dbpoweramp Music Converter™ 14.4

Kamis, 28 Februari 2013 0 komentar

Size: 32.6 MB

Audio conversion perfected, effortlessly convert between formats. dBpoweramp Music Converter™ has become 'the standard' tool for audio conversions, over 30 million users worldwide rely on dBpoweramp. It is safe to say, no other audio program converts more multi-format audio files than dBpoweramp, we have spent 8 years perfecting format-compatibility and conversion stability.


• Convert audio files with elegant simplicity. mp3, mp4, m4a (iTunes / iPod), Windows Media Audio (WMA), Ogg     Vorbis, AAC, Monkeys Audio, FLAC, Apple Lossless (ALAC) to name a few! 

• Multi CPU Encoding Support, 
• Rip digitally record audio CDs (with CD Ripper), 
• Batch Convert large numbers of files with 1 click, 
• Windows Integration popup info tips, audio properties, columns, edit ID-Tags, 
• DSP Effects such as Volume Normalize, or Graphic EQ [Power Pack Option], 
  Changes in 14.4:

• Allows multi item tags to be stored in non standard fields, for example Arranger Item1; Item2 would be split when   stored into FLAC
• m4a tagging could set an Explicit or other rating by mistake
• m4a tagging would display a title of 'ABC/DEF' as 2 split titles
• mp3 tagging, better compatibility for ANSI & date with year
• mp3 tagging, standard compliant behavior that most software does not  support is now opt-in
• mp3 tagging lyrics mapping fixed
• mp3 tagging 'initial key' implemented
• new command line -sourceisfloat for coreconverter.exe (also allows multi-encoder to send floating point to an       encoder)
• AIFF tagging fix (could indicate file was corrupted)
• FLAC tagging bug fix, was writing ';' for comment when had multi-lines
• FLAC tagging METADATA_BLOCK_PICTURE read as artwork (outside the flac tagging spec...)
  Bug Fixes

• [IF!EQUALS] was not working correctly
• Wave id3 tagging fix (where could write an extra byte to the end of the file, giving a warning on wave    decode)
• Converting wave (LIST + id3 tagged file) >> wave would only write (id3 tag)
• m4a tag writer was inefficient when trying to trim a huge tag (image as base64, for example) down to the allowed    255 chars
• A badly corrupted FLAC file could cause the converter to terminate encode based on timeout, not reported errors
• CD ripper - if reading ISRC and was not present for a track, then track+1 would not have ISRC read either
• CD ripper, batch converter, would default their positions if moved to a certain display (on multi monitor systems)

1. Link
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Lightnin' Hopkins - The Great Electric Show and Dance (US 1970)

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Size: 122 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Sam "Lightnin" Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.

Hopkins' brothers John Henry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson's guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin. A mid-'30s stretch in Houston's County Prison Farm for the young guitarist interrupted their partnership for a time, but when he was freed, Hopkins hooked back up with the older bluesman.

The pair was dishing out their lowdown brand of blues in Houston's Third Ward in 1946 when talent scout Lola Anne Cullum came across them. 

She had already engineered a pact with Los Angeles-based Aladdin Records for another of her charges, pianist Amos Milburn, and Cullum saw the same sort of opportunity within Hopkins' dusty country blues. Alexander wasn't part of the deal; instead, Cullum paired Hopkins with pianist Wilson "Thunder" Smith, sensibly re-christened the guitarist "Lightnin'," and presto! Hopkins was very soon an Aladdin recording artist.

"Katie May," cut on November 9, 1946, in L.A. with Smith lending a hand on the 88s, was Lightnin' Hopkins' first regional seller of note. He recorded prolifically for Aladdin in both L.A. and Houston into 1948, scoring a national R&B hit for the firm with his "Shotgun Blues." "Short Haired Woman," "Abilene," and "Big Mama Jump," among many Aladdin gems, were evocative Texas blues rooted in an earlier era.

Lightnin' Hopkins - US Promo Single 1970
A load of other labels recorded the wily Hopkins after that, both in a solo context and with a small rhythm section: Modern/RPM (his uncompromising "Tim Moore's Farm" was an R&B hit in 1949); Gold Star (where he hit with "T-Model Blues" that same year); Sittin' in With ("Give Me Central 209" and "Coffee Blues" were national chart entries in 1952) and its Jax subsidiary; the major labels Mercury and Decca; and, in 1954, a remarkable batch of sides for Herald where Hopkins played blistering electric guitar on a series of blasting rockers ("Lightnin's Boogie," "Lightnin's Special," and the amazing "Hopkins' Sky Hop") in front of drummer Ben Turner and bassist Donald Cooks (who must have had bleeding fingers, so torrid were some of the tempos).

But Hopkins' style was apparently too rustic and old-fashioned for the new generation of rock & roll enthusiasts (they should have checked out "Hopkins' Sky Hop"). He was back on the Houston scene by 1959, largely forgotten. Fortunately, folklorist Mack McCormick rediscovered the guitarist, who was dusted off and presented as a folk-blues artist; a role that Hopkins was born to play. Pioneering musicologist Sam Charters produced Hopkins in a solo context for Folkways Records that same year, cutting an entire LP, Lightnin' Hopkins, in Hopkins' tiny apartment (on a borrowed guitar). The results helped introduced his music to an entirely new audience. 

Lightnin' Hopkins - US Promo Single 1970
Lightnin' Hopkins went from gigging at back-alley gin joints to starring at collegiate coffeehouses, appearing on TV programs, and touring Europe to boot. His once-flagging recording career went right through the roof, with albums for World Pacific; Vee-Jay; Bluesville; Bobby Robinson's Fire label (where he cut his classic "Mojo Hand" in 1960); Candid; Arhoolie; Prestige; Verve; and, in 1965, the first of several LPs for Stan Lewis' Shreveport-based Jewel logo.

Hopkins generally demanded full payment before he'd deign to sit down and record, and seldom indulged a producer's desire for more than one take of any song. His singular sense of country time befuddled more than a few unseasoned musicians; from the 1960s on, his solo work is usually preferable to band-backed material.

Filmmaker Les Blank captured the Texas troubadour's informal lifestyle most vividly in his acclaimed 1967 documentary, The Blues Accordin' to Lightnin' Hopkins. As one of the last great country bluesmen, Hopkins was a fascinating figure who bridged the gap between rural and urban styles. 

01. Lovin' Arms  4:21  
02. Rock Me Mama  4:59  
03. Mr. Charlie (Part 1)  1:29  
04. Mr. Charlie (Part 2)  2:36  
05. Play With Your Poodle  1:26  
06. You're Too Fast  3:48  
07. Love Me This Morning  3:26  
08. I'm Coming Home  6:00  
09. Ride in Your New Automobile  4:14  
10. Breakfast Time  3:13

Bonus Tracks:
11. Mr. Charlie Parts 1 & 2 (alt. mix)  5:01 
12. Play With Your Poodle (alt. mix)  2:01 
13. My Daddy Was A Preacher (Unissued)  4:08
14. Letter To My Back Door Friend (Unissued)  3:55 
15. Huntin' In The Mornin' (Unissued)  3:25 
16. I'm Comin' Home (alt. mix)n  2:52 
17. Ride In Your New Automobile (alt. mix)  4:13 
18. A Death In The Family (Unissued)  5:19  

1. Link
2. Link

Neil Young & Crazy Horse - Music Hall, Ohio 1970-02-25 (Bootleg)

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Size: 215 MB
Bitrate: 320
Found in Explorer World
Artwork Included
Sound Quality: A

This is essentially the boot known as Danny by The River which is an upgrade to all previously available versions of this performance. The label it originates from, as mentioned in the source text where I downloaded this recording, says this version is derived directly from the SBD master. Whether this is true or not is anyones guess. If it is true, the master would seem to have deteriorated somewhat over time with some obvious distortions, imbalances, and other anomalies. Otherwise, this is a great recording and stands as the ultimate document of Neil Young & Crazy Horse live in 1970 in bootleg format. I did not attempt to completely rework this recording as it has been claimed to already have been remastered. To me , if this is a new source which was originally circulated by Seymour Records as the boot CD "Danny By The River" and taken from the master recording, it would not have been remastered but instead simply mastered from it's original analog format. I have thus made some small adjustments to eliminate some of the pesky anomalies present throughout the recording and bring out an even clearer overall sound. The first disc contained a boomy, muffled low to mid range frequency range which was a detriment to the music contained within. 

"California Country Rock Family Tree"
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bigger size)
I have thus cut back some of these unneccesary and non-musical low-mid sections, bringing out the brightness in Neil's guitar and giving his vocal a little more edge. I have also adjusted relative levels of each track so they coincide with one another. The 2nd disc was edited very minutely, with very slight EQ adjustments and amplitude boosts. This disc sounded a little better than the 1st to start with and didn't need really much work at all. I have removed a few clicks and pops here and there and adjusted overall relative track levels as well but it has remained very much the same as it began. I have included artwork that I found which reflects the tracks found here but I can't say for sure that this is the art for the "Danny By the River" CD as there is no mention of this title or the record company. This artwork has also been remastered for optimal color, contrast and brightness levels. The original art was way too bright in my opinion. Let this version circulate as the superior take on this classic Neil & Horse concert and forever put to rest the inferior copy still circulating known as the "Winterlong" boot. For those at tapecity who have been in awe over the "Winterlong" boot, this really is a show you need to have! Enjoy! [Source Unknown]

After the breakup of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts, who manages Young to this day. Young and Roberts immediately began work on Young's first solo record, Neil Young (November 1968), which received mixed reviews. In a 1970 interview, Young deprecated the album as being "overdubbed rather than played," and the quest for music that expresses the spontaneity of the moment has long been a feature of his career. Nevertheless, the album contains some songs that remain a staple of his live shows, most notably "The Loner."

Neil Young - UK Single 1969
For his next album, Young recruited three musicians from a band called The Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969), is credited to "Neil Young with Crazy Horse." Recorded in just two weeks, the album opens with one of Young's most familiar songs, "Cinnamon Girl," and is dominated by two more, "Cowgirl in the Sand" and "Down by the River," that feature lengthy jams showcasing Young's idiosyncratic guitar soloing accompanied sympathetically by Crazy Horse. Young reportedly wrote all three songs on the same day, while nursing a high fever of 103 °F (39 °C) in bed.

Shortly after the release of Everybody Knows This Is Nowhere, Young reunited with Stephen Stills by joining Crosby, Stills, & Nash, who had already released one album as a trio. Young was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 "Best New Artist" Grammy Award – was renamed Crosby, Stills, Nash & Young. The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which Young skipped the acoustic set and refused to be filmed during the electric set, even telling the cameramen: "One of you fuckin' guys comes near me and I'm gonna fuckin' hit you with my guitar". During the making of their first album, Déjà Vu, the musicians frequently argued, particularly Young and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize Young, saying that he "wanted to play folk music in a rock band." Despite the tension, Young's tenure with CSN&Y coincided with the band's most creative and successful period, and greatly contributed to his subsequent success as a solo artist.

Neil Young - US Promo Single 1969
"Ohio" was written following the Kent State massacre on May 4, 1970, and was a staple of anti-war rallies in the 1970s. The song was quickly recorded by CSN&Y and immediately released as a single, even though CSN&Y's "Teach Your Children" was still climbing the singles charts. In the late 1970s and for much of the 1980s, Young refrained from performing "Ohio" live, as he considered the song to be dated. In the wake of the 1989 Tiananmen Square massacre, Young revived the song in concert, often dedicating it to the Chinese students who were killed in the massacre. Crosby, Stills & Nash, as a trio, also returned the song to their live repertoire around the same time, even though Young had provided the lead vocals on the original recording.

Later in the year, Young released his third solo album, After the Gold Rush (1970), which featured, among others, a young Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. Young also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. Young's newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including "Tell Me Why" and "Don't Let It Bring You Down," the country-influenced singles "Only Love Can Break Your Heart" and "When You Dance," and the title track, played on piano, with dream-like lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. Young’s bitter condemnation of racism in the heavy blues rock song "Southern Man" (along with a later song entitled "Alabama") was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry Young by name in the lyrics to their hit "Sweet Home Alabama". However, Young said he was a fan of Skynyrd's music, and the band's front man Ronnie Van Zant was later photographed wearing a Tonight's the Night T-shirt on the cover of an album.

Neil Young & Crazy Horse Advertise Billboard Magazine 1970
In the autumn of 1970, Young began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs premiered by Young on the tour, like "Journey through the Past", would never find a home on a studio album, while other songs, like "See the Sky About to Rain", would only be released in coming years. With CSNY splitting up and Crazy Horse having signed their own record deal, Young's tour, now entitled "Journey Through the Past", continued into early 1971, and its focus shifted more to newer songs he had been writing; he famously remarked that having written so many, he could not think of anything to do but play them. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto's Massey Hall, which were taped for a planned live album. The show became legendary among Young fans, and the recordings were officially released nearly 40 years later as an official bootleg in Young's Archive series.

Near the end of his tour, Young performed one of the new acoustic songs on the Johnny Cash on Campus TV show. "The Needle and the Damage Done", a somber lament on the pain caused by heroin addiction, had been inspired in part by the heavy heroin use of Crazy Horse member Danny Whitten, who eventually died of an overdose. While in Nashville for the Cash taping, Young made a sudden connection with a new group of country-music session musicians, whom he christened The Stray Gators, and began playing with them; Linda Ronstadt and James Taylor also began to work with the group.

The Rockets (Crazy Horse) - Front Cover (1968)
Against the advice of his producer David Briggs, he scrapped plans for the imminent release of the live acoustic recording and quickly recorded much of his new material with the Stray Gators in Nashville, later adding two recordings made with an orchestra in London. The result was Young's fourth album, Harvest (1972), which would prove to be a massive hit. The only remnant left of the original concept was the album's live acoustic performance of the harrowing "Needle."

Young's more settled personal life was reflected in the rest of the Harvest album's mellow, pastoral tone. After his success with CSNY, Young had been able to purchase a ranch in rural Northern California (where he has lived since), writing the song "Old Man" in honor of the land's longtime caretaker, Louis Avila. On September 8, 1972, the actress Carrie Snodgress, with whom he had been living, gave birth to Neil Young's first child. (The boy, Zeke, was later diagnosed with cerebral palsy.) Young fell in love with Snodgress after seeing her in a movie, Diary of a Mad Housewife; Young wrote about this experience in the song "A Man Needs a Maid". (Snodgress sued Young in 1983 for child support and was awarded $10,000 per month and $300,000 on a home for mother and child.) Originally, for example in his Massey Hall concert, Young had played a fragment of another new song, "Heart of Gold," as part of "A Man Needs a Maid," but eventually, he separated the songs. "Heart of Gold," now played on guitar and harmonica, was released as the first single from Harvest, became a US number one single and remains the only No. 1 hit in his long career. "Old Man" was also immensely popular.

Neil Young With Crazy Horse - UK Promo Single 1970
The album's recording had been almost accidental. Its mainstream success caught Young off guard, and his first instinct was to back away from stardom. In the Decade compilation, Young chose to include his greatest hits from the period, but his handwritten liner notes famously described "Heart of Gold" as the song that "put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there."

THE ROCKETS (Crazy Horse):
Crazy Horse is a rock band best known for its long association with Canadian singer/songwriter Neil Young, despite having released five albums of its own over a 19-year span. It has been co-credited with Young as Neil Young and Crazy Horse on 13 albums, from Everybody Knows This Is Nowhere (1969) to Live at the Fillmore East (2006), and has made contributions to an additional 10 albums by the singer, including his three compilations.

The band began in 1962 as the doo wop group Danny & the Memories, with guitarist/singer Danny Whitten, and counting future Crazy Horse stalwarts Billy Talbot and Ralph Molina as members, the latter two are the only individuals present in every incarnation of the band. The group evolved through nascent San Francisco folk-psychedelia, eventually ending up in Los Angeles and becoming The Rockets by 1966 with Whitten on guitar, Talbot on bass, and Molina on drums, along with Bobby Notkoff on violin and guitarist brothers Leon Whitsell and George Whitsell, who played on the Rockets' only album, a self-titled set in 1968.

Neil Young With Crazy Horse - US Promo Single 1969
During that year, Whitten had encountered Young, recently departed for good from Buffalo Springfield, playing gigs at the famed sixties Whisky a Go Go club in L.A. Young jammed with the Rockets on several occasions, and asked Whitten, Talbot and Molina to back him up for his second solo album Everybody Knows This is Nowhere, which included "Cinnamon Girl," "Down by the River," and "Cowgirl in the Sand", all distinctive guitar work-outs that would be vastly influential on alternative and grunge bands in the 1980s and 1990s, and remain staples of Young's concert sets to this day. The trio broke up the Rockets and formed Crazy Horse in 1969 as a permanent unit, touring with Young in early 1970. This tour would be featured on the 2006 album Live at the Fillmore East.

Young accepted an invitation to join Crosby, Stills & Nash, but used Crazy Horse on his third solo album After the Gold Rush, the band riding the coattails of Young's high visibility as a result of his recent projects. Most of the band (except Molina) were dismissed early in the album sessions, and ended up playing on only three tracks.

With Young experiencing health problems and committed to other projects from late 1970 through most of 1971, Crazy Horse capitalized on its new-found fame and signed its own recording contract, releasing two albums on Young's label, Reprise Records. Adding producer/keyboardist Jack Nitzsche and guitarist Nils Lofgren as semi-permanent members, whom the band met while recording After the Gold Rush, this quintet recorded its eponymous debut album, which arrived in stores in early 1971. The album contained many strong compositions, the highlight being a song by Whitten that received several cover versions, "I Don't Want to Talk About It," most prominently that by Rod Stewart on his Atlantic Crossing album of 1975. Also in 1971, the core band with Young recorded in a support capacity for Buffy Sainte Marie, appearing on her She Used to Wanna Be A Ballerina album. [AMG]

"Danny By The River"
Neil Young & Crazy Horse
February 25th 1970
Music Hall, Cincinnati, Ohio

* Neil Young - vocals, guitar 
* Danny Whitten - guitar, vocals 
* Billy Talbot - bass, vocals 
* Ralph Molina - drums, vocals 
* Jack Nitzsche - electric piano

Disc 1
01. On the Way Home  03:38 
02. Broken Arrow  05:48 
03. I Am a Child  03:43 
04. Helpless  06:01 
05. Dance, Dance, Dance  03:30 
06. Sugar Mountain  06:03 
07. Don't Let It Bring You Down  02:27 
08. The Old Laughing Lady  05:36 

Disc 2
01. The Loner  05:28 
02. Everybody Knows This Is Nowhere  04:23 
03. Winterlong  05:21 
04. Come on Baby, Let's Go Downtown  04:36 
05. Wonderin'  03:44 
06. It Might Have Been  06:10 
07. Down by the River  19:40 
08. Cinnamon Girl  04:43 
09. Outro  02:23

Runtime: 1hr 33mins

Part 1: Link
Part 2: Link
Part 1: Link
Part 2: Link

Derek and the Dominos - At the Fillmore East October 23-24 1970 (Bootleg)

Rabu, 27 Februari 2013 0 komentar

Size: 521 MB
Bitrate: 320
Found in OuterSpace
Artwork Included
Excellent SoundQuality

Derek and the Dominos were a blues rock band formed in the spring of 1970 by guitarist and singer Eric Clapton with keyboardist Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon, who had all played with Clapton in Delaney, Bonnie & Friends. Duane Allman was also invited by Clapton to join the sessions to add slide guitar to a number of tracks. Allman was then asked to join permanently, but declined.

The band released only one studio album, Layla and Other Assorted Love Songs. The album featured slide guitar from guitarist Duane Allman, who contributed powerful slide guitar work on most of the cuts on the album. His most memorable contribution was to the album's title track, "Layla". The album went on to receive critical acclaim, but initially faltered in sales and in radio airplay. Although released in 1970 it was not until March 1972 that the album's single "Layla" (a tale of unrequited love inspired by Clapton's relationship with his friend George Harrison's wife, Pattie Boyd Harrison) would make the top ten in both the United States and the United Kingdom. The album, which has received praise from both critics and fans alike, is often considered to be the defining achievement of Clapton's career.

The seeds of Derek and the Dominos can be found in the band members' involvement with Delaney, Bonnie & Friends of which they were all members, including Duane Allman who had played with the act before Clapton. The members' departures from the group were caused by the constant infighting between Delaney and Bonnie Bramlett, Whitlock explains:

“ Delaney was a little James Brownish, real hard to work with, him and Bonnie fighting all the time and carrying on. Everyone got disenchanted with the situation. ” 

Derek And The Dominos - US Single 1970
Gordon and Radle left D&B to play on Joe Cocker's Mad Dogs and Englishmen tour with Leon Russell, but Whitlock remained on with the Bramletts for a short time.

Whitlock was looking for a gig, and Steve Cropper suggested he visit Clapton in England; Whitlock would subsequently live in Clapton's house and during that period the two would jam, hang out and write the bulk of the Dominos' catalogue.

Soon after, they called the rest of their former Delaney and Bonnie musicians, Dave Mason, Carl Radle and Jim Gordon and together the quintet became the backing band for George Harrison's album All Things Must Pass. Gordon was not the first choice as drummer; rather, it was Jim Keltner who, like Radle, was from Tulsa and had also been involved with Russell and Cocker.

The origin of the name "Derek and the Dominos" has had attached to it a variety of stories over the years. According to Jeff Dexter (compere on the Delaney & Bonnie and Friends Tour and a close friend of Clapton's), a name had yet to be chosen by the night of the group's 14 June 1970 official debut at London's Lyceum Theatre, where they had been billed simply as "Eric Clapton and Friends" (for what would prove Mason's lone appearance). According to Dexter, he'd asked Eric whether they couldn't give the band a proper name “instead of his (Dexter's) going out front and introducing yet another round of And Friends?" To this Clapton and George Harrison quickly agreed, resulting in a mad rush by everyone to remember and name past favourites. In the course of this process were included Two-Tone Special, and Fats Domino, and the whole thing was brought to a conclusion with Dexter's cry of "that's it: Derek and the Dominoes it's classic!" (Clapton having been previously nicknamed at the start of the "Delaney & Bonnie and Friends" tour Derek by Tony Ashton). While the rest of the band—all of them Americans—felt convinced they would be mistaken for a doo-wop act, the two Brits were instantly for it, and were introduced to the packed Lyceum audience to polite, if respectful applause accorded unknowns. After a few moments, however, the audience caught wise to the diversion and the hall erupted in pandemonium. In Dexter's telling he'd introduced Ashton to Clapton just before boarding the tour bus heading for Bristol, and a nervous Ashton, instead of saying "pleased to meet you, Eric," called him Derek instead, causing everyone to fall about laughing and resulting in Clapton's being called "Derek" for the remainder of the tour.

According to Bobby Whitlock, however, upon leaving the stage at the close of his set, Tony Ashton of Ashton, Gardner and Dyke had simply mispronounced their provisional name of "Eric and the Dynamos," calling them instead Derek and the Dominos. Yet another version emerges from Clapton's biography in which the guitarist maintains that it was Ashton that suggested to Clapton the name "Del and the Dominos" ("Del" being his nickname for Clapton). Del and Eric were combined and the final name became "Derek and the Dominos." Either way, the band took up the new name and embarked on a summer tour of small clubs in England where Clapton chose to play anonymously, still weary from the fame and high-profile chaos that he had felt plagued Cream and Blind Faith. An article about the band in Hit Parader magazine suggested the band's contracts with halls that booked their live performances included clauses stating Clapton's name was not to be used as a crowd-puller. Dexter’s account of the facts appears somewhat more plausible at least than Whitlock's, as Ashton, Gardener and Dyke were never on the “Eric Clapton and Friends" tour.

From late August to early October 1970, working at Criteria Studios in Miami under the guidance of Atlantic Records producer Tom Dowd, the band recorded Layla and Other Assorted Love Songs, a double album now regarded by many critics as Clapton's masterpiece. Most of the material, including Layla (which later became an FM radio staple) was inspired by Clapton's unrequited love for Pattie Boyd, who was married to his best friend George Harrison. It was not until several years later that Pattie would consent to an affair and later move in with Clapton in 1974, and marry him in 1979. They separated in 1985 when Clapton started a relationship with Lori Del Santo, and they divorced in 1988. Whitlock reminiscing would later say:

“ The basic concept of Derek and the Dominos was that we didn't want any horns, we didn't want no chicks, we wanted a rock 'n' roll band. But my vocal concept was that we approach singing like Sam and Dave did: he sings a line, I sing a line, we sing together “

Duane Allman's inclusion:
A few uninspired days into the Layla sessions, Dowd, who was also producing for the Allmans for their album Idlewild South, invited Clapton to an Allman Brothers outdoor concert in Miami, where Clapton first heard Duane Allman play. The Dominos were sneaked into the show with the help of Dowd and sat between the riser and fans below. At the concert, Dowd distinctly remembers:

“ Duane was in the middle of a solo; he opens his eyes and looks down, does a dead stare, and stops playing. Dickey Betts is chugging along, see Duane's stopped playing, and figures he'd better cover, that Duane must've broken a string or something. Then Dickey looks down, sees Eric, and turns his back. That was how they first saw each other. ” 

Derek And The Dominos - US Single 1970
Formal introductions were made after the show. Eric invited the entire band to "Criteria Studios" for a jam. After the concert was over, they all came back to the studio and jammed until approximately 6:00 the next night, Dowd remembered. "They were trading licks. They were swapping guitars. They were talking shop and information and having a ball no holds barred, just admiration for each other's technique and facility. There was no control. We turned the tapes on and they went on for 15 to 18 hours like that. You just kept the machines rolling. I went through two or three sets of engineers. It was a wonderful experience."

Those jams can be found on the second CD of The Layla Sessions: 20th Anniversary Edition. After the all night jam Duane had hoped he would be able to sit in the studio as an observer while the Dominos recorded, but Eric would have none of that. According to Dowd, Clapton told him, "Get your guitar. We got to play." When Duane arrived at Criteria Studios on 28 August to play on "Tell the Truth", the sessions were lifted to a higher level.

After the jam sessions Clapton invited Allman to become the fifth and final member of the Dominos, but Allman demurred, remaining loyal to his own band.

On that first day together Allman also added his slide guitar to "Nobody Knows You When You're Down and Out." In a window of only four days, the five-piece Dominos recorded "Key to the Highway," "Have You Ever Loved a Woman," and "Why Does Love Got to be So Sad." When September came around, Duane briefly left the sessions for gigs with the Allman Brothers. In the two days he was absent, the four-piece Dominos recorded "I Looked Away," "Bell Bottom Blues," and "Keep on Growing." Duane returned on the 3rd to record "I am Yours," "Anyday," and "It's Too Late." On the 9th, they recorded Hendrix's "Little Wing" and the title track. The following day, the final track, "Thorn Tree in the Garden" was recorded. Many critics would later notice that Clapton played best when in a band composed of dual guitars; working with another guitarist kept him from getting "sloppy and lazy and this was undeniably the case with Duane Allman."

The Layla album:
Although most commonly attributed to Clapton, the album was truly a group effort. Only two of the 14 songs on the album were written by Clapton alone and Whitlock wrote one of the tracks alone "Thorn Tree in the Garden". Rather, most of the songs were the product of Clapton and Whitlock's writing co-operation, but a number of blues standards were included as well, including "Nobody Knows You When You're Down and Out" (Jimmie Cox), "Have You Ever Loved a Woman" (a Billy Myles song originally recorded by Freddie King), and "Key to the Highway" (William 'Big Bill' Broonzy).

The last of these was a pure accident—the band heard singer Sam Samudio ("Sam the Sham") in another room at the studio doing the song, liked it, and spontaneously started playing it. The startled Dowd heard what was happening, and quickly told the engineers to "hit the goddamn machine!" and start the tape recorder running—which explains why the track starts with a fade-in to playing clearly already underway.

"Tell the Truth" was initially recorded in June 1970 at Trident Studios during the All Things Must Pass sessions under the direction of Phil Spector as a fast upbeat song, and released soon after as a single. But during the Layla sessions, "Tell the Truth" was recorded again, this time as a long and slow instrumental jam. The final version of the song that appears on the album is a combination of these two takes: the frantic pace of the single is slowed down to the laid-back speed of the instrumental. The two previous versions of "Tell the Truth" were later released on "History of Eric Clapton" (1972).

The most critically acclaimed and popular song off the album, "Layla", was recorded in separate sessions; the opening guitar section was recorded first, with the second section several weeks later. Duane Allman contributed the opening notes for the song. Clapton thought "Layla" was missing an acceptable ending; an abrupt conclusion would diminish the intensity of the music and a fadeout would detract from the urgency of the lyrics. The answer was an elegiac piano piece composed and played by drummer Jim Gordon. Gordon had been separately writing and playing songs during the Layla sessions for a solo album when Clapton accidentally heard the piano piece, Clapton asked Gordon to use the piano piece as the ending for "Layla", Gordon agreed and the song was complete.

When the album was released in December 1970, it was a critical and commercial flop. The album failed to make the top 10 in the United States and did not even chart in the United Kingdom until a reissue on CD resulted in a one-week chart stay at No. 68 in 2011. It garnered little attention which some blamed on Polydor for a lack of promoting the record and general unawareness of Clapton's presence in the band.

But the song "Layla" was also included in History of Eric Clapton in 1972, and Atlantic issued the song as a single. It was a smash hit, charting in both the US (#10) and the UK (#7) and again charting in 1982. Clapton reworked the song as an acoustic ballad in 1992 for his MTV: Unplugged album. The song charted at #12 in the US and also won a Grammy Award.

Live shows:
After the recording of Layla and Other Assorted Love Songs, the group undertook a drug-riddled and vice-prone US tour that didn't include Allman, who had returned to The Allman Brothers Band after the recording process. However, Allman did perform two shows with the group at Curtis Hixon Hall, in Tampa, Florida, on 1 December 1970, and at the Onondaga County War Memorial in Syracuse, New York, the following night. Whitlock recalls their drug situation as:

“ We didn't have little bits of anything. There were no grams around, let's just put it like that. Tom couldn't believe it, the way we had these big bags laying out everywhere. I'm almost ashamed to tell it, but it's the truth. It was scary, what we were doing, but we were just young and dumb and didn't know. Cocaine and heroin, that's all and Johnny Walker.” 

Despite the drugs, the tour resulted in a well received live double album, In Concert, which was recorded from a pair of shows at the Fillmore East in New York, New York. Six of the recordings from that album were digitally remastered and expanded with additional material from the same shows to become Live at the Fillmore, released in 1994. [Wikipedia]

Derek And The Dominos
Fillmore Double Night 
October 23 & 24, 1970
Fillmore East, New York City 
New York

October 23, 1970

Disc 1 (First set)
01. Got To Get Better In A Little While  14:13
02. Key To The Highway  07:24
03. Tell The Truth  11:44
04. Why Does Love Got To Be So Sad  14:42
05. Blues Power  10:51
06. Have You Ever Loved A Woman  08:50

Disc Two (second set)
01. Bottle Of Red Wine  06:23
02. Presence Of The Lord  06:52
03. Little Wing  06:14
04. Let It Rain  20:15
05. Crossroads  08:44

October 24, 1970

Disc Three (First set)
01. Got To Get Better In A Little While  13:00
02. Blues Power  10:34
03. Have You Ever Loved A Woman  08:28
04. Key To The Highway  06:33
05. Tell The Truth  11:37
06. Nobody Knows You When You're Down And Out  05:51

Disc Four (Second set)
01. Let It Rain  17:58
02. Why Does Love Got To Be So Sad  09:42
03. Presence Of The Lord  06:10
04. Bottle Of Red Wine  05:29
05. Roll It Over  06:45
06. Little Wing  06:31

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Steppenwolf - Live At The Fillmore 1968-08-27 (Bootleg)

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Size: 201 MB
Bitrate: 320
Found in OuterSpace
No Artwork
Excellent SoundQuality

Steppenwolf is a Canadian-American rock group that was prominent in the late 1960s. The group was formed in 1963 in Los Angeles by vocalist John Kay, guitarist Michael Monarch, bassist Rushton Moreve, keyboardist Goldy McJohn and drummer Jerry Edmonton after the dissolution of Toronto group The Sparrows, formed by John Kay in the early 60s, of which only Moreve was not a member.

The band has sold more than 25 million records worldwide, releasing eight gold albums and twelve Billboard Hot 100 singles of which six were Top 40 hits, including three Top 10 successes: "Born to Be Wild", "Magic Carpet Ride", and "Rock Me". Steppenwolf enjoyed worldwide success from 1968 to 1974, but clashing personalities led to the end of the core lineup. Today, frontman John Kay is the only original member left, having served as lead singer for 50 years since 1963.

Steppenwolf The name-change from Sparrow to Steppenwolf was suggested to John Kay by Gabriel Mekler, being inspired by Hermann Hesse's novel of the same name. Steppenwolf's first two singles were "A Girl I Knew" and "Sookie Sookie". The band finally rocketed to worldwide fame after their third single "Born to Be Wild" was released in 1968, as well as their version of Hoyt Axton's "The Pusher" and were prominently used in the 1969 cult film Easy Rider (both titles originally had been released on the band's debut album). In the movie, "The Pusher" accompanies a drug deal, and Peter Fonda stuffing dollar bills into his Stars & Stripes-clad fuel tank, after which "Born to Be Wild" is heard in the opening credits, with Fonda and Dennis Hopper riding their Harley choppers through the American West. 

The song, which has been closely associated with motorcycles ever since, introduced to rock lyrics the signature term "heavy metal" (though not about a kind of music, but about a motorcycle: "I like smoke and lightning, heavy metal thunder, racin' with the wind..."). Written by Dennis Edmonton, who had begun using the pen name Mars Bonfire, the song had already reached No. 2 on the Billboard Hot 100 in August 1968. It sold over one million copies, and was awarded a gold disc.

Steppenwolf - UK Single 1969
The following albums had several more hit singles, including "Magic Carpet Ride" (which reached No. 3) from Steppenwolf The Second and "Rock Me Baby" (with its bridge lasting 1:06, which reached No. 10) from At Your Birthday Party. It also sold in excess of one million units. Monster, which questioned US policy of the Nixon era, and Steppenwolf 7 were the band's most political albums, which included the song "Snowblind Friend", another Axton-penned song, about the era and attitudes of drugs and its problems. Other hits included Hey Lawdy Mama and Willie Dixon's Hootchie Kootchie Man.

There were several changes in the group's personnel after the first few years. Moreve was fired from the group in 1968 for missing gigs after he became afraid to return to Los Angeles, convinced that it was going to be leveled by an earthquake and fall into the sea. Rob Black filled in for Moreve until former fellow-Sparrow Nick St. Nicholas came aboard. Monarch quit after disagreements with Kay the next year year and was replaced by Larry Byrom, who'd been in TIME with St. Nicholas. St. Nicholas' tenure with the group proved to be brief and he was let go in 1970 after incurring Kay's wrath by showing up onstage in a bunny suit, and playing his bass loudly and out of tune. The above tales were related by Kay in his 1994 autobiography Magic Carpet Ride (co-written with Canadian author John Einarson). George Biondo was then recruited and guitarist Kent Henry replaced Byrom in 1971.

The band broke up in 1972 following the release of another political concept album, For Ladies Only, and Kay went on to an inconsistent solo career, scoring a minor solo hit in 1972 with "I'm Movin' On" from his album Forgotten Songs and Unsung Heroes.

Kay toured Europe as The John Kay Band in 1972 with Steppenwolf also on the bill, Kay fronting both groups.

Steppenwolf reformed in 1974 with its core lineup of Kay, Edmonton and McJohn, along with longtime bassist Biondo and newcomer Bobby Cochran, Eddie Cochran's nephew. The band signed with Mums Records in retaliation for what Kay perceived as a lack of support by Dunhill Records for his solo album. Their first reunion album was Slow Flux which included their last Top 40 hit, "Straight Shootin' Woman". In February 1975 McJohn was dismissed for what Kay described as a decline in the quality of his performances as well as his epilepsy-induced erratic behavior. McJohn was replaced by Andy Chapin on Hour of the Wolf in 1975, though McJohn appeared in artwork for the single to Caroline (Are You Ready) and claims that his keyboard work can be heard on many of the album's tracks. After the album peaked at No. 155, the band attempted to break up, but the label, now having been absorbed by Epic Records, insisted Steppenwolf record one more album to satisfy their contractual obligations. The ensuing album, Skullduggery (1976), featuring Wayne Cook on keyboards, was released without a tour to support it and Steppenwolf disbanded a second time.

John Kay:
John Kay is a German-Canadian-American rock singer, songwriter, and guitarist known as the frontman of Steppenwolf. He was born Joachim Fritz Krauledat, 12 April 1944, in Tilsit, East Prussia, Germany (now Sovetsk, Kaliningrad Oblast, Russia).

Steppenwolf - US Single 1968
In the Evacuation of East Prussia in early 1945, in harsh winter conditions, his mother first had to flee with the baby boy from the advancing Soviet troops. In 1948, the two also fled from Arnstadt in the East German Soviet occupation zone to resettle in Hanover, West Germany (as recounted in his song "Renegade" on the album Steppenwolf Seven). Located in the British occupation zone, teen aged Joachim, suffering from eyesight problems, listened to music broadcast by the British Forces Broadcasting Service before his family moved to Canada in 1958.

He joined a blues rock and folk music group known as The Sparrows in 1965, which had moderate success in Canada before moving to California in the USA, augmenting its line-up and changing its name to Steppenwolf in 1967. With music that pioneered hard rock and heavy metal, Kay's Steppenwolf had international success with songs such as "Born to Be Wild", "Magic Carpet Ride", "Monster", "The Pusher", and "Rock Me". This was multiplied by the use of "Born to Be Wild" and "The Pusher" in the 1969 movie Easy Rider.

Kay recorded both as a solo artist and with Steppenwolf during the late 1970s, and wrapped up Steppenwolf's 40th year of touring with what was to be a final gig in October 2007. However, Kay and Steppenwolf appeared July 24, 2010, at the three-day HullabaLOU music festival in Louisville, Kentucky.

In 2004, although never becoming a Canadian citizen, Kay was inducted into Canada's Walk of Fame in recognition of the beginnings of his musical career in Toronto. Kay was present at the induction ceremony in Toronto, and reiterated his strong affection for Canada.

Kay suffers from increased sensitivity to light, so he wears his trademark sunglasses. He also has congenital achromatopsia, complete colorblindness, a defect of the cone cells in the eyes which causes him to see in black and white, and results in legal blindness. Despite this condition, he is an avid videographer.

Steppenwolf  - 'Live At The Fillmore'
Fillmore West 
San Francisco, California, USA
*August 27th, 1968 (*on or about)

* John Kay - Vocals, Guitar, Harp 
* Michael Monarch - Guitar 
* Goldy McJohn - Keyboards 
* Rushton Moreve (aka John Russell Morgan) - Bass, Vocals 
* Jerry Edmonton - Drums, Vocals 

01. Your Wall's Too High  12:50 
02. John Kay Remarks  02:01 
03. Hoochie Coochie Man  05:51 
04. John Kay Remarks  01:09 
05. Born To Be Wild  08:03 
06. Desperation  06:20 
07. The Ostrich  09:13 
08. Tighten Up Your Wig  04:19 
09. Disappointment Number (Unknown)  04:14 
10. Lost And Found By Trial And Error  02:43 
11. Hodge Podge, Strained Through A Leslie  10:11 
12. Resurrection  04:29 
13. Baby Please Don't Go  10:30 
14. The Pusher  06:09

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The Jimi Hendrix Experience - The L.A. Forum Concert 1969 (Bootleg)

Selasa, 26 Februari 2013 0 komentar

Size: 185 MB
Bitrate: 320
Found in OuterSpace
No Artwork
Excellent SoundQuality

Lots of Jimi Hendrix live albums have been released up to now, but this one is special as for the first time - outside of the bootleg domain - you will be able to hear the whole ‘LA Forum’ show as it happened on April 26, 1969. The LA Forum was a great venue with a capacity of 17,264 and that evening the audience was able to witness a Jimi Hendrix Experience in top-notch form, in spite of the fact the police had to put in a great effort to keep the audience off the stage.

Jimi Hendrix Experience -  1 Sided Promo Only Single UK 1967

Early in 1966, at the Cheetah Club on Broadway at 53rd Street, Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards, befriended Hendrix and recommended him to the Stones' manager Andrew Loog Oldham and later, producer Seymour Stein. Neither man appreciated Hendrix's music, and they both passed. She then referred Hendrix to Chas Chandler, who was ending his tenure as bassist in the Animals and looking for talent to manage and produce. Chandler liked the song "Hey Joe" and was convinced he could create a hit single with the right artist.

Impressed with Hendrix's version, Chandler brought him to London in September 1966 and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. Chandler then helped Hendrix form a new band, the Jimi Hendrix Experience, with guitarist-turned-bassist Noel Redding and drummer Mitch Mitchell, both English musicians. Chandler also convinced Hendrix to change the spelling of his first name from "Jimmy" to the more exotic "Jimi".

Shortly before the Experience was formed, Chandler introduced Hendrix to Brian Auger, Eric Burdon, Pete Townshend, and Eric Clapton, who had only recently helped put together Cream. At Chandler's request, Cream let Hendrix join them on stage for a jam. Hendrix performed two songs, one of which was "Killing Floor". Hendrix and Clapton remained friends until Hendrix's death. The first night Hendrix arrived in London, he began a relationship with Kathy Etchingham that lasted until February 1969. She later wrote an autobiographical book about their relationship and the sixties London scene in general.

Jimi Hendrix Experience - First Issue White Label UK 1967

After his enthusiastically received performance at France's number 1 venue, the Olympia theatre in Paris on the Johnny Hallyday tour, an on-stage jam with Cream, a showcase gig at the newly opened, pop-celebrity-oriented nightclub Bag O'Nails, and the all important appearances on the top UK TV pop shows Ready Steady Go! and the BBC's Top of the Pops, word of Hendrix spread throughout the London music community in late 1966. His showmanship and virtuosity made instant fans of reigning guitar heroes Eric Clapton and Jeff Beck, as well as Brian Jones and members of the Beatles and the Who, whose managers signed Hendrix to their new record label, Track Records.

Hendrix's first single was a cover of "Hey Joe", using Tim Rose's slower arrangement of the song including his addition of a female backing chorus. Backing this first 1966 "Experience" single was Hendrix's first songwriting effort, "Stone Free". Further success came in early 1967 with "Purple Haze", which featured the "Hendrix chord" and "The Wind Cries Mary". The three singles were all UK Top 10 hits; they were also popular internationally in Europe, Australia, New Zealand and Japan (though they failed to sell when released later in the US).

Onstage, Hendrix was also making an impression with sped up renderings of the B.B. King hit "Rock Me Baby" and Howlin' Wolf's hit "Killing Floor". On March 31, 1967, while booked to appear at the Astoria in London as a support act on a tour that also included Cat Stevens, Engelbert Humperdink and the Walker Brothers, Hendrix and Chandler talked back-stage about ways to increase the band's media exposure. Chandler asked journalist Keith Altham for advice and Altham suggested that they needed to do something more dramatic then the stage show of the Who, which involved the smashing of instruments. Hendrix replied: "Maybe I can smash up an elephant", to which Altham replied: "Well, its a pity you can't set fire to your guitar". Chandler immediately asked road manager Gerry Stickels to get them some lighter fluid. Hendrix gave an especially dynamic performance before setting his guitar on fire at the end of his 45-minute set. In the wake of the notable stunt, London's tabloid press called Hendrix the "Black Elvis" and the "Wild Man of Borneo".

Rolling Stone described Are You Experienced as Hendrix's "epochal debut", and they ranked it the 15th greatest album of all time, noting his "exploitation of amp howl" and describing the material as "soul music for inner space." The founding editor of Guitar World called it, "the album that shook the world ... leaving it forever changed". When Track records sent the master tapes for "Purple Haze" to Reprise for remastering, they wrote the following words on the tape box: "Deliberate distortion. Do not correct." First released in the UK in May 1967, Are You Experienced, reached number 2 in the UK charts. The original version of the LP contained none of the previously released singles or their B-sides.

Released in the US in August by Reprise Records, Are You Experienced, reached number 5 on the Billboard Hot 100. The US and Canadian versions of Are You Experienced featured a new cover by Karl Ferris and a new song list, with Reprise removing "Red House", "Remember" and "Can You See Me" to make room for the first three single A-sides omitted from the UK release: "Hey Joe", "Purple Haze", and "The Wind Cries Mary". "Red House" is the only original twelve-bar blues written by Hendrix. The album offered a startling introduction to the Jimi Hendrix Experience, and the album was a blueprint for what had become possible on an electric guitar, basically recorded on four tracks, mixed into mono and only modified at this point by a "fuzz" pedal, reverb and a small bit of the experimental "Octavia" pedal on "Purple Haze", produced by Roger Mayer in consultation with Hendrix. A remix using the mostly mono backing tracks with the guitar and vocal overdubs separated and occasionally panned to create a stereo mix was also released, only in the US and Canada.

As an adolescent during the 1950s, rock and roll artists such as Elvis Presley, Little Richard and Chuck Berry earned Hendrix's interest. In 1968, he told Guitar Player magazine that electric blues artists including Muddy Waters, Elmore James and B.B. King influenced him during the beginning of his career, he also cited Eddie Cochran as an early influence.[163] Of Muddy Waters, the first guitarist Hendrix became aware of, he said: "I heard one of his records when I was a little boy and it scared me to death because I heard all of these sounds."

Band of Gypsys bassist, Billy Cox, stated that during their time serving in the US military, he and Hendrix listened to mostly southern blues artists such as Jimmy Reed, B.B. King and Albert King. According to Cox, "Albert King was a very, very powerful influence" on Hendrix. Howlin' Wolf also influenced Hendrix, who performed Wolf's "Killing Floor" as the opening number to the set of his US debut at the Monterey Pop Festival. Soul guitarist Curtis Mayfield also significantly influenced Hendrix.

In early 1967, when asked what he thought about the music of the Beatles, Hendrix replied: "Oh, yes. I think its good. They're one group you can't really put down because they're just too much."[167] During the same interview, when asked if he had ever seen Pink Floyd perform, Hendrix replied: "I've heard they have beautiful lights but they don't sound like nothing." In 1970, during his final interview he commented: "They're doing a different type of music. They're doing more of a space type of thing, I mean inner space".
Hendrix owned and used a variety of guitars during his career. However, his guitar of choice (and the instrument that became most associated with him), was the Fender Stratocaster. He started playing the model in 1966 and thereafter used it prevalently in his stage performances and recordings.

Hendrix bought many Stratocasters and gave some away as gifts. The original Fender Stratocaster Sunburst that Hendrix burnt at the Astoria in 1967, and that he kept as a souvenir, was given to Frank Zappa by a Hendrix roadie at the 1968 Miami Pop Festival. After Astoria, the guitar was restored, and Hendrix had burned it again onstage in Miami. Once in Frank Zappa's hands, Zappa had it restored again and used it himself. As well as playing it, it was this guitar that Zappa chose to be photographed with for the cover of the January 1977 edition of Guitar Player.

The Jimi Hendrix Experience
1969/04/26 The LA Forum 

01. Intro  02:33
02. Tax Free  15:41
03. Foxy Lady  04:50
04. Red House  11:13
05. Spanish Castle Magic  11:22
06. Star Spangled Banner  02:20
07. Purple Haze  06:30
08. I Don't Live Today  07:34
09. Voodoo Chile  09:18
10. Sunshine Of Your Love  01:55
11. Voodoo Chile (Reprise)  05:41

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