
Nice laid back sip on iced tea and smoke some herb type o' stuff. Every now and then they do give rocking out a shot so it's not all mellow. This was released in 1973 on Atco records and is their only LP.
01. Today - 2:52
02. Just A Thought - 3:22
03. Cross Country - 3:49
04. In The Midnight Hour - 3:16
05. Thing With Wings - 4:35
06. Tastes So Good To Me - 3:13
07. A Fall Song - 2:48
08. Choirboy - 3:18
09. A Ball Song - 2:52
10. A Smile Song - 4:26
1. Cross Country
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We Are The Mothers & This Is What We Sound Like
Size: 110MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
Composer, guitarist, singer, and bandleader Frank Zappa was a singular musical figure during a performing and recording career that lasted from the 1960s to the '90s. His disparate influences included doo wop music and avant-garde classical music; although he led groups that could be called rock & roll bands for much of his career, he used them to create a hybrid style that bordered on jazz and complicated, modern serious music, sometimes inducing orchestras to play along. As if his music were not challenging enough, he overlay it with highly satirical and sometimes abstractly humorous lyrics and song titles that marked him as coming out of a provocative literary tradition that included Beat poets like Allen Ginsberg and edgy comedians like Lenny Bruce. Nominally, he was a popular musician, but his recordings rarely earned significant airplay or sales, yet he was able to gain control of his recorded work and issue it successfully through his own labels while also touring internationally, in part because of the respect he earned from a dedicated cult of fans and many serious musicians, and also because he was an articulate spokesman who promoted himself into a media star through extensive interviews he considered to be a part of his creative effort just like his music. The Mothers of Invention, the '60s group he led, often seemed to offer a parody of popular music and the counterculture (although he affected long hair and jeans, Zappa was openly scornful of hippies and drug use). By the '80s, he was testifying before Congress in opposition to censorship (and editing his testimony into one of his albums). But these comic and serious sides were complementary, not contradictory. In statement and in practice, Zappa was an iconoclastic defender of the freest possible expression of ideas. And most of all, he was a composer far more ambitious than any other rock musician of his time and most classical musicians, as well.
Zappa married Kathryn J. Sherman on December 28, 1960; the marriage ended in divorce in 1964. Meanwhile, he played in bands and worked on the scores of low-budget films. It was in seeking to record his score for one of these films, The World's Greatest Sinner, that he began working at the tiny Pal recording studio in Cucamonga, CA, run by Paul Buff, in November 1961. He and Buff began writing and recording pop music with studio groups and licensing the results to such labels as Del-Fi Records and Original Sound Records. On August 1, 1964, Zappa bought the studio from Buff and renamed it Studio Z. On March 26, 1965, he was arrested by a local undercover police officer who had entrapped him by asking him to record a pornographic audiotape. Convicted of a misdemeanor, he spent ten days in jail, an experience that embittered him. After completing his sentence, he closed the studio, moved into Los Angeles, and joined a band called the Soul Giants that featured his friend, singer Ray Collins, along with bass player Roy Estrada and drummer Jimmy Carl Black. In short order, he induced the group to play his original compositions instead of covers, and to change their name to the Mothers (reportedly on Mother's Day, May 10, 1965).
Freak Out! was released on June 27, 1966. It was not an immediate success commercially, but it entered the Billboard chart for the week ending February 11, 1967, and eventually spent 23 weeks in the charts. In July 1966, Zappa met Adelaide Gail Sloatman; they married in September 1967, prior to the birth, on September 28, 1967, of their first child, a daughter named Moon Unit Zappa who would record with her father. She was followed by a son, Dweezil, on September 5, 1969. He, too, would become a recording artist, as would Ahmet Zappa, born May 15, 1974. A fourth child, Diva, was born in August 1979. During the summer of 1966, Zappa hired drummer Denny Bruce and keyboardist Don Preston, making the Mothers of Invention a septet, but by November 1966, when the Mothers of Invention went back into the studio to record their second album, Absolutely Free, Bruce had been replaced by Billy Mundi; Ingber had been replaced by Jim Fielder; and Zappa had hired two horn players, Bunk Gardner on wind instruments and Jim "Motorhead" Sherwood on saxophone, bringing the band up to a nine-piece unit. The album was recorded in four days and released in June 1967. It entered the charts in July and reached the Top 50.
Sgt. Pepper's Lonely Hearts Club Band In September 1967, the Mothers of Invention toured Europe for the first time, playing in the U.K., Sweden, and Denmark. On October 1, Verve failed to exercise its option to extend the band's contract, although they still owed the label three more LPs. They finished recording We're Only in It for the Money in October, but its release was held up because of legal concerns about its proposed cover photograph, an elaborate parody of the Beatles' Sgt. Pepper's Lonely Hearts Club Band, which was finally resolved by putting the picture on the inside of the fold-out LP sleeve. We're Only in It for the Money was released on March 4, 1968, and it reached the Top 30. Another legal dispute was resolved when Verve purchased the tapes of Lumpy Gravy from Capitol. Zappa then finished recording this orchestral work, and Verve released it under his name (and that of "the Abnuceals Emuukha Electric Symphony Orchestra and Chorus") on May 13, 1968; it spent five weeks in the charts.
Pretties for You The ambitious double-LP Uncle Meat, the fifth Mothers of Invention album, was released by Bizarre on April 21, 1969. It reached the Top 50. (The movie it was supposed to accompany did not appear until a home video release in 1989.) In May, Bizarre released Pretties for You, the debut album by Alice Cooper, the only act discovered by the label that would go on to substantial success (after switching to Warner Bros. Records proper, that is).The same month, Lowell George left the band; later, he and Roy Estrada would form Little Feat. Zappa began working on a second solo album, Hot Rats, in July 1969. On August 19, the Mothers of Invention gave their final performance in their original form, playing on Canadian TV at the end of a tour. One week later, Zappa announced that he was breaking up the band, although, as it turned out, this did not mean that he would not use the name "the Mothers of Invention" for groups he led in the future. Hot Rats, the second album to be credited to Frank Zappa, was released on October 10, 1969. It spent only six weeks in the charts at the time, but it would become one of Zappa's best-loved collections, with the instrumental "Peaches en Regalia" a particular favorite. Although the Mothers of Invention no longer existed as a performing unit, Zappa possessed extensive tapes of them, live and in the studio, and using that material, he assembled a new album, Burnt Weeny Sandwich, released in February 1970; it made the Top 100.
Fillmore East: June 1971 On June 5 and 6, 1971, the Mothers appeared during the closing week of the Fillmore East theater in New York City, recording their shows for a live album, Fillmore East, June 1971, quickly released on August 2. It became Zappa's first album to reach the Top 40 since We're Only in It for the Money three years earlier. John Lennon and Yoko Ono had appeared as guests during the June 6 show, and they used their performance on their 1972 album Some Time in New York City. The Mothers gave a concert at the Pauley Pavilion at UCLA on August 7, 1971, and the show was recorded for the album Just Another Band from L.A., released in May 1972, which made the Top 100. They continued to tour into the fall. 200 Motels premiered in movie theaters on October 29, 1971, with a double-LP soundtrack album released by United Artists that made the Top 100. Meanwhile, the Mothers' European tour was eventful, to say the least. On December 4, 1971, the group appeared at the Montreux Casino in Geneva, Switzerland, but their show stopped when a fan fired off a flare gun that set the venue on fire. The incident was the inspiration for Deep Purple's song "Smoke on the Water." Six days later, as the Mothers were performing at the Rainbow Theatre in London on December 10, a deranged fan jumped on-stage and pushed Zappa into the orchestra pit. He suffered a broken ankle, among other injuries, and was forced to recuperate for months. This was the end both of the tour and of this edition of the Mothers.
Over-Nite Sensation The start of 1973 marked a new and surprisingly popular phase in Zappa's career. He assembled a new lineup of Mothers, made a batch of new recordings on which he himself sang lead vocals (his voice having dropped half an octave as a result of injuring his neck when he was thrown from the stage), and hit the road for the most extensive touring of his career. Inaugurating the new band in Fayetteville, NC, on February 23, he spent 183 days of 1973 on the road, including tours of the U.S., Europe, and Australia. Meanwhile, the Bizarre Records deal with Reprise/Warner had run out, and he launched a new label, also distributed by Warner, DiscReet Records, its first release being Over-Nite Sensation in September 1973. The album reached the Top 40, stayed in the charts nearly a year, and went gold. It was followed in April 1974 by a Zappa solo album, Apostrophe (‘). Much to Zappa's surprise, radio stations began playing a track called "Don't Eat the Yellow Snow." A single edit of the song actually spent several weeks in the lower reaches of the Hot 100, and Apostrophe (‘) peaked at number ten for the week ending June 29, 1974, the highest chart position ever achieved by a Zappa album. The LP also went gold.
Good Singin', Good Playin'Zappa surprised fans when his name turned up as the producer of a new album by Grand Funk Railroad, Good Singin', Good Playin', in August 1976. In September, he launched his first world tour under his own name, playing in the U.S., the Far East, and Europe through February 1977. Zoot Allures, the last album to be credited to the Mothers, was released on Warner Bros. Records on October 29, 1976, the DiscReet label apparently being claimed by Cohen; it reached the Top 100. Zappa was also seeking to end his deal with Warner. In March 1977, he delivered four albums to the label simultaneously (the initial titles were Studio Tan, Hot Rats III [Waka/Jawaka having counted as Hot Rats II], Zappa's Orchestral Favorites, and the double album Live in New York, recorded in December 1976); he demanded the four $60,000 advances the albums called for, and sued Warner for breach of contract when it did not pay. In the summer of 1977, he announced that he had concluded his contract with Warner. He declared that the four albums really constituted a single work called Leather (later spelled Läther), which he sold to Mercury/Phonogram Records. Warner then sued to block its release.
Joe's Garage: Act IZappa toured Europe and Japan in the spring of 1979, then returned to the U.S., where he completed work on his home studio, called the Utility Muffin Research Kitchen, on September 1. The home studio and his continuing practice of recording his shows, along with greater control over his record releases, seemed to free Zappa to issue more records. Joe's Garage Act I was released in September 1979 and made the Top 30; it was followed in November by the double-LP Joe's Garage Acts II & III, which made the Top 100. Baby Snakes, the film of the 1977 Halloween shows in New York, opened on December 21, 1979. A soundtrack album did not appear until 1983. Zappa spent much of 1980 on the road, beginning a tour of North America and Europe on March 25, with dates continuing through July 3, and then touring again from October 10 through Christmas.
Ship Arriving Too Late to Save a Drowning WitchZappa's spring/summer tour of Europe in 1982 was plagued with problems including canceled dates and even a riot at one show; after finishing the stint on July 14, he did not tour again for two years. Meanwhile, on May 3, 1982, he released a new album, Ship Arriving Too Late to Save a Drowning Witch, and it featured another of his surprise hit singles, as radio picked up on "Valley Girl," a track featuring a vocal by his daughter Moon Unit Zappa, imitating the character and employing the slang of a typical Southern California valley girl. The song peaked at number 32 on September 11, 1982, making it the most successful single of Zappa's career. It was nominated for a Grammy Award for Best Rock Performance by a Duo or Group with Vocal. The album made the Top 30. After coming off the road, Zappa concentrated on recording and on his orchestral music. On January 11, 1983, conductor Kent Nagano led the London Symphony Orchestra in a concert of Zappa's works at the Barbican Arts Centre in London, preparatory to three days of recordings that resulted, initially, in the album London Symphony Orchestra, Vol. 1, released in June 1983. (A second volume followed in September 1987.) Prior to that, Zappa had released a new rock album, The Man from Utopia, on March 28, 1983, which charted for several weeks.
Them or Us On July 18, 1984, two years after the end of his last tour, Zappa went back on the road for an extensive, worldwide trek that ran through December 23. On October 18, he released a two-LP set, Them or Us. A month later came the triple-LP box set, Thing-Fish, on the same day as the Francesco Zappa album. By this time, Zappa's records were no longer reaching the charts, as he focused on his existing fan base, heavily marketing to them through mail order. Having re-acquired the masters to his Verve/MGM albums, he had found the tapes in dire condition and had re-recorded the bass and drum parts for the albums We're Only in It for the Money and Cruisin' with Ruben and the Jets, which were part of a box set he offered to his mailing list, The Old Masters Box 1, in April 1985. (The Old Masters Box 2 followed in 1986, and the series was completed with The Old Masters Box 3 in 1987.)
Jazz from Hell In January 1986, a Zappa live album drawn from the 1984 tour, Does Humor Belong in Music?, was released in Europe, but quickly withdrawn. It was an accompaniment to a home video of the same name that was taken from a single date on the tour. The album was later reissued with a new mix. Meanwhile, Zappa signed a contract with the independent CD label Rykodisc to reissue his albums on CD. The reissue program was launched in the fall of the year. At the same time, Zappa released a new instrumental album largely consisting of material recorded on the Synclavier, Jazz from Hell. The album won him his first Grammy Award for Best Rock Instrumental Performance (Orchestra, Group or Soloist), and the track "Jazz from Hell" itself earned a nomination for Best Instrumental Composition.
Guitar On February 2, 1988, Zappa launched what would prove to be his final tour, playing 81 dates in North America and Europe through June 9. Meanwhile, he continued to issue new recordings. In April came a double album of guitar solos in the manner of the Shut Up ‘N Play Yer Guitar series, simply called Guitar, and the first in a series of double-CD archival live recordings, You Can't Do That on Stage Anymore, Vol. 1. In typically unusual Zappa style, the series found him editing together live performances by different configurations of the Mothers and his backup bands at different times. By 1992, the series extended to six volumes. The second volume, which actually replicated a single concert performed in Helsinki in 1974, appeared in October 1988 at the same time as an album of recordings from the 1988 tour, Broadway the Hard Way. Launching a home video line, Honker, in 1989, Zappa finally issued Uncle Meat on VHS tape, along with the documentary The True Story of 200 Motels and Video from Hell. (The following year, Honker issued The Amazing Mr. Bickford, a documentary about the animator responsible for the clay animation work seen in Baby Snakes.) In May 1989, Zappa published his autobiography, The Real Frank Zappa Book, co-authored with Peter Occhiogrosso. And in another surprising non-musical career development in 1989, Zappa began traveling to Russia as a business liaison. These efforts were extended in January 1990, when he went to Czechoslovakia, where he met the recently installed president, playwright and Zappa fan Václav Havel, and agreed to become a trade representative for the country. Understandably, this ran afoul of the Administration of American President George Bush, however, and Zappa's role became unofficial.
The Yellow SharkZappa was scheduled to appear in New York for a performance by a group of alumni from his bands called "Zappa's Universe" on November 7, 1991. When he was unable to attend due to illness, his children explained publicly for the first time that he was suffering from prostate cancer. He managed to fly to Germany on July 13, 1992, to work with the Ensemble Modern on a piece it had commissioned from him, The Yellow Shark, and he was present for concerts it performed in September. In October, Zappa released Playground Psychotics, an archival album of previously unreleased material from the 1970-1971 edition of the Mothers.
Civilization Phaze III After Zappa's death, his widow sold his existing catalog outright to Rykodisc. But, like such well-established rock artists as the Grateful Dead, he had produced a tremendous archive of studio and live recordings that Gail Zappa was able to assemble into posthumous albums for his legions of fans. The first of these was the ambitious Civilization Phaze III, which Zappa was working on in the period up to his death, released in December 1994, and other albums, either containing concerts or other material, have also appeared, along with expanded versions of previously released albums such as Freak Out! Decades after Zappa's death, this stream of releases showed no evidence of stopping, as long as Zappa fans were interested in buying.
FRANK ZAPPA & THE MOTHERS OF INVENTION
WE ARE THE MOTHERS AND THIS IS WHAT WE SOUND LIKE!
01. Anyway The Wind Blows 02:24
02. Fountain Of Love 02:10
03. Opus 5 03:40
04. Take Your Clothes Off When You Dance 03:52
05. Hey Nelda 01:17
06. Mothers At KPFK 03:26
07. Lowell George Whips It Out 03:44
08. Right There 04:08
09. Kung Fu #1 02:04
10. Igor's Boogie, Little Doo-Wop 01:40
11. Bunk Gardner Whips It Out 03:02
12. Studio Piece 02:09
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The Yardbirds - Golden Eggs 1973 (Bootleg)
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included
Golden Eggs is an unlicensed compilation of previously released recordings by English rock group the Yardbirds. The LP record album was originally issued in 1975 by Trademark of Quality (TMQ), a Los Angeles-based enterprise that specialised in bootleg recordings.
The material, which was largely out of print in 1975, draws heavily on the Jimmy Page-era Yardbirds, plus a few recordings with Eric Clapton and Jeff Beck. Due to its popularity, a sequel, More Golden Eggs, was issued by TMQ. Both albums featured cover artwork by William Stout.
Golden Eggs was something of a first – up until that point, rock bootlegs had been the domain of only the most successful acts, such as Bob Dylan, the Rolling Stones, and the Beatles. Golden Eggs was the first big selling bootleg that dealt with a disbanded group who had had reasonable but not great chart success. At a time where reissues of old material were not commonplace, the bootleg became a success.
"Stroll On", which had only been available on the Blow-Up soundtrack album, was included. It is one of the few recordings to feature both Beck and Page on dual lead guitars. "Think About It", B-side of the last Yardbirds' single, was released only months before Led Zeppelin was formed. Page later used the guitar solo from the song for his solo in "Dazed and Confused", one of Zeppelin's signature songs.
The cover artwork was drawn by William Stout, who had already designed several TMQ album covers. Stout was keen to do the cover, since he was a fan of the group and gave thanks to them on the back cover for "inspiration". He also designed the back cover as a family tree, showing the careers of the various ex-members of the group up until that point.
Golden Eggs was released by TMQ in 1975. Almost immediately, it was copied by Phony Graf, another bootlegger. Their release used black and white inserts of the front and rear covers, instead of Stout's colour artwork.
All of the songs were later made available on authorized CD compilations, such as Little Games Sessions and More (1992), Train Kept A-Rollin' - The Complete Giorgio Gomelsky Productions (1993) (re-released in 2002 as The Yardbirds Story), and Ultimate! (2001).
In a review for AllMusic, music critic Richie Unterberger gave the album three out of five stars. He noted that "this did collectors quite a service at the time, assembling 17 of the Yardbirds' rarest tracks – from non-LP singles, soundtracks, and rare LPs – onto one LP". However, he added that more recent Yardbirds reissues and compilations have made the album "virtually useless".
01. "Steeled Blues" B-side of "Heart Full of Soul" 02:37
02. "Putty in Your Hands" For Your Love (US) 02:17
03. "Mr. Zero" A-side Keith Relf solo 02:45
04. "No Excess Baggage"Little Games (US) 02:29
05. "Think About It" B-side of "Goodnight Sweet Josephine" (US) 03:47
06. "Stroll On"Blow-Up2:43
07. "The Nazz Are Blue" Yardbirds a.k.a. Roger the Engineer (UK) 03:00
08. "Knowing" B-side Relf solo 01:53
09. "Little Soldier Boy" Little Games 02:33
10. "Puzzles" B-side of "Little Games" 02:01
11. "Stealing Stealing"Little Games 02:21
12. "Sweet Music" For Your Love 02:28
13. "Ha Ha Said the Clown" A-side single (US) 02:23
14. "Rack My Mind" Yardbirds a.k.a. Roger the Engineer 03:10
15. "Ten Little Indians" A-side single (US) 02:13
16. "Goodnight Sweet Josephine"A-side single (US) 02:44
17. "Glimpses" Little Games 04:22
Bonus Tracks:
18. The Nazz are Blue - 03.06
19. Ever since the World began - 02.04
20. Drinking Muddy Water - 02.53
21. Dazed and Confused - 6.41
21. You Shook Me - 10.19
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Retrorock of The Week: KADAVAR Live at Resurrection Fest Spain
Biography:
"Kadavar" are a rock band from Berlin, Germany, founded in 2010. Their retro sound, incorporating psychedelic rock and stoner rock, has been compared to bands of the 1970s hard rock/heavy metal era such as Led Zeppelin and Black Sabbath. Kadavar currently consists of three members: guitarist and lead vocalist Christoph "Lupus" Lindemann, drummer Christoph "Tiger" Bartelt and bassist Simon "Dragon" Bouteloup.
History:
In 2010, drummer Bartelt and guitarist Philipp "Mammut" Lippitz began playing together. They became a band when Lindemann joined as bassist and vocalist. Lindemann decided to switch to guitar, allowing Lippitz to switch to bass.Their first recording, an eponymous two-song CDR, was self-released on August 25, 2011.
On July 12, 2012, Kadavar's self-titled debut album was released on This Charming Man Records/ Tee Pee Records.
A collaboration with the band Aqua Nebula Oscillat elease of the White Ring album in November 2012.
Due to visa problems, a planned U.S. tour could not take place, although the band did appear at the South by Southwest festival in Austin, Texas on March 15, 2013. While in Texas, the band recorded various video clips of themselves which were later used to create the music video for their song "Come Back Life",which was produced by Bartelt.
In July 2013, Lippitz left the band, replaced by Bouteloup, previously of metal band The Oath. After several live performances, Bouteloup was officially announced as a new member.
Their second album, Abra Kadavar, was released on April 12, 2013 by Nuclear Blast, and debuted at No. 42 on the German charts.
In early 2014, Kadavar started touring with fellow retro-style hard rock band Wolfmother. In July 2014, Wolfmother jammed and recorded a few songs in Kadavar's studio. On June 6, 2014, Kadavar released a live album, Live in Antwerp.
In June 2015, Kadavar announced their third album, Berlin, on their page. It was released by Nuclear Blast on August 21, and included a cover of Nico's "Reich der Träume" as a bonus track. The album entered the charts in several countries, hitting No. 18 in Germany and No. 40 in Belgium.
In 2015, drummer Bartelt co-wrote the song "Wedding" with Andrew Stockdale. It was released on 19 February 2016 as a bonus track on Wolfmother's fourth album, Victorious.
Albums:
Kadavar (2012, This Charming Man Records/Tee Pee Records)
Abra Kadavar (2013, Nuclear Blast)
Berlin (2015, Nuclear Blast)
Live in Antwerp (2014, Nuclear Blast)
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