One more: Picture of the day

Sabtu, 24 November 2012 0 komentar
Click on picture for bigger size

For those who wonder

Selasa, 13 November 2012 0 komentar
Hi all.

Time for some vacation for awhile.


Picture of the day

Jumat, 09 November 2012 0 komentar

Picture of the day

0 komentar

Hokus Poke - Earth Harmony (Great Album UK 1972)

0 komentar

Size: 83.9 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Korean, 24-Bit Remaster

Hokus Poke were a early UK British blues band on the Vertigo label. As far as I know, they only released Earth Harmony in 1972. Essentially, Hokus Poke follow along the lines of the electric blues pioneered by Cream five year earlier. However, the first half of the album is much more acoustic based which gives them their own voice. At least I couldn't think of any ready comparisons. They are a quartet of two guitars, bass and drums. One of the guitarists also adds occasional steel guitar. Overall, nothing to write home about except for collectors of the UK electric blues scene and the Vertigo label.

01. H.P. Boogie
02. Sunrise Sunset (The Sunset)
03. Big World Small Guy
04. Down in the Street
05. Hag Rag Barry Miles
06. Living in Harmony
07. Time and Space Barry Miles
08. The Poke 

1. Link
2. Link

Sam Cooke - At The Copa (Great R&B US 1964)

Rabu, 07 November 2012 0 komentar

Size: 85 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

For decades, Sam Cooke at the Copa was a frustrating record. One of a handful of live albums by any major soul artist of its era, it captured Cooke in excellent voice, and was well-recorded -- it just wasn't really a "soul" album, except perhaps in the tamest possible definition of that term. Playing to an upscale, largely white supper-club audience, in a very conservatively run venue where he had previously failed to impress either patrons or the management, Cooke toned down his performance and chose the safest material with which he could still be comfortable. 

In place of songs like "Feel It," "Bring It On Home to Me," or even "Cupid," which were part of his usual set, he performed numbers like "The Best Things in Life Are Free," "Bill Bailey," and "When I Fall in Love" here. True, his renditions may be the versions of any of those songs that any R&B fan will like best, but they always seemed a poor substitute for what's not here -- not just the songs that he didn't do, but the intense, sweaty presentation, as much a sermon as a concert, the pounding beat, and the crowd being driven into ever-more frenzied delight. All of that is missing, and for decades fans had to content themselves with the contradiction of a beautifully executed live album featuring what might best be called "Sam Cooke lite" -- the release of Live at the Harlem Square Club solved that problem, giving us a real Sam Cooke concert, and one of the great soul albums of all time. 

In the wake of the latter's release, Sam Cooke at the Copa became much more valuable as a representative of that other side of Cooke's sound and career -- juxtaposed with "Twistin' the Night Away" were "Frankie and Johnny," "Try a Little Tenderness," "Tennessee Waltz," "This Little Light of Mine" and his performance of Bob Dylan's "Blowin' in the Wind" (the song that inspired his own "A Change Is Gonna Come"), most of which, if he'd done his usual set, most likely wouldn't exist today in concert versions. By itself, this is still not a representative album, but paired with Live at the Harlem Square Club, it is an irreplaceable document. In June of 2003, Sam Cooke at the Copa was reissued in a brilliant sounding hybrid CD/Super-Audio CD that runs circles around all prior editions of the record. 

01. Opening Introduction 0:35    
02. The Best Things In Life Are Free 1:31    
03. Bill Bailey 2:50    
04. Nobody Knows You When You're Down And Out 3:18    
05. Frankie And Johnny 3:00    
06. You Send Me 4:55    
07. If I Had A Hammer (The Hammer Song) 6:25    
08. When I Fall In Love 3:05    
09. Twistin' The Night Away 5:04    
10. Band Introductions 1:27    
11. This Little Light Of Mine 3:36    
12. Blowin' In The Wind 3:01    
13. Tennessee Waltz 3:36 

1. Link
2. Link

Picture of the day

Senin, 05 November 2012 0 komentar

The Faces - Wicked Messenger (At BBC England 1970) (Bootleg)

0 komentar

Size: 149 MB
Bitrate: 320
Found in OuterSpace
Artwork made by "moonwall", Sweden

With the addition of Rod Stewart and Ron Wood the "small" part of the original band name was dropped, and they continued as Faces. Still, their first album was released in the U.S. under the name "Small Faces" due to a "mistake" by their record company.

Their most successful songs included "Had Me a Real Good Time", their breakthrough UK hit "Stay with Me", "Cindy Incidentally", and "Pool Hall Richard". As Rod Stewart's solo career became more successful than that of the group, the band became overshadowed by their lead singer. A disillusioned Ronnie Lane left the band in 1973, replaced by Tetsu Yamauchi (who had replaced Andy Fraser in Free). Released at about the time Lane left, Faces' final studio album was Ooh La La, about which Stewart was very scathing in the musical press on its release, much to the anger of the others.

A live album early the following year, Coast to Coast: Overture and Beginners, was criticised by reviewers for being poorly recorded. They recorded a few tracks for another studio album, but had lost enthusiasm and their final release as a group was the late 1974 UK Top 20 hit "You Can Make Me Dance, Sing, or Anything". In 1975 Wood began working with the Rolling Stones, which brought differences between Stewart and the others to a head, and in December the band announced that they were splitting.

All members had varied post-band careers. Wood joined the Rolling Stones as a full member; Lane formed Slim Chance and had a modest solo career that ended prematurely when he was diagnosed with multiple sclerosis. Lane also worked on an album with Who guitarist Pete Townshend. Jones joined The Who after the death of Keith Moon; McLagan was considered by Pete Townshend to join the Who as well, but was touring with the Rolling Stones at the time. He married Keith Moon's ex-wife Kim, moved to America, formed the Bump Band (which tours and records to this day), and became a successful session musician; and Stewart's solo career was massively successful. 

There was also a Small Faces reunion in the late 1970's (without Ronnie Lane) that resulted in two albums. Ronnie Lane and Steve Marriot did however both work on the Majik Mijits album.

Although they enjoyed modest European success compared to contemporaries such as The Who and The Rolling Stones, Faces have had considerable influence on latter-day rock revivalists. Their good-natured, back-to-basics (and frequently liquor-laden) live performances and studio albums connect them with such bands as the New York Dolls and The Damned, as well as Steve Jones of The Sex Pistols.

As well as punk rock related bands, various acts playing different kinds of music, ranging from The Replacements and The Quireboys to The Black Crowes and, groups such as The Charlatans, BRMC, Primal Scream, Aerosmith, Pearl Jam, Whiteout and Stereophonics have all taken influence from the Faces in some way.

March 10, 1970
Camden Theatre
London, England

Source: FM Broadcast  

Master BBC Transcription LP

01. Flying
02. Three Button Hand Me Down
03. Wicked Messenger

September 15, 1970
Maida Vale Studio #4
London, England

FM Broadcast  

01. Had Me A Real Good Time
02. Around The Plynth/Gasoline Alley
03. Country Comforts

November 19, 1970
Paris Theatre
London, England

Source: FM Broadcast  

01. You're My Girl (I Don't Want To Discuss It)
02. Wicked Messenger
03. Devotion
04. It's All Over Now
05. I Feel So Good

1. Link
2. Link

Roxy Music - Boston 31 March 1979 FM Broadcast (Bootleg)

Minggu, 04 November 2012 0 komentar

Size: 197 MB
Bitrate: 320
Found in Outer Space
No Artwork

Roxy Music are an English art rock group formed in November 1970 by Bryan Ferry, who became the group's lead vocalist and chief songwriter, and bassist Graham Simpson. The other members are Phil Manzanera (guitar), Andy Mackay (saxophone and oboe) and Paul Thompson (drums and percussion). Former members include Brian Eno (synthesizer and "treatments"), and Eddie Jobson (synthesizer and violin). Although the band took a break from group activities in 1983, they reunited for a concert tour in 2001, and have toured together intermittently since that time.

Roxy Music attained popular and critical success in the UK, Europe and Australia during the 1970s and early 1980s, beginning with their debut album, Roxy Music (1972). The band was highly influential, as leading proponents of the more experimental, musically sophisticated element of glam, as well as a significant influence on early English punk music. They also provided a model for many New Wave acts and the experimental electronic groups of the early 1980s. The group is distinguished by their visual and musical sophistication and their preoccupation with style and glamour. Ferry and co-founding member Eno have also had influential solo careers, the latter becoming one of the most significant record producers and collaborators of the late 20th century.

Rolling Stone magazine ranked Roxy Music #98 on its "The Immortals – 100 The Greatest Artists of All Time" list.

A new studio album, which would have been their ninth, began recording in 2005. It would have been Roxy's first record with Brian Eno since 1973, who wrote two songs for it as well as played keyboards. However, Bryan Ferry eventually confirmed that material from these sessions would be released as a Ferry solo album, with Eno playing on "a couple of tracks," and that he doesn't think they'll record as Roxy Music again. Subsequently, this was confirmed by the announcement of a solo Bryan Ferry album, entitled Olympia.

In November 1970, Bryan Ferry, who had recently lost his job teaching ceramics at a girls school for holding impromptu record listening sessions, advertised for a keyboard player to collaborate with him and Graham Simpson, a bass player he knew from his Newcastle art college band, The Gas Board, and with whom he collaborated on his first songs. In early 1970 Ferry had auditioned as lead singer for King Crimson, who were seeking a replacement for departed vocalist Greg Lake. Although Robert Fripp and Pete Sinfield decided that Ferry's voice was unsuitable for King Crimson's material, they were impressed with his talent and helped the fledgling Roxy Music to obtain a contract with E.G. Records.

Andy Mackay replied to Ferry's advertisement, not as a keyboard player but a saxophonist and oboist, though he did have a VCS3 synthesizer. Mackay had already met Brian Eno during university days, as both were interested in avant-garde and electronic music. Although Eno was a non-musician, he could operate a synthesizer and owned a Revox reel-to-reel tape machine, so Mackay convinced him to join the band as a technical adviser. Before long Eno was a member of the group. When Dexter Lloyd, a classically-trained timpanist, left the band an advertisement was placed in Melody Maker magazine saying "wonder drummer wanted for an avant rock group". Paul Thompson responded to the advertisement and joined the band in June, 1971. The group's name was partly an homage to the titles of old cinemas and dance halls, and partly a pun on the word rock. Ferry had named the band Roxy originally, but after learning of an American band with the same name he changed the name to Roxy Music.

In October 1971 Roxy advertised in the periodical Melody Maker seeking the "Perfect Guitarist" and Phil Manzanera was one of about twenty players who auditioned. Manzanera, the son of an English father and a Colombian mother, had spent a considerable amount of time in South America and Cuba as a child and although he did not have the same art school background as Ferry, Mackay and Eno, he was perhaps the most proficient member of the band, with an interest in a wide variety of music. Manzanera also knew other well-known musicians, such as David Gilmour, who was a friend of his older brother, and Soft Machine's Robert Wyatt. However, Manazanera would not initially make the band as a guitarist; the successful applicant was David O'List, former guitarist with The Nice. The group was impressed enough with Manzanera that he was invited to become Roxy Music's roadie, an offer which he accepted.

The band's fortunes were greatly increased by the support of Melody Maker journalist Richard Williams and broadcaster John Peel. Williams became an enthusiastic fan after meeting Ferry and being given a demonstration tape during mid-1971, and wrote the first major article on the band, featured on Melody Maker's "Horizons" page in the 7 August 1971 edition. This line-up of Roxy Music (Ferry/Mackay/Eno/Simpson/Thompson/O'List) recorded a BBC session shortly thereafter.

In early February 1972, guitarist O'List quit the group abruptly after an altercation with Paul Thompson which took place at their audition for David Enthoven of EG Management. When O'List didn't show for the next rehearsal, Manzanera was asked to come along, on the pretext of becoming the band's sound mixer. When he arrived he was invited to play guitar and quickly realised that it was an informal audition. Unbeknownst to the rest of the group, Manzanera had learned their entire repertoire and as a result, he was immediately hired as O'List's permanent replacement, joining on 14 February 1972. Two weeks later Roxy Music contracted with EG Management.

With this team, EG Management financed the recording of the tracks for their first album, Roxy Music, recorded in March–April 1972 and produced by King Crimson lyricist Peter Sinfield. Both the album and its famous cover artwork were apparently completed before the group signed with Island Records. A&R staffer Tim Clark records that although he argued strongly that Island should contract them, company boss Chris Blackwell at first seemed unimpressed and Clark assumed he was not interested. A few days later however, Clark and Enthoven were standing in the hallway of the Island offices examining cover images for the album when Blackwell walked past, glanced at the artwork and said "Looks great! Have we got them signed yet?" The band signed with Island Records a few days later. The LP was released in June to good reviews and became a major success, reaching #10 on the UK album chart in September 1972.

During the latter half of 1971 bassist Graham Simpson became increasingly withdrawn and uncommunicative, which led to his leaving the band almost immediately after the recording of the debut album. He was replaced by Rik Kenton.

To garner more attention to their album, Roxy Music decided to record and release a single. Their debut single was "Virginia Plain", which scored #4 in the British charts. The band's eclectic visual image, captured in their debut performance on the BBC's Top of the Pops, became a cornerstone for the glam trend in the UK; the TOTP video of "Virginia Plain" was later parodied by the British comedy series Big Train. The single caused a renewed interest in the album. Soon after "Virginia Plain", Rik Kenton departed the band, which would never again have a permanent bass player. John Porter, John Gustafson, John Wetton, Gary Tibbs and Alan Spenner among others would fill the revolving role.

The next album, For Your Pleasure was released in March 1973. It marked the beginning of the band's long, successful collaboration with producer Chris Thomas , who worked on all of the group's classic albums and singles in the 1970s. The album was promoted with the non-album single "Pyjamarama", but no album track was released as a single. At the time, Ferry was dating French model Amanda Lear, who was photographed with a black jaguar for the cover of For Your Pleasure (Ferry appears on the back cover as a dapper chauffeur standing in front of a limousine). For this album, John Porter (credited as a guest) played bass, while Sal Maida played bass for subsequent live shows.

Soon after recording For Your Pleasure, Brian Eno left Roxy Music amidst increasing differences with Ferry about the management of the group. The other members of the band are reported to have shared some of Eno's concerns about Ferry's dominance, but they elected to remain in the group. As well, Johnny Gustafson became the band's permanent bass player for the next three studio albums, but not always for live shows; though he toured with Roxy on certain dates in 1973 and 1975, other live Roxy bassists of this period (1973–1976) included Sal Madia, John Wetton and Rick Wills.

Eno, meanwhile, was replaced by 19-year-old multi-instrumentalist Eddie Jobson, formerly of progressive rockers Curved Air, who played keyboards and electric violin. Although some fans lamented the loss of the experimental attitude and camp aesthetic that Eno had brought to the band, the classically-trained Jobson was an accomplished musician. His arrival reinvigorated the group, with his keyboard expertise freeing Ferry from his keyboard duties on stage, as well as lending greater refinement to the group's studio recordings. His dazzling electric violin skills added an exciting new dimension to the band's sound, as showcased on the song "Out of the Blue". Eno himself later acknowledged the quality of the two albums that followed his departure, Stranded (1973) and Country Life (1974), and they are widely regarded as being among the most original and consistent British rock music albums of the period. Rolling Stone referred to the albums as marking "the zenith of contemporary British art rock".

The songs on these albums also cemented Ferry's persona as the epitome of the suave, jaded Euro-sophisticate. Although this persona undoubtedly began as a deliberately ironic device, during the mid-1970s it seemed to merge with Ferry's real life, as the working-class miner's son from the north of England became an international rock star, an icon of male style who had love affairs with many beautiful women, among them Playboy playmate Marilyn Cole (who appeared on the cover of the Stranded album) and fashion models Amanda Lear (who would later date David Bowie) and Jerry Hall (who later became the common-law wife of Mick Jagger).

On the first two Roxy albums, all songs were written solely by Bryan Ferry. Beginning with Stranded, Mackay and Manzanera began to co-write some material. Gradually, their songwriting and musicianship became more integrated into the band's sound, although Ferry remained the dominant songwriter; throughout their career, all but one of Roxy's singles were written either wholly or jointly by Ferry. (However, Manzanera, Mackay and Thompson did individually write a few of the band's B-sides). Stranded was released in November 1973, and produced the top-10 single "Street Life".

The fourth album, Country Life, was released in 1974, and was the first Roxy Music album to enter the U.S. Top 40, albeit at #37. Country Life was met with widespread critical acclaim, with Rolling Stone referring to it "as if Ferry ran a cabaret for psychotics, featuring chanteurs in a state of shock". Their fifth album, Siren, contained their only U.S. hit, "Love Is the Drug". (Ferry said the song came to him while kicking the leaves during a walk through Hyde Park.) At this time Ferry was involved in a relationship with Texas-born supermodel Jerry Hall. Ferry's paean to Hall, "Prairie Rose", directly inspired the Talking Heads song "The Big Country" and was later covered by the Scottish rock group Big Country as a B-side to their single "East of Eden" in 1984. Hall is also featured on the cover of the Siren LP and in the video for Ferry's 1976 international solo success, a cover of Wilbert Harrison's "Let's Stick Together".

After the concert tours in support of Siren in 1976, Roxy Music disbanded. Their live album Viva! was released in August 1976. During this time Ferry released two solo records on which Manzanera and Thompson performed, and Manzanera reunited with Eno on the critically acclaimed one-off 801 Live album.

Roxy Music reunited during 1978 to record a new album, Manifesto, but with a reshuffled cast. Jobson was not present, and was reportedly not contacted for the reunion. (At that time, Jobson was touring and recording with his own band UK.) The sleeve of Manifesto explicitly identifies the revived Roxy Music line-up as a septet of Ferry, Manzanera, Mackay, Thompson, and new members Gary Tibbs (bass), Alan Spenner (bass) and Paul Carrack (keyboards)  However, these newest three members were downgraded to session musician status (as opposed to full band members) on all subsequent releases.

Three singles were spun off from Manifesto, including the major UK hits "Angel Eyes" (UK #2), and "Dance Away" (UK #5). Both these tracks are significantly different from the album versions, as "Dance Away" was remixed for single release, and "Angel Eyes" was entirely re-recorded.

After the tour and before the recording of the next album, Flesh + Blood (1980), Thompson broke his thumb in a motorcycle mishap and took a leave from the band. Soon after, he left permanently.

At this point, Ferry, Mackay and Manzanera became the only permanent members of Roxy Music, and were supplemented by a variety of session players over the next few years (including Tibbs, Spenner, Carrack, Andy Newmark and Neil Hubbard.) The trio's 1980 album Flesh + Blood became a huge commercial success in their homeland, as the album went to #1 on the UK charts, and spun off three UK hits: "Oh Yeah" (UK #5), "Over You" (UK #5), and "Same Old Scene" (UK #12).

However, the changed cast reflected a distinct change in Roxy's musical style. Gone were the unpredictable elements of the group's sound, giving way to smoother musical arrangements. Rolling Stone panned Manifesto ("Roxy Music has not gone disco. Roxy Music has not particularly gone anywhere else either") as well as Flesh + Blood ("such a shockingly bad Roxy Music record that it provokes a certain fascination"), while other sources praised the reunion. Melody Maker said, of Manifesto, "...reservations aside, this may be the first such return bout ever attempted with any degree of genuine success: a technical knockout against the odds." 

In 1981, Roxy Music recorded the non-album single "Jealous Guy". A cover of a song written and originally recorded by John Lennon, Roxy Music recorded "Jealous Guy" as a tribute to Lennon after his 1980 death. The song topped the UK charts for two weeks in March 1981, becoming the band's only #1 single.

Later, with more sombre and carefully sculpted soundscapes, the band's eighth—and final—studio album, Avalon (1982), was a major commercial success and restored the group's critical reputation[20] and contained the successful single "More Than This". The trio (augmented by session players) toured extensively until 1983, when Bryan Ferry dissolved the band and band members devoted themselves full time to solo careers

Orpheum Theater
Boston, Mass. U.S.A.
March 31, 1979

Roxy Music is:
Bryan Ferry- vocals and keyboards
Phil Manzanera- guitar
David Skinner- piano
Andy Mackay- sax and oboe
Gary Tibbs- bass
Paul Thompson- drums

01. stage introduction  :33
02. manifesto  5:29
03. trash  2:51
04. a song for Europe  6:57
05. still falls the rain  4:32
06. mother of pearl  6:49
07. out of the blue  5:18
08. ain't that so  5:58
09. stronger through the years > ladytron  13:51
10. in every dream home a heartache  7:46
11. Casanova  3:47
12. love is the drug  4:02
13. editions of you  3:44
14. remake, remodel  4:12
15. encore break comments (Mark Parenteau and Tracy Roach) 1:17
16. Virginia Plain  3:12
17. do the strand  4:02 (previously 3:45)
18. radio announcer closing credits 1:43

1. Link
2. Link

Raincrow - The Jade Room, Austin Texas (Great Performance US 1971) (Bootleg)

0 komentar

Size: 147 MB
Bitrate: 320
Found in Cyberspace
No Artwork

RAINCROW - 12/9/71 The Jade Room, Austin, Texas

The music is rock, blues, soul, but some of the names involved may be of interest to fans of Texas Psych. The original recording is courtesy of George Kinney of The Golden Dawn, who has cleared its distribution.

Stacy Sutherland formed his own band, Ice, which performed only in Houston and never released any material. In 1969, after a battle with heroin addiction, he was imprisoned in Texas on drug charges, the culmination of several years of drug related trouble with the law. After his release Sutherland began to drink heavily. He continued to sporadically play music throughout the 1970s, occasionally with former members of the Elevators. Sutherland was accidentally shot and killed by his wife Bunny on August 26, 1978 during a domestic dispute, and is buried in Center Point, Texas.

The 13th Floor Elevators were an American rock band from Austin, Texas formed by Roky Erickson, electric jug player Tommy Hall, and guitarist Stacy Sutherland, which existed from 1965 to 1969.During their career, the band released four LPs and seven 45s for the International Artists record label..

The 13th Floor Elevators found some commercial and artistic success in 1966-67, before dissolving amid legal troubles and drug use in late 1968. As one of the first psychedelic bands, their contemporary influence has been acknowledged by 1960s musicians such as Billy Gibbons of ZZ Top, Peter Albin of Big Brother and the Holding Company, and Chris Gerniottis of Zakary Thaks. Their debut 45 "You're Gonna Miss Me", a national Billboard #55 hit in 1966, was featured on the 1972 compilation Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968, which is considered vital in the history of garage rock and the development of punk rock. Seminal punk band Television played their song "Fire Engine" live in the mid-1970s. In the 1980s-90s, the 13th Floor Elevators influenced important bands such as Primal Scream and Spacemen 3, both of whom covered their songs, and 14 Iced Bears who use an electric jug on their single "Beautiful Child". In 2009 the International Artists released a ten CD box set entitled Sign of the 3-Eyed Men, which included the mono and new, alternate stereo mixes of the original albums together with two albums of previously unreleased material and a number of rare live recordings.

The 13th Floor Elevators emerged on the local Austin music scene in December 1965, where they were contemporary to bands such as The Wig and The Babycakes, and later followed by Shiva's Headband and The Conqueroo. The band was formed when Roky Erickson left his group The Spades, and joined up with Stacy Sutherland, Benny Thurman, and John Ike Walton who had been playing Texas coastal towns as The Lingsmen. Tommy Hall was instrumental in bringing the band members together, and joined the group as lyricist and electric jug player.

The band's name was developed from a suggestion by drummer John Ike Walton to use the name "Elevators" and Clementine Hall added "13th Floor". In addition to an awareness that a number of tall buildings don't have a 13th floor, it has been noted that the letter "M" (for marijuana) is the thirteenth letter of the alphabet.

In early January 1966, the band was brought to Houston by producer Gordon Bynum to record two songs to be released as a 45 on his newly formed Contact label. The songs were Erickson's "You're Gonna Miss Me", and Hall-Sutherland's "Tried to Hide". The 45 was a major success in Austin, and made an impression in other Texas cities. Some months later, the International Artists label picked it up and re-released it.

Throughout the Spring of 1966, the group toured extensively in Texas, playing clubs in Austin, Dallas, and Houston. They also played on live teen dance shows on TV, such as Sumpin Else, in Dallas, and The Larry Kane Show in Houston. During the Summer, the IA re-release of "You're Gonna Miss Me" became popular outside Texas, especially in Miami, Detroit, and the San Francisco Bay Area. In October 1966, it peaked on the national Billboard chart at the #55 position. Prompted by the success of the 45 the Elevators toured the west coast, made two nationally televised appearances for Dick Clark, and played several dates at the San Francisco ballrooms The Fillmore and The Avalon.

The International Artists record label in Houston, also home to contemporary Texas underground groups such as Red Krayola and Bubble Puppy, signed the Elevators to a record contract and released the album The Psychedelic Sounds of the 13th Floor Elevators in November 1966, which became popular among the burgeoning counterculture. Tommy Hall's sleeve-notes for the album, which advocated chemical agents (such as LSD) as a gateway to a higher, 'non-Aristotelian' state of consciousness, has also contributed to the album's legendary status.

Singer Janis Joplin was a close associate of Clementine Hall and the band. She opened for the band at a benefit concert in Austin, and considered joining the group prior to heading to San Francisco and joining Big Brother and the Holding Company. Her style of singing has been described as having been influenced by Erickson's trademark screaming and yelping as showcased in "You're Gonna Miss Me."

Drug overuse and related legal problems left the band in a state of constant turmoil, which took its toll, both physically and mentally, on the members. In 1969, facing a felony marijuana possession charge, Roky Erickson chose to be admitted to a psychiatric hospital rather than serve a prison term, thus signaling the end of the band's career.

Bull of the Woods, released in 1969, was the 13th Floor Elevators' last released album on which they worked as a group and was largely the work of Stacy Sutherland. Erickson, due to health and legal problems, and Tommy Hall were only involved with a few tracks, including "Livin' On" and "May the Circle Remain Unbroken".

During the initial months of their existence as a band, the electric guitars used both by Roky Erickson and Stacy Sutherland were Gibson ES-335s. Sutherland's pioneering use of reverb and echo, and bluesy, acid-drenched guitar predates such bands as The Allman Brothers Band and ZZ Top. According to Billy Gibbons of ZZ Top in an article that originally appeared in Vintage Guitar magazine, the guitars were run through "Black-Face" Twin Reverbs with both guitarists using external Fender "tank" reverb units and Gibson "Maestro" Fuzz-tones as distortion devices.[citation needed]

A special aspect of The Elevators' sound came from Tommy Hall's innovative electric jug. The jug, a crock-jug with a microphone held up to it while it was being blown, sounded somewhat like a cross between a minimoog and cuica drum. In contrast to traditional musical jug technique, Hall did not blow into the jug to produce a tuba-like sound. Instead, he vocalized musical runs into the mouth of the jug, using the jug to create echo and distortion of his voice. When playing live, he held the microphone up to the mouth of the jug, but when recording the Easter Everywhere album, the recording engineer placed a microphone inside the jug to enhance the sound.

The band was unique, even in the 1960s, in that they (at Tommy Hall's urging) played most of their live shows and recorded their albums while under the influence of LSD, and built their lifestyle and music around the psychedelic experience. Intellectual and esoteric influences helped shape their work, which shows traces of Gurdjieff, the General Semantics of Alfred Korzybski, the psychedelic philosophy of Timothy Leary, and Tantric meditation.

The classic 13th Floor Elevators line-up was built around singer/guitarist Roky Erickson, electric jug player Tommy Hall, and guitarist Stacy Sutherland. The rhythm section went through several changes, with drummer John Ike Walton and bass player Ronnie Leatherman being the longest permanent members. Hall was the band's primary lyricist and philosopher, with Sutherland and Erickson both contributing lyrics as well as writing and arranging the group's music. Along with Erickson's powerful vocals, Hall's "electric jug" became the band's signature sound in the early days. In July 1967, Walton and Leatherman left the band and were replaced by Danny Thomas (drums) and Dan Galindo (bass). Ronnie Leatherman later returned for the third and final studio album, Bull of the Woods.

Roky Erickson - guitar, lead vocals, songwriter
Tommy Hall - electric jug, vocals, songwriter
Stacy Sutherland (May 28, 1946 – August 24, 1978) - lead guitar, vocals, songwriter
John Ike Walton - drums (November 1965 – July 1967)
Benny Thurman (February 20, 1943 – June 22, 2008) - bass, vocals (November 1965 – July 1966)
Ronnie Leatherman - bass, vocals (July 1966 – July 1967; July 1968 – August 1968)
Danny Thomas - drums, vocals (July 1967 – October 1969)
Danny Galindo (June 29, 1949 – May 17, 2001) - bass (July 1967 – January 1968)
Duke Davis - bass (January 1968 – April 1968)

Stacy Sutherland (guitar) 
Ronnie Leatherman (bass) 
Obi Hardeman (vocals) 
Bobby Rector (drums) 
Cecil Morris (harp)

01. Let It Roll
02. Slippin' And Slidin'
03. Mathilda
04. Stagger Lee
05. So Long
06. instrumental
07. All Along The Watchtower
08. Brown Sugar
09. I Feel Good
10. Cripple Creek
11. Something On Your Mind
12. Money
13. Shadow Falling
14. For Your Love
15. band song
16. blues instrumental
17. Honky Tonk Women

1. Link
2. Link

Pink Floyd - Complete Zabriske Point Sessions 1969 (Bootleg)

0 komentar

Size: 146 MB
Bitrate: 320
Found in DC++ World
No Artwork

Zabriskie Point is a soundtrack album to the Michelangelo Antonioni film of the same name. It was originally released in January 1970 and is composed of songs from various artists. A 1997 re-release includes four bonus tracks each from Jerry Garcia and Pink Floyd that were used in the film, but not the original soundtrack. Jim Morrison of the Doors wrote the track "L'America" for the film, but was rejected by Antonioni ("L'America" was later released on the Doors album L.A. Woman). A Rolling Stones track, "You Got the Silver", is featured in the film but not present on this album.

Pink Floyd's contributions to the album were recorded in November and December 1969, after the release of Ummagumma. "Come in Number 51, Your Time Is Up" is a re-recording of "Careful with That Axe, Eugene," originally released as a b-side in December 1968. "Love Scene (Version 4)" is a Richard Wright solo piano composition. "Country Song" (also known as "The Red Queen") is a ballad filled with chess metaphors. "Unknown Song" (also known as "Rain in the Country") is a relaxed instrumental. "Love Scene (Version 6)" is a bluesy instrumental. A track entitled "Fingals Cave" and another called "Oenone" were recorded but did not appear on the finished album.

Pink Floyd also recorded other unreleased material during the same sessions. Most notable is a lengthy composition which at that time was known as "The Violent Sequence". This piece is immediately recognizable as the basis of "Us and Them" from The Dark Side of the Moon.

Pink Floyd 
The Complete Zabriskie Point Sessions

December 1969
Recorded in Rome, Italy

01. Rain it the Country Take One
02. The Violence Sequence Take One
03. The Red Queen Theme Take One
04. Fingal's Cave Take One
05. Theme Take Two
06. Rain in the Country Take Two
07. Love Scene Take One
08. Love Scene Take Two
09. Blues Scene Take One
10. Fingal's Cave Take Two
11. Love Scene Take Three
12. Love Scene Take Four (REMOVED)
13. The Red Queens Theme Take Two

1. Link
2. Link

Peter Frampton - Plain Shame (Ultrasonic Studios 1974) (Bootleg)

0 komentar

Size: 147 MB
Bitrate: 320
Found in OuterSpace
No Artwork

Peter Kenneth Frampton (born April 22, 1950) is a British/American[1] musician, singer, producer, and multi-instrumentalist. He was previously associated with the bands Humble Pie and The Herd, among others. In 1982 Frampton tried unsuccessfully to split his ties with A&M Records; however, he re-signed with the label in 2006 and released his Grammy Award-winning Fingerprints. He is considered by the Cincinnati Enquirer as the "The Face of 1968".

Frampton's international breakthrough album was his live release, Frampton Comes Alive!. The album sold over 6 million copies in the United States alone, and since then he has released several major albums. He has worked with David Bowie and both Matt Cameron and Mike McCready from Pearl Jam, among others. Frampton is perhaps best remembered for such hits as "Show Me the Way", "Baby, I Love Your Way", "Do You Feel Like We Do", and "I'm in You".

Frampton first became interested in music when he was only seven years old. He discovered his grandmother's banjolele (a banjo-shaped ukulele) in the attic. Teaching himself to play, he became near-obsessed, and upon receiving a guitar and piano, from his parents, taught himself those instruments as well. At age eight he started taking classical music lessons.

Early influences were Cliff Richard & The Shadows (featuring guitarist Hank Marvin) and American rockers Buddy Holly and Eddie Cochran, and then the Ventures and the Beatles. His father introduced him to Belgian gypsy jazz guitarist Django Reinhardt.

Early bands
By the age of ten, Frampton played in a band called The Little Ravens. Both he and David Bowie were pupils at Bromley Technical School where Frampton's father, Owen Frampton, was an art teacher and head of the Art department. The Little Ravens played on the same bill at school as Bowie's band, George and the Dragons.[3] Peter and David would spend time together at lunch breaks, playing Buddy Holly songs.

At the age of 11, Peter was playing with a band called The Trubeats followed by a band called The Preachers, produced and managed by Bill Wyman of The Rolling Stones.

He became a successful child singer, and in 1966, he became a member of The Herd. He was the lead guitarist and singer, scoring a handful of British teenybopper hits. Frampton was named "The Face of 1968" by the UK press.

In early 1969, when Frampton was 18 years old, he joined with Steve Marriott of The Small Faces to form Humble Pie.

While playing with Humble Pie, Frampton also did session recording with other artists, including: Harry Nilsson, Jim Price, Jerry Lee Lewis, as well as George Harrison's solo "All Things Must Pass", in 1971, and John Entwistle's "Whistle Rymes", in 1972. During the Harrison session he was introduced to the 'talk box' that has become his trademark guitar sound.

Peter Frampton
"It's A Plain Shame"
Ultrasonic Studios
Hempstead, N.Y. 
May 7, 1974

01. It's a Plain Shame 
02. Doobie Wah 
03. Lines on My Face 
04. The Lodger 
05. I Wanna Go to the Sun 
06. Do You Feel Like We Do 
07. Jumpin Jack Flash 
08. White Sugar 
09. Shine On

1. Link
2. Link

Nazareth And Dick Heckstall-Smith Band - BBC In Concert 1973 (Bootleg)

0 komentar

Size: 109 MB
Bitrate: 320
Found in OuterSpace
No Artwork The Time

These 2 shows were back to back on an original BBC transcription disc that I borrowed from a DJ at WBCN-FM Boston. It was in a rather poor state. So I took the disc to a friend who was an Audiophile. We spent some time cleaning it with a ‘Nitty Gritty’ record cleaning machine. He then played the disc back on a Sota Sapphire turntable (I’ve forgotten the cartridge make) and I recorded it through a Krell preamp (This guy loved expensive stereo components). 

The Dick Heckstall-Smith Band sounds wonderful and the surface noise is minimal. However, there is a bad tape drop-out on one channel at the very end of the first song. I double checked my tape and it is there (Oh well). Maybe one of you guys can repair it. 

The Nazareth show sounds fantastic though there is some surface noise throughout the performance. I had forgotten what these guys sounded like. There were no issues during playback. Listen to Vigilante Man…blew me away again!!

These are only 28 min performances. Obviously not the entire show, but the quality is spectacular. Maybe our BBC community already has these performances under their belts (I hope so). I copied the Radio original cue sheets which include a short band bio and listing of band members and songs and have included them with the downloads. I also broke out the DJ talking. Does anyone have exact dates?

BBC TRanscription Disc

The Dick Heckstall-Smith Band ‘In Concert’ 1973

Dick Heckstall-Smith saxes
Dave Ross – piano, organ and vocals
James Litherland – guitar and vocals
Theodore Thunder – drums and vocals
Bill Smith – bass and vocals

01. ALan Black Introduction
02. Moses in the Bullrush Houses
03. ALan Black Introdues the Band 
04. Pirate’s Dream
05. Alan Black Outro
06. No Amount of Loving

Nazareth ‘In Concert’ 1973

Dan McCafferty – vocals
Pete Agnew – bass and acoustic guitar
Manuel Charlton – lead guitar, slide guitar and 12 string acoustic guitar
Darrell Sweet – drums

01. Mike Harding Introduction
02. Dear John
03. Mike Harding Introduces Vigilante Man
04. Vigilante Man
05. Mike Harding Introduces the Band
06. Paper Sun
07. Mike Introduces Ruby Baby
08. Ruby Baby
09. Mike Harding introduces the next two songs
10. Woke up this Morning
11. Boogie

1. Link
2. Link

Not to be missed: Jethro Tull - Live in Stockholm 1969 (FM Broadcast) (Bootleg)

Sabtu, 03 November 2012 0 komentar

Size: 122 MB
Bitrate: 320
Found in CyberSpace
Artwork Included

Jethro Tull was a unique phenomenon in popular music history. Their mix of hard rock; folk melodies; blues licks; surreal, impossibly dense lyrics; and overall profundity defied easy analysis, but that didn't dissuade fans from giving them 11 gold and five platinum albums. At the same time, critics rarely took them seriously, and they were off the cutting edge of popular music since the end of the 1970s. But no record store in the country would want to be without multiple copies of each of their most popular albums (Benefit, Aqualung, Thick as a Brick, Living in the Past), or their various best-of compilations, and few would knowingly ignore their newest releases. Of their contemporaries, only Yes could claim a similar degree of success, and Yes endured several major shifts in sound and membership in reaching the 1990s, while Tull remained remarkably stable over the same period. As co-founded and led by wildman-flautist-guitarist-singer-songwriter Ian Anderson, the group carved a place all its own in popular music.

Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart, when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine.

In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular.

Early on, they had to face a problem of image and configuration, however. In the late spring of 1968, managers Terry Ellis and Chris Wright (who later founded Chrysalis Records) first broached the idea that Anderson give up playing the flute, and to allow Mick Abrahams to take center stage. At the time, a lot of blues enthusiasts didn't accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull was just a little too strange in that regard. Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, and he was pushing for a more traditional band configuration, which would've put him and his guitar out front. As it turned out, they were both right. Abrahams' blues sensibilities were impeccable, but the audience for British blues by itself couldn't elevate Jethro Tull any higher than being a top club act. Anderson's antics on-stage, jumping around in a ragged overcoat and standing on one leg while playing the flute, and his use of folk sources as well as blues and jazz, gave the band the potential to grab a bigger audience and some much-needed press attention.

They opened for Pink Floyd on June 29, 1968, at the first free rock festival in London's Hyde Park, and in August they were the hit of the Sunbury Jazz & Blues Festival in Sunbury-on-Thames. By the end of the summer, they had a recording contract with Island Records. The resulting album, This Was, was issued in November. By this time, Anderson was the dominant member of the group on-stage, and at the end of the month Abrahams exited the band. The group went through two hastily recruited and rejected replacements, future Black Sabbath guitarist Tony Iommi (who was in Tull for a week, just long enough to show up in their appearance on the Rolling Stones' Rock 'N Roll Circus extravaganza), and Davy O'List, the former guitarist with the Nice. Finally, Martin Barre (b. Nov. 17, 1946), a former architecture student, was the choice for a permanent replacement.

It wasn't until April of 1969 that This Was got a U.S. release. Ironically, the first small wave of American Jethro Tull fans were admiring a group whose sound had already changed radically; in May of 1969, Barre's first recording with the group, "Living in the Past," reached the British number three spot and the group made its debut on Top of the Pops performing the song. The group played a number of festivals that summer, including the Newport Jazz Festival. Their next album, Stand Up, with all of its material (except "Bouree," which was composed by Johann Sebastian Bach) written by Ian Anderson, reached the number one spot in England the next month. Stand Up also contained the first orchestrated track by Tull, "Reasons for Waiting," which featured strings arranged by David Palmer, a Royal Academy of Music graduate and theatrical conductor who had arranged horns on one track from This Was. Palmer would play an increasingly large role in subsequent albums, and finally join the group officially in 1977. 

Meanwhile, "Sweet Dream," issued in November, rose to number seven in England, and was the group's first release on Wright and Ellis' newly formed Chrysalis label. Their next single, "The Witch's Promise," got to number four in England in January of 1970. The group's next album, Benefit, marked their last look back at the blues, and also the presence of Anderson's longtime friend and former bandmate John Evan — who had long since given up the drums in favor of keyboards — on piano and organ. Benefit reached the number three spot in England, but, much more important, it ascended to number 11 in America, and its songs, including "Teacher" and "Sossity, You're A Woman," formed a key part of Tull's stage repertory. In early July of 1970, the group shared a bill with Jimi Hendrix, B.B. King, and Johnny Winter at the Atlanta Pop Festival in Byron, GA, before 200,000 people. 

By the following December, after another U.S. tour, Cornick had decided to leave the group, and was replaced on bass by Anderson's childhood friend Jeffrey Hammond-Hammond. Early the following year, they began working on what would prove to be, for many fans, the group's magnum opus, Aqualung. Anderson's writing had been moving in a more serious direction since the group's second album, but it was with Aqualung that he found the lyrical voice he'd been seeking. Suddenly, he was singing about the relationship between man and God, and the manner in which — in his view — organized religion separated them. The blues influences were muted almost to non-existence, but the hard rock passages were searing and the folk influences provided a refreshing contrast. That the album was a unified whole impressed the more serious critics, while the kids were content to play air guitar to Martin Barre's high-speed breaks. And everybody, college prog rock mavens and high-school time-servers alike, seemed to identify with the theme of alienation that lay behind the music. 

01. My Sunday Feeling
02. Martin's Tune
03. To Be Sad Is A Mad Way To Be
04. Back To The Family
05. Dharma For One
06. Nothing Is Easy
07. A Song For Jeffrey

1. Link
2. Link

Mountain - Last Night At The Fillmore East (1971-06-27) (Bootleg)

0 komentar

Size: 144 MB
Bitrate: 320
Found in CyberSpace
Artwork Included

This is a remastered version of two similar boots, Mt. Fillmore: Live At The Fillmore East 1971 and Closing The Fillmore East. It is a significant improvement to both.  CTFE suffered from high frequency loss and low volume level. The source for this new version, Mt.Fillmore, had superior sound but ran more than 5% fast and suffered somewhat from digital distortion, particularly in Dreams Of Milk And Honey.  Both of those problems have been corrected and some minor dips in volume have been adjusted.  

Also absent is the nifty reminder during Roll Over Beethoven on CTFE that we are listening to radio station KLOS. Both versions suffered from a two minute cut in the middle of Dreams Of Milk And Honey.  After carefully matching volume and EQ, the missing part has been patched with the same segment from FLOWERS OF EVIL. You can find the patch at 7:51 when the guitar shifts to the center channel due to the different mix, ending at 9:51. In addition, the Outside The Fillmore interviews and California Jam track from CTFE have replaced the two commercially available bonus tracks on MT. FILLMORE.

Dreams Of Milk And Honey and Roll Over Beethoven were used on the official release, FLOWERS OF EVIL.  That version dropped an introduction and made a minor cut in Dreams Of Milk And Honey. Here these tracks are complete and unedited in a slightly different mix. In comparison, FLOWERS OF EVIL now sounds somewhat anemic.

MT. FILLMORE lists the date of this show as June 26 and CTFE lists it as June 28. June 27 was the final night of the Fillmore's closing run. The same lineup (Albert King, Mountain, The J. Geils Band and The Allman Brothers Band) played on each of the last two nights, so the 26th is possible. But this tape is from a radio broadcast and it's likely that such a broadcast would have been on the final night. Also, the circulating Allman Brothers tape of these last shows is from the 27th, and it would seem logical that was the same broadcast. [Source Unknown]

"Last Night At The Fillmore East"
Fillmore East, New York City
Radio Broadcast
June 27, 1971

Leslie West - guitar, vocals
Felix Papalardi - bass, vocals
Corky Lang - drums
Steve Knight - organ

01. Intro by Bill Graham
02. Never In My Life
03. Theme For An Imaginary Western
04. Roll Over Beethoven
05. Dreams Of Milk And Honey
06. Silver Paper
07. Mississippi Queen
08. Outside of the Fillmore
09. Nantucket Sleighride (Bonus track from California Jam 1974)

1. Link
2. Link