culture for all

Roberta Flack - Chapter Two (1970 )

2012-02-24T03:31:00.000-08:00

Release Date: August 1970

As" first take" left you breathless, begging for more miss roberta flack gave us more indeed.her very soul runs rapid within the flowing peaceful waters in our minds,bodys,n souls.singing like the true songbird she is without no effort at all,she should definately share the queen's throne as the world's greatest singers on this mother earth.after the soulful reverand lee, she slips into the fabulous,do what you gotta do,just like a woman,let it be me, until it's time for you to go,onto the impossible dream to name the grand highlites.

A MUST HAVE

Only a strong album could adequately follow First Take, and she does so. Roberta Flack's strong sensitive voice is surely one of God's great musical gifts.

"Reverend Lee" is a song to play over and over again. She just tears up "Let It Be Me", and anyone listening to "Gone Away" soon after the breakup of a loving relationship assumes the risk of suicide. "Do What You Gotta Do" makes me want to pick up and run to wherever she might be when she pleads "come on back, and see me when you can".
Too strong
I was a child when this album came out and it has haunted me ever since. Turn the lights out, light a fire in the fireplace, select your favorite bottle of wine, kick the kids out, curl up on the couch with your loved one, put this album on and enjoy. Hell, this albums so good you don't need anyone. Kick everyone out. "Reverend Lee", with good reason, is the classic of this album. You'll feel Roberta's warm breath on your neck as she sings of sin and lust. It'll take you back in time to that someone whom you couldn't resist, even though you knew better. Other favorites are "Do What You Gotta Do", "Gone Away", and "Until It's Time For You To Go". Those three songs along with "Just Like A Woman" are beautiful in their meaning and the mood they create. "Business Goes On As Usual" is placed last. It's a haunting anti-war song and you'd think it wouldn't fit in with the other songs of love and regret but it does. That's because it too is about love and the lose of that loved one. My personal favorite is "Let It Be Me". Like "Impossible Dream", Roberta's voice, the tempo, what I believe is a French Horn in the background, all combine to make you realize how beautiful songs can be, even songs you've heard a hundred times, when given to a vocal talent such as Roberta Flack. After you've recharged your soul with this album, let the spouce and kids back in and give them a hug.
--------------------------

Tracks:

1. Reverend Lee [McDaniels] (4:31)
2. Do What You Gotta Do [Webb] (4:09)
3. Just Like a Woman [Dylan] (6:14)
4. Let It Be Me [Becaud, Curtis, Delanoe] (5:00)
5. Gone Away Until It's Time [Hathaway, Hutson, Mayfield] (5:16)
6. Until It's Time for You to Go [Sainte-Marie] (4:57)
7. Impossible Dream [Darion, Leigh] (4:42)
8. Business Goes on as Usual [Hellerman, Minkoff] (3:30)
----------------------

Musicians:

Roberta Flack Piano, Vocals (Background), Liner Notes, Main Performer, Vocals
Donny Hathaway Piano, Vocals (Background), Arranger
King Curtis Arranger, Vocals (Background), Producer
Hubert Laws Flute, Flute (Alto), Flute (Bass)
Chuck Rainey Bass (Electric)
Ernie Royal Strings
Deodato Conductor, String Arrangements, Horn Arrangements
Corky Hale Harp
Gene McDaniels Vocals (Background)
Alfred Brown Strings
Garnett Brown Strings
Peter Buonconsigilio Strings
Selwart Clarke Strings
Noel DaCosta Strings
Peter Dimitriades Strings
Joel Dorn Arranger, Producer
John Frosk Strings
Eric Gale Guitar
Joe Gentle Flute, Flute (Alto), Flute (Bass)
Emanuel Green Strings
Harry Lookofsky Strings
Marshall Hawkins Bass
Leo Kahn Strings
Trevor Lawrence Strings
Ray Lucas Drums
Joseph Malin Strings
George Marge Strings
Kermit Moore Strings
Gene Orloff Strings
Terry Plumeri Bass
Raoul Poliakin Strings
Max Pollikoff Strings
Tosha Samaroff Strings
Warren Smith Percussion
Bernard Sweetney Drums
Frank Wess Strings
Chauncey Welsch Strings
John Swallow Euphonium
Seymour Miroff Strings
Stanford Allen Strings
Arnold Block Strings

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==>*******<==

Roberta Flack - First Take (1969 )

2012-02-24T03:17:00.000-08:00

Release Date: June 20, 1969

Original recording remastered

Here is one of those albums so pure in its artistry that it stands as one of the finest examples of what "less is more" truly means. But it wasn't until I saw Roberta in person that I understood the power of her connection with an audience. And visa versa. It was 1972, still early in her trajectory, and she had sold out what was one of her biggest concerts to date at the H.I.C arena in Honolulu. At the last minute, she fell ill and everyone had the option of getting their money back or keeping their ticket till she rescheduled several months later. No one was surprised that everyone held on to their ticket, but no one was prepared for what happened when she finally appeared. So enraptured was the audience that the second her foot hit the stage she received a standing ovation that simply would not stop. Not when she finally gave up bowing and sat down at her piano, and not when she finally buried her face in her hands and simply wept. It was the most profoundly moving concert moment I have ever seen - and she hadn't even sung a note! Such was, and is, the power of Roberta Flack and "First Take." Everything that has been written here is accurate; but, strangely, no one mentioned the one track that, for my money, is the most powerful, "Ballad of the Sad Young Men," which has only become more poignant with the added tragedy of AIDS. If ever there was an album that defines musical excellence, it would have to be the one that got its name when it was recorded on its "First Take." But when you do it right the first time, one take is all you need, isn't it?

---------------

Tracks:

1. Compared to What
2. Angelitos Negros
3. Our Ages or Our Hearts
4. I Told Jesus
5. Hey, That's No Way to Say Goodbye
6. First Time Ever I Saw Your Face
7. Tryin' Times
8. Ballad of the Sad Young Men

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==>*******<==

Anti-Censorship Protests Sweep Europe Tomorrow: 200,000 people in 200 cities!

2012-02-10T11:17:00.000-08:00

Anti-Censorship Protests Sweep Europe Tomorrow: 200,000 people in 200 cities!

Unprecedented street protests target ACTA, a trade agreement that threatens internet freedom.

FOR IMMEDIATE RELEASE

CONTACT

Tiffiniy Cheng, Holmes Wilson
press@fightforthefuture.org
Phone: (508) 474-5248

Alternate: (614) 465-6371

Saturday February 11th - Protests against internet censorship will sweep Europe tomorrow, with over 200,000 people committed to participate in 200 cities.

Protests are already having an impact. In the past weeks, leaders in Poland, the Czech Republic, and Slovakia have backtracked on ACTA. Today, Germany just announced its plans to shelve the signing of ACTA: a huge victory for protesters and the anti-censorship coalition.

Fight for the Future, organizers of the internet blackout that defeated SOPA, are calling for websites to support the protests by driving visitors to contact their officials, and offering tools to do so: http://killacta.org

"The map of planned protests is just breathtaking," said Fight for the Future co-founder Holmes Wilson, "You've got tens of thousands of people taking to the streets in small cities, in countries where large street protests are not common."

Said Fight for the Future co-founder Tiffiniy Cheng, "This is truly the Internet's Arab Spring. People are rising up against anti-democratic laws that stifle individual freedoms. And they're organizing spontaneously, without leaders, using tools available to everyone."

HOW THE PROTESTS ARE ORGANIZED

The protests represent a highly decentralized and spontaneous effort. Their organizational center? A wiki, a spreadsheet in Google Docs, and a massive list of Facebook event pages. The largest of these, for a protest in Sofia, Bulgaria, has over 53,000 Facebook users marked "Going".

Map: http://bit.ly/wQb1Qv
Spreadsheet: http://bit.ly/wxB9Jm

THE TARGET: ACTA

Protesters' target is ACTA-- a once obscure trade agreement that, like the soundly rejected US law SOPA, would criminalize common forms of online expression, encourage spying by internet companies, and give rightsholders more power to take down websites.

ACTA was negotiated in secret. For years, the public's only access to negotiations was when drafts were published on Wikileaks. The European Parliament must vote to ratify ACTA. A vote is expected in June.

For more information on the problems with ACTA, see: http://killacta.org

TRADE AGREEMENTS' DEMOCRACY PROBLEM

In the US, President Obama signed ACTA without approval by Congress, in a move experts say may be unconstitutional.

http://www.washingtonpost.com/wp-dyn/content/article/2010/03/25/AR2010032502403.html

A new trade agreement "The Trans Pacific Partnership" or "TPP" goes even further than ACTA, and would require its signers to enact even more draconian laws. Last weekend, trade negotiators partied with MPAA lobbyists before secret negotiations in a Hollywood hotel, while public interest groups were barred from just meeting in the same building.

http://www.techdirt.com/articles/20120131/23161417605/hollywood-gets-to-party-with-tpp-negotiators-public-interest-groups-get-thrown-out-hotel.shtml

"These trade agreements are a gaping loophole. They create new law, but they're negotiated in secret in a process tailor-made to serve politically connected companies-- in this case the movie industry," said Fight for the Future's Holmes Wilson, "This is a critical moment for democracy: if we can't make secretive trade agreements harder to pass than US law, our internet's future belongs to the lobbyists behind SOPA."

About Fight for the Future

Fight for the Future is a new non-profit organization that works to defend online rights and personal freedoms. Fight for the Future organized American Censorship Day on November 16, 2011, the largest online protest in the past 5 years, with more than 4 million people contacting Congress and companies like Tumblr and Mozilla taking unprecedented steps to drive users to contact Congress.

fightforthefuture.org
americancensorship.org
sopastrike.com

killacta.org

UFO – UFO1 1971 (Re-post)

2012-02-08T10:08:00.000-08:00

Review by Jason Anderson

Recorded on a shoestring budget, UFO has several challenging sonic moments. The uneven mixes and amateur performances that some listeners might find quaint or innocent could be distracting to others. In their pre-Michael Schenker days, the British band made a much more experimental noise that reflected psychedelic as well as R&B influences pitched with a dark resonance. This swirling mish-mosh barely suggests the early British metal of the group’s commercial pinnacle that was still years off when they released their eponymous debut. Blue Cheer, early Black Sabbath, and maybe a little bit of the Who (mostly derived via bassist Pete Way’s meandering, over-saturated basslines) all come to mind on standouts like “Boogie,” “C’mon Everybody,” and “Follow You Home.” While ignored completely in the States as well as their British home….

For diehard ufo fans, this is the begining of the band, and the start of a hard rock story that endures to this day. This album is a product of the times in which it was created, the echoes of the sixties were fading, and the violence and upheaval of the seventies were on the horizon, and ufo was there to create some sounds that were different than the peace and love era, and a preview of things to come. With the first incarnation of this band, they delivered some solid tunes, timothy is a great tribute to the orginal guru of the acid days, boogie for george is a solid rockin tune as well, all the songs are cool, and this is a must have album for the collector, and a good intro to the band before they became the icons of the area shows of the seventies during the michael era. Give it a listen, and turn on, tune in , and drop back to a time when the winds of change were a coming.

UFO – UFO1 1971[GTR-015] [1994]

TRACKS

1 Unidentified Flying Object     2:19
2 Boogie                 4:17
3 C’mon Everybody         3:12
4 Shake It About          3:47
5 (Come Away) Melinda         5:06
6 Timothy                 3:29
7 Follow You Home         2:14
8 Treacle People         3:24
9 Who Do You Love          7:50
10 Evil                  3:27

ADDITIONAL TRACKS
11 – C’mon Everybody (LIVE)
12 – Who Do You Love (LIVE)
13 – Loving Cup (LIVE)
14 – Prince Kajuku,Coming Of Prince Kajuku (LIVE)

CD GREEN TREE [GTR-015] [1994] EAC,LOG,CUE,ART 300Dpi JPG
==>*******<==

NEWS==>new release from the artist Laike....

2012-02-07T04:18:00.000-08:00

Mail from Christofer - Laike

Please check out the new release from the artist Laike that will be released the 27th of February on the British label Les Cousins Music. Start with this song: http://laike.bandcamp.com/track/bygger-stegar-upp-till-himmelen and if you like it you can hear the whole album here: http://laike.bandcamp.com/

Facebook: https://www.facebook.com/pages/Laike/227346820678266

"With a piano-led riff, bringing to mind the Canterbury sound, the final track “Tankefabriken” has a bright energetic groove that makes you smile before drifting into a deep forest drone without any warning, great stuff and an excellent way to round off a wonderful collection." - Terrascope

"A very nice album, fitting with what can be heard in the (best examples of the) progressive scene in Sweden nowadays (so this band would work perfectly with such bands on stage in the live arena)." - Pshychevanhefolk

Press images here: http://www.lescousins.co.uk/#/laike-press-photos/4559454834

Some press info:

Release of the album “Långt från stadslivets dån” by Laike

The Swedish artist Laike will release his debut album on the British folk label Les Cousins Music on the 27th of February. With roots in the British folk songs from the 60's and 70's combined with Swedish contemporary lyrics and influences Christofer Ståhle; the man behind the artist, has composed a moody, melodic album with a faithful psychedelic touch.

Mixing British folk with Swedish lyrics is an innovative approach that sounds quite natural to an English speaking person, possibly because of the common origin of the Swedish and English language.

Underpinned by deft acoustic guitar or piano in all the songs, the arrangements consist of instruments ranging from the silver flute to overtone singing. Christofer has a light and clear voice with an unusual emotional timbre that is important for the character of the album. With sympathetic arrangements and dancing flutes songs shift from steady groove to atmospheric drone.

Laike has made a professional debut that fits well among the best examples of the new psychedelic folk wave that can be heard today.

Thanks!
Christofer - Laike

Internet VS Lamar Smith, Round Two: Demand Progress Takes On Snooping Bill, HR 1981

2012-02-04T07:01:00.000-08:00

Internet VS Lamar Smith, Round Two: Demand Progress Takes On

Snooping Bill, HR 1981

Sponsored By SOPA Author Lamar Smith, Bill Would Force ISPs To Track Users

Contact: David Segal, david@demandprogress.org and (401) 499-5991

Washington, DC- Fresh off of a hard-fought victory against SOPA and PIPA, Demand Progress and its million-plus members are taking on appalling snooping legislation which is awaiting a floor vote in the House of Representatives. HR 1981, introduced by SOPA author Lamar Smith, would require Internet Service Providers to capture information about all of their users -- ranging from sites they've visited to credit card numbers -- and store it for at least 18 months. The bi-partisan legislation passed through Smith's House Judiciary Committee in 2011.

As of Thursday afternoon more than 70,000 Internet users had written emails to their lawmakers via Demand Progress's petition page:

http://act.demandprogress.org/letter/snooping/

Said Demand Progress executive director David Segal "This is yet another government assualt on the Internet and its users. We taught Congress a lesson last month: We need to do to HR 1981 what we did to SOPA, and make it clear to Lamar Smith and the rest of Congress that they can't run roughshod over Internet freedom."

Demand Progress is a grassroots organization which fights for civil liberties, civil rights, and government reform. It's million-plus members helped lead the fight against SOPA and PIPA.

Internet Users Declare Victory Over SOPA/PIPA (For Now)

2012-01-24T07:25:00.000-08:00

DEMAND PROGRESS: Internet Users Declare Victory

Over SOPA/PIPA (For Now)

Million-member org urges Americans to #VoteForTheNet

CONTACT: David Moon, (202) 427-7966 and Moon@DemandProgress.org

WASHINGTON - Today, progressive Internet advocacy group Demand Progress declared victory over the Internet Blacklist Bills (aka PIPA & SOPA). After a year-long battle with civil liberties, human rights, and Internet freedom advocacy organizations and their members, U.S. Senate Majority Leader Harry Reid cancelled a planned January 24th procedural vote on the bill. During the conflict, Demand Progress grew its membership list from zero to over one million members, and generated more than 3 million contacts to Congress.

Demand Progress encouraged Internet users to visit its new site, VoteForTheNet.com, where voters can pledge to oppose censorship supporters, and can donate to the four senators who've long promised to filibuster PIPA and SOPA. The site is a joint partnership with the right-leaning organization, DontCensorTheNet -- More than 70,000 Americans have signed the pledge in the last 72 hours.

Demand Progress Executive Director David Segal stated, "Today Internet users around the world have reason to celebrate. The battle over PIPA and SOPA will go down in history as a turning point in the battle to keep the Internet free from undue corporate and government control. But mark my words -- this is just the beginning. We can never allow dangerous legislation like PIPA and SOPA to move forward in any form: After the year of back-room deals that led to the drafting and near-passage of these bills, nothing less than complete transparency throughout any legislative process -- with the input of Internet users -- will be acceptable."

Segal pointed to MPAA Chairman Chris Dodd's comments in today's New York Times: "No Washington player can safely assume that a ... heavily financed legislative program is safe from a sudden burst of Web-driven populism" http://www.nytimes.com/2012/01/20/technology/dodd-calls-for-hollywood-and-silicon-valley-to-meet.html?_r=2&ref=business

-----------------------------------------------------------

CONTACT
Fight for the Future
Tiffiniy Cheng
Holmes Wilson
press@fightforthefuture.org
(614) 465-6371
(508) 474-5248

####

January 20, 2012

Fight for the Future, which ran the largest organizing sites for the recent SOPA protests (sopastrike.com and americancensorship.org), applauds the announcement that the Senate and House have postponed action on the proposed web censorship bills.

“We sent the MPAA back to the drawing board,” said Fight for the Future Co-founder Holmes Wilson, “But any law that lets the copyright lobby block our websites, censor our search results, or cut off our Paypal accounts--without even going through a judge--will be soundly defeated.”

“This was the largest online protest in history,” said Fight for the Future Co-founder Tiffiniy Cheng, “The MPAA was trying to quietly force this bill through Congress, but when internet users started paying attention, real democracy happened. This is a watershed moment in the fight against lobbyists’ influence on politics.”

“The MPAA could have proposed a law to address copyright infringement,” said Holmes Wilson, “Instead, they proposed giving rightsholders veto power over online innovation and free expression. At that point, it was just a matter of getting the public involved.”

A timeline of the SOPA protests: http://sopastrike.com/timeline
Statistics from the January 18 protest: http://sopastrike.com/numbers
Statistics from the November 16 protest: http://americancensorship.org/infographic2.html

####

http://fightforthefuture.org

__________________________________________________

Fight for the Future Largest Online Protest in History.......

2012-01-19T11:44:00.000-08:00

SOPA Strike:

Largest Online Protest in History Planned for Wednesday

JANUARY 17, 2012 - The largest online protest in history will take place on Wednesday January 18, with thousands of websites, including some of the largest in the world, blacking out their front pages, putting up messages, or shutting down completely.

The SOPA Strike, which is being organized at www.sopastrike.com, now has more than 10,000 participating websites, including some of the most popular in the world:

• Google.com
• Mozilla.com
• Wikipedia.org
• WordPress.org
• Archive.org
• reddit.com
• GetMiro.com
• Tucows.com
• OpenCongress.com
• Credo

Many other large companies are preparing actions but have not yet announced their exact plans. The list on SOPAStrike.com will be kept up to date throughout the protest.

Tiffiniy Cheng, co-founder of Fight for the Future, the non-profit which first circulated the strike idea in December, said, “At its core, this is a fight for freedom of speech, and the language in SOPA and PIPA have stepped over the line. The SOPA Strike on Wednesday is the largest online protest that has ever happened. Several hundred million people, potentially more than one billion, will see messages about the dangers of censoring the Internet. That is absolutely unprecedented.”

The participation of Google and Wikipedia bring the reach of the protests far beyond any other online protest. The idea of blacking out sites on the 18th gained momentum on Reddit.com, which has had a huge surge of anti-SOPA activism from their users as well as support from its founders. Fight for the Future created SOPAStrike.com and AmericanCensorship.org to organize the protest. SOPAStrike.com will also provide an up-to-date list of participating websites.

About Fight for the Future

Fight for the Future is a new non-profit organization that works to defend online rights and personal freedoms. Fight for the Future organized American Censorship Day on November 16, 2011, the largest online protest in the past 5 years, with more than 4 million people contacting Congress and companies like Tumblr and Mozilla taking unprecedented steps to drive users to contact Congress.

Links and Company Announcements

Google’s plans - http://buswk.co/AbLFXI

Wikipedia announcement - http://bit.ly/xkd9Xp

Reddit announcement - http://bit.ly/zpgUWZ

POLITICO Article on Protest Plans - http://politi.co/zXleB2
____________________________________________________________________

Fight for the Future

FOR IMMEDIATE RELEASE

CONTACT

Tiffiniy Cheng, Holmes Wilson
press@fightforthefuture.org
Phone: (508) 474-5248

Top Internet Sites Join Largest Online Protest Ever in Opposition to Pending Internet Censorship Legislation

The internet is currently engaged in the largest ever online protest in opposition to internet censorship legislation moving in Congress, PIPA and SOPA.

Three top-ten sites in the U.S. -- Google.com, Craigslist.org, and en.wikipedia.org -- have blacked out all or part of their sites in protest of the bill.

As of 10 a.m. ET, eleven top 100 U.S. sites are participating in the strike (site rankings are from Alexa.com). Wordpress alone powers 16 percent of the top 1 million sites globally, and all of those sites are being blacked out.

More than 62,000 sites have signed up to join at sopastrike.com. The exact number of sites that are participating is unknown at this point, but we believe 10,000 to be a conservative estimate.

The protest is in response to legislation (S.968) scheduled for a vote in the Senate on Jan. 24th that would give the government and corporations new powers to block access to entire websites because of a single link in violation of copyright law. The website takedowns would effectively censor hosts of legal, constitutionally-protected speech, and the bill is considered to be in violation of the First Amendment by several prominent constitutional scholars.

Ultimately, the fight against these bills is about more than web censorship. It is a fundamental struggle about who has power in modern society -- the people with the means to communicate freely or the governments and corporations that want to lock down control. Today's action, and the corresponding drop-off in congressional support for these bills, is a raw display of power for the people at large.

About Fight for the Future

Fight for the Future is a new non-profit organization that works to defend online rights and personal freedoms. Fight for the Future organized American Censorship Day on November 16, 2011, the largest online protest in the past 5 years, with more than 4 million people contacting Congress and companies like Tumblr and Mozilla taking unprecedented steps to drive users to contact Congress.

fightforthefuture.org
americancensorship.org
sopastrike.com

________________________________________________________________________

Fight for the Future

TODAY and tommorow

LARGEST ONLINE PROTEST IN HISTORY BY THE NUMBERS

The Web went on strike en masse yesterday. 115,000+ websites and over 13 million+ internet users participated in yesterday's online protest of the Stop Online Piracy Act (SOPA) in the House and the PROTECT-IP Act (PIPA) in the Senate. Around 50,000 websites blacked out their sites completely or most of the site, with 4 top 10 and 13 top 100 sites participated by blacking out or driving contacts to Congress. Hundreds of millions of people viewed, listened to, watched, or attended some part of the day, in anticipation of the vote on PIPA in the Senate on January 24.

Having started with just 5 senators opposed to PIPA at the start of the new year, now internet users can count the 36 senators that have come out and publicly opposed to the bill, including 5 who were formerly co-sponsors. Many offices' phone lines were taken offline due to the call traffic and many senator webpages' simply stopped working due to the barrage of visits and emails being sent to them.

Grassroots groups and internet users have organized over 30+ in-person meetings with senators and their staff, attendance at 30+ townhall meetings, 3 street protests, and the effort continues until the day of the vote next Tuesday. On Tuesday, when 5 senators led by Senator Ron Wyden (D-OR) plan to filibuster the vote on cloture, groups will be a planning a live-audience engagement with the filibuster. Audience members can submit comments, stories, and testimonials of internet-based moments in history that will be read by the senators during the filibuster. A live stream will be set up for the public to get involved and to watch the proceedings.

These bills have become a mainstream issue -- because of the strike, they were a top story for most news outlets, a trending topic on social media sites, and a buzz topic in offices and homes across the country. Members of Congress are dropping their support for the bills in droves. People have a sense that yesterday’s actions had a huge impact, but here are most of the numbers to confirm (some of the largest numbers are still coming in):

For up to date information, please see: http://www.sopastrike.com/numbers and http://www.sopastrike.com/timeline

Sites:

4 top-10 US sites participated
13 top-100 US sites participated
at least 115,000 small and medium sites participated in strike
- 50,000 blacked out all or part of site
  - Wordpress network: 27,000 blackout and 17,000 ribbons on .com

Contacts to Congress:

10 million petition signers
3 million emails
100,000 calls + 8 million call lookup via Wikipedia call tool
Thousands protest in New York, San Francisco, New Jersey, 40+ in-person meetings with Senators and staff up until 1/18

Twitter:

2.2 million tweets mentioning “SOPA”
411,000 tweets mentioning “PIPA”
52,000 tweets mentioning “sopastrike”
9,000 tweets mentioning “blackoutSOPA”
159,000 tweets mentioning “stopSOPA”

US trending tweet:

Wtf is SOPA

Global trending tweets:

“Hey Zuckerberg Take Facebook Down”

trending in various cities:

Facebook:

258,000 people shared SOPAstrike.com on Facebook
170,000 people shared SOPAstrike.com/strike on Facebook

Google

top-10 trending search terms:

sopa and pipa bills
piracy
censorship
blackout

The Senate

at least 13 senators backed away from the bill in one day.
5 co-sponsors dropped their support of the bill: Senators Blunt, Boozman, Cardin, Hatch, and Rubio

List of Senators who came out with opposition statements/statements expressing concern on 1/18 alone (more info is here: http://www.opencongress.org/articles/view/2463-PIPA-Protest-Roundup-and-Whip-Count-Summary)

Hatch -- http://thehill.com/blogs/hillicon-valley/technology/204895-hatch-latest-to-reverse-support-of-piracy-bill?utm_campaign=HilliconValley&utm_source=twitterfeed&utm_medium=twitter

Rubio -- https://www.facebook.com/SenatorMarcoRubio/posts/340889625936408

Risch -- http://news.cnet.com/8301-31921_3-57361237-281/protests-lead-to-weakening-support-for-protect-ip-sopa/

Ayotte -- http://ayotte.senate.gov/?p=press_release&id=400

Inhofe -- http://www.inhofe.senate.gov/public/index.cfm?FuseAction=PressRoom.PressReleases&ContentRecord_id=f2998e23-fbaa-5dfd-c98a-9a71c579b2b0

Merkley -- https://twitter.com/#%21/SenJeffMerkley/status/159678431406202881

DeMint -- https://twitter.com/#%21/JimDeMint/status/159622833293635585

Vitter -- https://twitter.com/#!/DavidVitter/status/159773979794620416

Roberts -- https://www.facebook.com/SenPatRoberts/posts/315933441785061

Begich -- https://www.facebook.com/Begich/posts/349325338413497

Boozman -- http://www.facebook.com/notes/john-boozman/lets-address-the-concerns-over-the-protect-ip-act/269413856459340

Reed -- http://blogs.wpri.com/2012/01/18/whitehouse-bucks-wikipedia-stays-sponsor-of-protect-ip-act/

Sanders -- http://www.burlingtonfreepress.com/article/20120118/BUSINESS05/120118014/Leahy-defends-anti-piracy-bills-amid-protests-opposition-from-Sanders-Welch?odyssey=mod%7Cnewswell%7Ctext%7CFRONTPAGE%7Cp%20target=

Murray -- https://twitter.com/#!/PattyMurray/status/159810120358961152

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Blue Sandelwood Soap- Loring Park Love-Ins 1967-68

2012-01-17T12:28:00.000-08:00

From the Minneapolis-St. Paul area, Blue Sandlewood Soap was one of relatively few '60s psychedelic groups from the region (though there were others, such as C.A. Quintet and, on some of their records, the Litter and T.C. Atlantic). They issued just one single, "Friends I Haven't Yet Met"/"Love !pirT" (sic), though that 45, plus a good deal of unreleased material from the time, appears on the CD Loring Park Love-Ins. Take the amateurish '60s garage rock that's filled up many a Pebbles-type compilation and add a good deal of acid-inspired lyrics, constant tempo changes, and odd fragmented song structures and you get Blue Sandlewood Soap. Like their name, it's an awkward mixture of ingredients, instrumentally dominated by Harley Toberman's Farfisa organ and some pretty clumsy drug flash journal lyrics.

-------------------------
DAVE BERGSLAND

DAN KNUDSEN

STEVE LUCK bs

HARLEY TOBERMAN

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Tracks:

01. Friends I Haven't Met Yet 3:07
02. Nickel Bag Of Blue 2:27
03. How Can I Show My Love 3:01
04. Reborn In Eastern Meditiation 2:52
05. Love Pirt 5:20
06. Without A Sond 2:36
07. Did You See The Man 3:41
08. Just For The Moment 3:38
09. What Is Life 2:01
10. A Most Unusual Way 2:59
11. A Childlike Face 2:23
12. Love Is 2:08
13. That's Cool 3:26
14. Interludes 2:20
15. The Girl Stares Coldly 2:19
16. I See The Lightning Roar 1:59
17. Age Of The Magic Men 4:20
18. Northwest Arilines Demo 2:26

time: 53'02"
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My CD, EAC, cue, log, artwork bmp 300dpi
________________________________________
*******

Laîs - Dorothea (2001)

2011-12-23T03:13:00.000-08:00

....this album is out of print,
some thieves sell this album for more than 60 € on the web...
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traduction from French ;
Belgian Polyphony. Belgium sometimes sends us of atypical artists whose charm attains fast the heart of the public . It was the case of Arno and Deus in a style more rock, or of Starflam for the hip hop. This time, honour to the ladies with the trio of vocal Polyphonies Laïs. Dorothea, their second album, constituted by traditional songs or of original compositions is interpreted in Flamish   and in French . Nothing very amazing when they know the bilingualism of the flat country.
These three crystalline voices coated with a resolutely modern production transcend pieces that they had no more habit to hear around fires of camps néo - babas. - 15 titles, 67m55s-
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Music and voice of these three Flemish young persons is really envoutante and magical. In the descendants of their first album, also wonderful 'Dorothea ' takes back the same tones and the same animation of music and voices. The old Flemish   language however rather harsh becomes there singsong and harmonious... Deeply ' Live '...
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Melodies are very nice and entrainantes. Voices are splendid. Recommend Folk music for all music amateurs....
http://www.youtube.com/watch?v=AQjYEdk_QP8&feature=related

LOSSLESS,EAC,LOG,CUE, SCAN WEB FOUND My CD RIP

==>*******<==

Buddy Guy - Buddy and the Juniors (1970)

2011-12-01T11:45:00.000-08:00

Audio CD (June 28, 2011)
Original Release Date: 2011
Number of Discs: 1
Label: Hip-O Select
ASIN: B0050GX7B8

A long overdue reissuing of this curious 1970 collaboration between guitarist Buddy Guy, harp player Junior Wells, and jazz pianist Junior Mance. The trio run through barely half-a-dozen numbers, including such standard blues warhorses as Willie Dixon's classic "(I'm Your) Hoochie Coochie Man," "Rock Me Mama," and Wells' "Ain't No Need." Not a classic recording, I'm told, but I'd still like to hear Guy bang away on his acoustic alongside Mance's bebop keyboard kicks (and, of course, Wells' incendiary harmonica). (Release date: 06/28/11)
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This is deep down dirty blues as it was sung and played 100 years ago and will be sung and played forever! Get this album!
------------------------------
Players of instruments: Buddy Guy, acoustic guitar, Junior Wells, mouthharp, Junior Mance, barrelhouse piano.
Reason for session: pay for Buddy Guy's trip to New York City to mix an album for another label!
Result: ASTONISHING!
-------------------------
To think of all of where came from. One day. One guitar. One piano. And one harp.

Tracks:

1. Talkin' 'Bout Women Obviously 9:48
2. Riffin (a.k.a A Motif Is Just A Riff) 7:30
3. Buddy's Blues 3:25
4. (I'm Your) Hoochie Coochie Man 5:15
5. Five Long Years 5:50
6. Rock Me Mama 5:35
7. Ain't No Need 4:31
----------------------------------------------------

LOSSLESS,EAC,LOG,CUE,HQ SCAN BMP 300pi My CD RIP

=====> Here is it<=====

Sin Ayuda - Noise Reminders 2011 - 90's rock band from Brazil

2011-11-08T11:58:00.000-08:00

Seguindo a combinação formulada no EP "Evergreen", lançado no primeiro semestre deste ano e que, de forma sublime, alçou belas críticas por sua fusão coesa entre folk, alt-rock 90's e psicodelia, o quarteto de Taubaté/São José dos Campos-SP, Sin Ayuda ressurge ao universo dos bons sons para mais uma pérola lançada ao mundo.
Com o single "Wednesday, Thursday Lie", a banda apresenta uma prévia do que será o disco de estréia intitulado "Noise Reminders", com data prevista de lançamento para setembro de 2011, através do selo coletivo alagoano Popfuzz records.
A combinação homogênea entre ruídos, intimismo e lisergia aparecem em seu ápice total, e o que inicialmente vai ganhando vida entre vocais abafados e riffs de violão, rapidament vem a tornar-se um verdadeiro fio desencapado, dando lugar a guitarras altas, bateria e baixo pulsantes, efeitos e microfonias certeiras, fazendo de "Wednesday, Thursday Lie" um carro-chefe de primeira linha para o aguardado lançamento da banda no segundo semestre deste ano.

Por Al Schenkel (Blog Sussurros e Escarros)
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Formação:
Ricardo Henrique - Bateria
Julio Cavalcante - Baixo
Diego Xavier - Voz/Guitarra
Vinicius Pacheco - Voz/Violão/Guitarra

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FREE TRANSLATION Portuguese to English with==> ImTranslator 4,7

Following the combination formulated in EP ' Evergreen ', released in the first half of this year and that, so sublime, beautiful took criticism for its cohesive fusion among folk, alt-rock and 90 's psychedelia, the Quartet of Taubaté/São José dos Campos-SP, Sin Ayuda resurfaces to the universe of good sounds to more a Pearl released to the world.

With the single ' Lie ', Wednesday, Thursday the band presents a preview of what will be the debut album titled ' Noise Reminders ', with expected date of release for September 2011, through collective alagoano Popfuzz records label.

The homogenous combination between noise, psychedelic and intimismo appear in its apex total, and what will initially gaining life between guitar riffs and muffled vocals, rapidament comes to become a true bare wire, giving rise to high guitars, drums and bass, pulsed and effects of targeted microfonias, making ' Wednesday, Thursday Lie ' a flagship of the first row to the awaited release in the second half of this year.
By Al Schenkel (Blog whispers and Escarros)

Musicians:
Ricardo Henry-Drums
Julio Cavalcante-Bass
Diego Xavier-Vocals/Guitar
Vinicius Pacheco-Voice/Guitar/Guitar

Links: FREE DOWNLOAD FROM ; (Quality mp3)

http://tramavirtual.uol.com.br/sin_ayuda
http://www.myspace.com/sinayuda
http://www.twitter.com/sinayuda
https://www.facebook.com/sinayudabr
http://tramavirtual.uol.com.br/artistas/sin_ayuda

So go listen to their music ,
and help the musicians to live from their ART

Cast Iron crow "First Edition" (LP) Self Release - November 8, 2011

2011-11-01T03:30:00.000-07:00

(Extrait) Mail from ALEX LEE ==> Studio SQ (manager)

I wanted to let you know that Bay Area grunge / stoner rock band Cast Iron Crow have released a new single and video week this week. Both are in support of their upcoming debut album First Edition which releases on November 8, 2011. We've been dying to put out the single, titled Mindlapse, as it has become one of the most popular songs in the band's arsenal (in fact it likely would have been their first single had they not been working on the video).

Below you will find the full release details with links

--

Cast Iron crow

"First Edition" (LP)

Self Release - November 8, 2011

GenreS

Rock, Grunge, Alt Metal

Music & Video

"Mindlapse Single"
(approved for posting)

"Mindlapse Video"
(approved for posting)

"Beyond The Brain
(approved for posting)
"People Of Clay"
(approved for posting)

Photos / EPK

CIC Press Page

ONLINE

Reverb Nation
Facebook
YouTube
Twitter
____________________________________________________

How does shattering your collar bone twice impact your musical career if you're a guitarist? For most this would be the end. For Jake Navarra, singer of Cast Iron Crow, it was one of the best things that happened to him.

Cast Iron Crow is a four piece grunge / alt metal Bay Area band that channels the sounds of their childhood. When Alice in Chains released their debut record "Facelift" in Aug of 1990, Cast Iron Crow held an average age of less than a year old. However, their early exposure to Grunge has perhaps lent itself to giving their music an effortless authenticity.

The band's sound transports the listener to a time when MTV and the radio airwaves were dominated by the relevant and timeless music that the grunge era provided. Having consumed and digested the best rock music had to offer in the last 20 years, Cast Iron Crow has the benefit of a perspective that allows them to tastefully blend elements of their favorite sub genres of the 90's and on. A cup of Alice in Chains a pinch of Soundgarden a dash of Tool a sprinkle of a Perfect Circle... is that a hint of Motorhead?

To quote Henry Rollins "Scar tissue is stronger than regular tissue. Realize the strength, move on." After suffering his second broken collar bone in 2009, Jake was forced to quit guitar and thought his musical career might come to an end. Undeterred, he took up singing and was surprised at how naturally it came. Shortly thereafter Jake teamed up with lifelong musical co-conspirators Sam Gouveia (guitar), Joey Evans (bass), Ryan Long (drums) to form Cast Iron Crow.

Out of the gate the band marveled their native East Bay community with a surge of successful shows and by destroying a Bay Area battle of the bands competition. Praise by Tim Sult of "Clutch", Eddie Hernandez of "All Shall Parish", and a mass of new fans further propelled the band to record their debut full length record "First Edition" at legendary San Francisco institution Hyde St. Studios.

So please give it a listen, and buy their album...... (thanks Alex Lee)

Kevin Coyne - I Want My Crown. ANTHOLOGY 1973-1980

2011-10-14T12:03:00.000-07:00

Biography

by John Dougan

Many singer/songwriters have been more heralded, but few produced more good work or did so for longer than Kevin Coyne. While virtually unknown in America, Coyne released dozens of records, most of them very good, that dealt primarily with outsiders: men, women, and children arbitrarily shunted to the fringes of society, or worse, locked away and left alone. His songs could be extraordinarily compassionate and, in the blink of an eye, angry, anguished, and accusatory. Perhaps the most durable and telling image of Kevin Coyne is the cover photo of his album In Living Black & White. On the front, Coyne is smiling and politely bowing to an unseen audience; the back of the album jacket is the same photo taken from the rear, with Coyne clutching an open straight razor.

Born in Derby, England, in 1944, Coyne, like many rock & roll performers who came of age in early postwar Britain, was an art school student who fell in love with American R&B. Living a bohemian life in late-'60s London, Coyne was employed for a while as a socio-therapist for alcoholics and the emotionally disturbed, jobs that would profoundly affect his approach to music. In 1969 his first band, Siren, signed to influential BBC DJ John Peel's specialty label, Dandelion. Two years and two excellent records later, Peel dissolved his label and Coyne embarked on a solo career. Married with two children, Coyne supported both his family and musical career by returning to social work. In many ways, his solo debut, Case History, set the tone for his career. Based on his social work experiences, it was a riveting examination of the desperate search for love by those forcibly exiled to the fringes of society. With his bluesy voice wailing almost inconsolably, Case History is a naked examination of people (Coyne included) whose lives are in constant turmoil: betrayed, institutionalized, unwanted, and mostly unloved. The characters in these songs cry out for attention, and Coyne, never one to buy into England's bureaucratic social work system, howls right along with them.

Case History was very nearly Coyne's swan song, but after a self-imposed exile from music, an opportunity to continue recording as a solo act with almost complete artistic freedom proved too powerful an incentive. In 1973, Coyne began a relationship with the then-fledgling Virgin Records label, which seemed willing to embrace the decidedly noncommercial, difficult performer. For the next eight years, he recorded some of his best music and, somewhat surprisingly, attained a modicum of commercial success, albeit in Europe only. These were mostly edgy folk-rock records tinged with an avant-garde feel for performance art (Coyne was a published poet, too), clearly not easy listening by any stretch of the imagination; neither were these records overly pretentious nor unapproachable.

By the early '80s, Coyne was recording for independent labels, making frustrating, semi-successful records that were erratically released and difficult to find. Exacerbating this bad situation were his worsening mental and physical states: chronic depression culminating in a nervous breakdown and alcoholism that, along with ending his marriage, nearly ended his life. In 1985 me moved to Nuremberg, Germany and began to pick up the pieces, improving his health and forming the Paradise Band. The move also re-sparked his passion for painting and writing, resulting in a handful of published books along with well-received exhibitions of his visual work in the cities of Berlin, Amsterdam, and Zurich. By the time the '90s rolled around, Coyne had reestablished himself as a true underground force, releasing a continuous stream of albums of dizzying variety (and availability). In 2002 he was diagnosed with pulmonary fibrosis. He died at his home on December 2, 2004.

Tracklist:

Disc: 1

1. Marjory Razorblads
2. Marlene
3. Talking To No One
4. Eastbourn Ladies (American Edit)
5. I Want My Crown
6. House On The Hill
7. Lovesick Fool
8. Keep Your Lamp Trimmed And Burning (Studio Version)
9. River Of Sin
10. Sign Of The Times
11. I Believe In Love (Rough Mix)
12. Blame It On The Night
13. Poor Swine (Alt. Version)
14. Dance Of The Bourgeoisie
15. Saviour
16. Lonely Lovers
17. Sunday Morning Sunrise
18. Rock 'N' Roll Hymn
19. Turpentine
20. Let's Have A Party
21. Lorna

Disc: 2
1. Which Way Can I Go
2. A Life Divine
3. I Love My Mother
4. Shangri LA
5. America
6. Big White Bird
7. Daddy
8. Case History No 2 (Live)
9. Fat Girl (Live)
10. Roses In Your Room
11. Mona Where's My Trousers
12. Rainbow Curve
13. River Of Blood
14. Dynamite Days
15. Brothers Of Mine
16. I Really Live Round Here (False Friends)
17. I Am
18. I Only Want To See You Smile
19. Juliet And Mark
20. Older Woman

Disc: 3

1. Having A Party
2. I'm Just A Man
3. Pretty Park
4. Marigold
5. Don't Blame Mandy
6. World Is Full Of Fools
7. Burning Head Suite (Live At Rockpalast 1979)
8. Are You Deceiving Me
9. Lonely Man (Studio Version)
10. I Confess
11. It's My Mind (Studio Version)
12. Happy Homes
13. Children's Crusade
14. Learn To Swim Learn To Drown
15. Dark Dance Hall
16. Day To Day
17. The Old Fashioned Love Song
18. New Motorway
19. The Loving Hand
20. Wonderful Wilderness

Disc: 4
1. Chicken Wing (BBC In Concert, Golders Green Hippodrome 1974)
2. Marjory Razorblade Suite (BBC In Concert, Golders Green Hippodrome 1974)
3. Blame It On The Night (BBC In Concert, Golders Green Hippodrome 1974)
4. River Of Sin (BBC In Concert, Golders Green Hippodrome 1974
5. Poor Swine (BBC In Concert, Golders Green Hippodrome 1974)
6. Fat Girl (BBC In Concert, Golders Green Hippodrome 1974)
7. Mad Boy (Live In Hyde Park)
8. Mummy (Live In Hyde Park)
9. Marjory Razorblade Suite (Live In Hyde Park)
10. Let's Have A Party (Live In Hyde Park)
11. Poor Swine (Live In Hyde Park)
12. Need Somebody (Live In Hyde Park)
13. Chicken Wing (Live In Hyde Park)
14. Boogie Chillun (LIve In Hyde Park)

Thanks go to COR for sending this post!!!
LOG , + Full Artwork @ 600DPI.
======Here it IS ===

The Free - Songs Of Yesterday

2011-10-02T08:37:00.000-07:00

The Free - Songs Of Yesterday, Boxset 5 CD's.

Famed for their perennial "All Right Now," Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970's superstars like Foreigner, Foghat and Bad Company. Free formed in London in 1968 when guitarist Paul Kossoff, then a member of the blues unit Black Cat Bones, was taken to see vocalist Paul Rodgers' group Brown Sugar by a friend, drummer Tom Mautner. After deciding to form their own band, Kossoff and Rodgers recruited drummer Simon Kirke (since Mautner was at university) and 16-year-old bass phenom Andy Fraser from the ranks of John Mayall's Bluesbreakers; with the aid of Alexis Korner, who also suggested the name Free, the fledgling band signed to the Island label, issuing their bluesy debut Tons of Sobs in 1968.
More

Tracklist:

Disc 1:

1. Over the Green Hills [A New Stereo Mix] (3:29)
2. Walk in My Shadow [Alternative Stereo Mix] (3:36)
3. Wild Indian Woman [A New Stereo Mix] (3:44)
4. Guy Stevens Blues (4:42)
5. Visions of Hell (3:55)
6. I'm a Mover [Mono Version][Mix] (2:58)
7. Moonshine [Alternative Stereo Mix] (5:11)
8. Woman By the Sea (3:22)
9. Free Me (4:39)
10. Long Tall Sally (1:18)
11. Broad Daylight [Original 7" Mono Mix] (3:12)
12. Worm [Original 7" B-Side] (3:06)
13. Trouble On Double Time (2:39)
14. Spring Dawn (4:10)
15. I'll Be Creepin' (3:39)
16. Sugar for Mr.Morrison [A New Stereo Mix] (3:21)
17. Songs of Yesterday [A New Stereo Mix] (3:38)
18. Woman (3:43)
19. Mourning Sad Morning [Alternative Stereo Mix] (5:04)
20. Fire and Water [Alternative Stereo Mix] (4:09)

Disc 2:

1. All Right Now (3:30)
2. Oh I Wept [A New Stereo Mix] (4:32)
3. Remember [A New Stereo Mix] (4:30)
4. Don't Say You Love Me [New Stereo Mix] (6:27)
5. Stealer [Full Version] (4:32)
6. Highway Song [Alternative Stereo Mix] (4:18)
7. On My Way [Alternative Stereo Mix] (4:08)
8. Sunny Day [A New Stereo Mix] (3:15)
9. Ride On a Pony [Alternative Stereo Mix] (4:20)
10. Love You So [A New Stereo Mix][Alternate Take] (4:56)
11. Soon I Will Be Gone (3:18)
12. My Brother Jake [A New Stereo Mix] (3:01)
13. Makin' Love (Only My Soul) (4:00)
14. Rain (3:53)
15. Get Where I Belong (4:22)
16. Only My Soul [Original 7" B-Side] (2:29)
17. Travelling Man [Alternative Stereo Mix] (3:41)
18. Molten Gold (6:08)

Disc 3:

1. Little Bit of Love [Alternative Mix] (2:37)
2. Soldier Boy [Alternative Mix] (2:54)
3. Sail On (3:23)
4. Guardian of the Universe (7:05)
5. Child [Alternative Mix] (5:18)
6. Honky Tonk Women (3:14)
7. Lady (4:40)
8. Muddy Water (3:49)
9. Heartbreaker [Live] (5:44)
10. Wishing Well (3:40)
11. Let Me Show You (6:06)
12. Let Me Show You [Original B-Side] (3:04)
13. Muddy Water (4:16)
14. Common Mortal Man [Alternative Mix] (4:29)
15. Heartbreaker [Alternative Mix] (6:27)
16. Seven Angels [Alternative Mix] (4:58)

Disc 4:

1. Ride On a Pony [Live] (5:34)
2. Be My Friend [Live] (6:16)
3. Fire and Water [Live] (4:01)
4. Stealer [Live] (3:52)
5. Don't Say You Love Me [Live] (5:56)
6. Mr. Big [Live] (6:27)
7. I'll Be Creepin' [Live] (4:32)
8. Free Me [Live] (6:38)
9. Woman [Live] (4:18)
10. I'm a Mover [Live] (3:43)
11. Walk in My Shadow [Live] (4:18)
12. Songs of Yesterday [Live] (5:08)
13. All Right Now [Live] (7:29)
14. Crossroads [Live] (6:36)

Disc 5:

1. (I Just Wanna) See You Smile (3:11)
2. Zero BC (4:35)
3. Like Water (5:39)
4. Ol'jelly Roll [Alternative 7" Mix] (2:40)
5. Follow Me [Alternate 7" Mix] (3:03)
6. Fool's Life (4:18)
7. I'm On the Run (4:37)
8. Sammy's Alright (4:09)
9. Hold On [A New Stereo Mix] (5:38)
10. Tuesday Williamsburg (2:59)
11. Unseen Love (4:35)
12. Time Spent (Time Away) (18:17)
------------------------------------
Island remastered
Thanks go to COR for sending this post!!!
LOG , + Full Artwork @ 600DPI.
======Here it IS ===

Mahalia Jackson - In Concert, Easter Sunday (1967)

2011-09-25T11:07:00.000-07:00

Recorded at Philarmonic Hall, Lincoln Center for the Performing Arts, New York, Easter Sunday 1967

Review:

by Richie Unterberger (All Music Guide)
Jackson's Easter performance at New York's Lincoln Center for the Performing Arts on March 26, 1967, was her first big concert since being afflicted with heart problems three years before that. Any discomfort or loss of form would be hard to detect in this strong performance, at which she was accompanied by piano, organ, guitar, and drums. For the most part it sticks to slow- to mid-tempo numbers, the shouter "Come on Children, Let's Sing" being the notable exception. The 2001 CD reissue on Columbia/Legacy adds four previously unreleased bonus tracks from the same concert, of which the jubilant "Elijah Rock," with a prominent organ and a melody similar to Little Willie John's "Fever," is a highlight.

Amazon.com (customer)
Any one who has listened to previous Mahalia Jackson albums/songs will immediately notice something different about this particular performance. Upon deeper examination of history, we learn that Jackson had been in the throws of illness for a time prior to this concert.The result is a mellower, quiet performance.
However, do not be discouraged by this bit of information, because the Easter Sunday Concert album has to be not only one of Mahalia Jackson's best albums, but also one of the best gospel albums ever.
What makes this album so phenomenal is Jackson's veteran vocal ability. From the very first note she sings it's painfully obvious that she isn't at 100%. At times, she is breathy and sounds tired.
However, in the grand tradition of a seasoned vocal smith,he manipulates her weakness and combines it with her strength, and the result is an even stronger masterwork.
Mahalia Jackson's voice is unearthly, and therefore could not be broken by illness or time. Though this is a "quieter"performance, it is no less remarkable. This album shows how Mahalia Jackson was a true vocal genius, in her own right and in our hearts.
My personal favorite on this album is "He Will Remember Me,"where she belts and swings to a bluesy arrangement of the song.
She sings much of this song in her upper register and it sounds delightful.
My other favorite is "Calvary," which is utterly spectacular.
Her range from lowest note to highest in this one song could send many of today's pop stars running in shame to get vocal lessons. Another notable selection is "Elijah Rock," which a grand, one-woman showcase of the spirit that defines the Sanctified Church. By the end of the song, the participation of the audience threatens to tumble the very walls of the Lincoln Philharmonic Hall with enthusiastic hand-clapping in syncopated 4/4 time.
This is a great album for Easter or any time of the year.
Any one who has loved previous works of Jackson will not be disappointed with this CD.
It is an essential installment in her musical catalog and a glowing testament of her unique vocal gift.

Tracks:

01. In My Home Over There    [0:06:32.55]
02. He Will Remember Me    [0:04:19.02]
03. He Was Alone    [0:04:19.40]
04. Out Of The Depths    [0:04:51.15]
05. Thy Will Be Done    [0:03:51.18]
06. Were You There    [0:05:42.52]
07. Holding My Savior's Hand    [0:02:48.55]
08. Calvary    [0:03:37.40]
09. There Is A Balm In Gilead    [0:05:35.23]
10. Come On Children, Let's Sing    [0:04:14.17]
11. Evening Prayer    [0:04:50.70]

Bonus Tracks:

12. It Don't Cost Very Much    [0:04:33.08]
13. If I Can Help Somebody    [0:03:54.70]
14. Lord, Don't Let Me Fail    [0:06:04.30]
15. Elijah Rock    [0:04:23.07]

Musicians:

Edward David Robinson - Piano
Charles Clency - Organ, Guitar, Tambourine
Mahalia Jackson - Vocals
Jo Jones - Drums

NMR,(TY 2 the musicians & the Ripper) EAC, FLAC,LOG 100%,CUE,HQ 300 Dpi Scans
=== Here it IS ===

Curt Cress Clan - CCC (1975)

2011-09-11T10:49:00.000-07:00

Curt Cress Clan - CCC (1975)[2010- Sireena 2073]

Style:Fusion, Jazz-Funk
Review from the album sleeve:

1975 Curt Cress was only 22 years young but already known as one of the best and multi-purposed drummers in Germany. What we’re calling a fusion nowadays, the self-taught Curt Cress already fulfilled since end of the 60’s when he came from Orange Peel via Atlantis to Passport, the super-group around Klaus Doldinger. In between there happened numberless vinyl productions with the drummer, which strongly fortified his awesome reputation amongst the scene. The former label-boss of Passport, Sigi Loch, offered Cress the possibility to record an own album. Thus „CCC“ has been formed with Kristian Schultze and Dave King, whom Cress met shortly before, and with whom he wrote most parts of the album. With Volker Kriegel and Ack van Rooyen two international high respected musicians joined the group. With this cast the recording sessions have been done in the Munich Scala Studio. Curt Cress remembers the relaxed work for this album: „The studio was on first floor directly above a pub. When we were getting hungry or thirsty we just went down to the pub for having meal and something to drink. Easy going!“ End of 1975 the album has been published at Atlantic and was a sensation. Hermann Haring praised in SOUNDS 1/1976 the agility and virtuosity of the album. The role of Curt Cress, who also was the producer of this album, he picked out in special: „During the mix at the studio Curt -and thus the rhythm basis- has been pushed to the fore with a lot of sure instinct. The listener is not feeling hassled by the drummer but is checking subliminal that he is the central figure of this album.“ Curt Cress comments this by retrospective: „It never was planned that my drums play an outstanding role, although my name was on the cover. When I listen to the songs today I cannot notice any oustanding of the drums. We players of „CCC“ had 100% equal rights at the development of the album. We have been friends who admired each ones work.“ Although „CCC“ was not called compatible for the mass, more than 10,000 pieces of the album have been sold, not bad for a Jazzrock-production. Curt Cress, Kristian Schultze and Dave King one year later knotted with SNOWBALL to the „CCC“-concept and brought the successful mixture of Jazz, Rock, and Funk to perfection and to an international high reputated project until the early 80’s.

Tracklist ;

Cyclone        3:54
From The Back        4:30
Fields                3:46
Shuffle On Out        5:53
Delphine        3:27
"451271"        3:35
No Answer        3:46
Movin' Right Along 2:45
Funk Off        4:59

______________________________________
Sireena Records
Profile:
Tom Redecker and Lothar Gärtner established SIREENA RECORDS in the year 2000 with the aim to publish long missing music and 'already out of stock’ music. There shouldn’t be any border, no matter whether blues, rock, folk, punk, or pop – it should be liked by the producers and loved by the collectors. Right from the beginning one emphasized on optical appearance and an informative lay-out of creating the booklet. If possible the original-tapes are used when producing the cd and only in emergency cases unused vinyls are taken as basis. To a SIREENA cd bonus tracks and well as competent liner notes do belong, often they are written by the musicians themselves. Thus the label established itself in a short time with his releases with a fix place in the heart of music collectors.

After Lothar Gärtner passed away, Bernd Paulat is the new partner of Tom Redecker since 2008. Despite of the fact that these both do know each other since long years, also the musical chemistry fits perfect together. The best condition to be on target with SIREENA RECORDS. There are a lot more treasures to dig out!
http://www.sireena.de/
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Klaus Schulze - Virtual Outback (2002)

2011-09-09T04:53:00.000-07:00

Reviews:

'Virtual Outback' first saw the light of day back in the latter half of 2002 and featured as part of the Schulze 5 disc set 'Contemporary Works 2'. Originally the 'Virtual Outback' CD contained just a single extended piece from Klaus lasting some sixty five minutes, with this reissue we are presented with the welcome addition of a mightily rare/limited bonus track, making this album package a must have for most any Klaus Schulze collector. 'Virtual Outback' comes to us in the now de facto gatefolded card slipcase together with an accompanying 16 page full colour booklet. There is a very personal write up from Schulze about the making of the album and of the people he worked with on the recording, together with further words of wisdom from Klaus D. Mueller on the back page footnotes.

Recorded circa 2001/2002 'Virtual Outback' features numerous happy musical helpers,( Wolfgang Tiepold being amongst that number). For those of you that have enjoyed the Schulze 'Ballett' series l think you'll get a lot of mileage from 'Virtual Outback', that familiar clique of musicians all re-emerging to produce unyet another musical event with Klaus at the helm.

Track one,' The Theme: The Rhodes Elegy'(65.00) comes into being with Schulze at a contemplative solitary electric piano. The addition of woodwind is provided by Tobias Becker on English horn as the first of the improvisations get underway. Klaus underpins everything with his super smooth effortless synthetic strings and away we go with some beautifully haunting music. This however is a Schulze album and we can't just settle for slipping gently into some New Agey mediocre take it or leave it muzak. Instead Klaus takes Beckers musical ad-libs and skews them completely using modulated, filtered and morphed effects so that we can't always be sure as to the source of the sound. The music now having lost that sombre edge that purveyed most all of the 'Ballett' series is further pepped up with additional percussion which arrives about six minutes in breaking the serene mood. All said and done this is abit of a shame as the rhythm is abit over fussy and busy for such a lethargic piece.

A brief interjection from Kagermann's violin introduces the Cello of Tiepold at around the thirteen minute mark and we can hear Wolfgang playing along tentatively against the threshold of the applied effects almost as if he's trying to avoid triggering them by playing too loudly. All the time Schulze's sequenced backdrop of electric piano and percussion cycles around until the track almost stalls some ten minutes later when things get so stripped back in the mix we are left with nothing but the solo voice of Kagermann. It's not long before the sounds of Cello, Violin and reedy flutes are heard again, all immersed in a deep bath of modulation and filtering.

Like a new chapter electric guitar cuts in on proceedings at the halfway mark adding a rockier element to the track as the other players are subdued and exit the mix completely. By the guitars very nature it sounds like it's leading the way, but lack of variation in the Schulze sequence has our resident guitarist Mickes looking for new improvisational avenues as he strums along rhythmically. Then the moment we've all been waiting for, Klaus takes to the keys! Sorry folks, no rip-roaring Moog solo's here today, that kinda' thing just wouldn't suit the overall feel of the music, instead we revert back to the guitar and Mickes has gotten very esoteric with the guitar effects on full tilt rumbling, droning and whistling his way through the remainder of the track,( and very effective it is too!). Into the last ten minutes and the drums become much more pronounced only tailing off in the last few moments as the guitar rattles and hums its way to a gentle close.

'Chinese Ears'(14.55) is the bonus track here and is about as rare as Schulze rarities get l suppose,( a shorter version was made available to the first three hundred or so customers who originally bought the 'Contemporary Works 2' set). The track has now been extended by four and a half minutes for this release, so let's see what it has to offer the listener.

From the word go the sequencing is straight from out of the Chris Franke book of how to break your step sequencer in sixteen easy steps! There's some nasty little brass stabs throughout the opening barrage of synths leading to a sudden and unexpected break which places us firmly back into a lilting 'Ballett' type of soundscape - soft strings and violin. Two minutes later the heavy duty sequencing returns, the soft strings drifting back in sidling along underneath the rhythmic patterns, the whole composition now making more sense. The tranquil strings, violin and voices return yet again, but that frenetic sequencer is just pressing to be heard in the background as it soon surges to the fore once again. A sudden edit at around the ten minute mark has a 4/4 beat hammering out the time signature and as it progresses l recognise it to be a chunk of the sequencing lifted directly from the 'Are You Sequenced?' performance,('The Wizard of Doz' l think you'll find). A big Mellotron choir rises up building towards a huge finale, but nothing seems to sound quite right? I almost get the feeling that the Mellotron choir section may also have been lifted from another of Klaus's previous works; to be honest, as endings go, it's all abit disjointed and slapdash?

So, time to conclude on 'Virtual Outback' - I had likened it to the 'Ballett' series, but that still didn't seem to quite nail it for me; perhaps more akin to 'Crime of Suspense' or 'Vanity of Sounds' as 'The Rhodes Elegy' track didn't appear to want to sit comfortably in the background playing away to itself, moreover it is a piece that commands your attention. Again it's a very collaborative work with six people credited for their assistance in the making of the album,( though l can't say l really heard them all such was the soup of effects pasted all over that big main track). You won't find any great compositional depth here; this has more to do with style over substance, it's all about the improvisations of the various musicians involved. The bonus is always a bonus,( and a much sought after one it was this time around). That last part of the track l just don't get, sounding rushed off, cobbled together call it what you will, for me it just soured an otherwise great little track. Would l buy the album just to get my hands on the bonus track? For me the jury is out on that one, but l've a feeling there are many of you that'll have 'Virtual Outback' on their CD shopping list!!!

Tracklist:

01 - The Theme - The Rhodes Elegy (65,00)
02 - Chinese Ears (bonus track) (14,15)
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Emergency - St (1971)

2011-09-08T10:54:00.000-07:00

Hanus Berka (sax) from Prague came to Germany for the first time in the mid-sixties. After an extended stay in Las Vegas, he settled in Munich and formed Emergency at the end of 1970, comprising Udo Lindenberg (drums), Barrie Newby (guitar), Jiro Matousek (keyboards), Otto Bezloja (bass), Dusko Goykovic (trumpet) and Reddy (vocals) - four Czechoslovakians, one German and an Englishman! Their debut album proved them to be more related to the European jazz scene than the German one.
Lindenberg started his musical career as a drummer. In 1969 Lindenberg founded his first band Free Orbit and also appeared as a studio and guest musician (with Michael Naura, Knut Kiesewetter). In 1970 he collaborated as a drummer with jazz-saxophonist Klaus Doldinger in Munich. In 1971, a band founded by Lindenberg, Passport put out its first album, with Lindenberg on drums. He also played drums for the theme music for the German TV series Tatort. The first LP of the Jazz rock group Emergency was released in 1971 but met with little commercial success.
Lindenberg has worked collaboratively with various local and international recording artists (Eric Burdon, Helen Schneider, David Bowie, Tom Robinson, Keith Forsey, Gianna Nannini, and Nena) on a number of projects.

".This album showed a group with many influences, sort of a mixture of Chicago/Blood, Sweat & Tears style brass rock meets East-Euro jazz and blues."
Studio Album, released in 1971
Emergency - St (1971) remastered 2005 [GTR 631]
Tracks:

1.Springtime
2.Jump Into Your Grave
3.Times Passed By
4.Love Is Here to Stay
5.My Woman's Gone Now
6.Gimme Some Lovin'

Musicians

-Hanus Berka/sax & keyboards
-Jiro Matousek/keyboards
-Otto Bezloja/bass
-Dusko Goykovic/trumpet
-Barrie Newby/guitar
-Udo Lindenberg/drums
-Reddy/vocal&percussion)
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Emergency - Entrance (1972)

2011-09-01T09:01:00.000-07:00

Emergency biography
The German based band Emergency was founded in 1970 by Czech musician Hanus Berka, who already had a career as an arranger and sideman in the States among others with Jan Hammer and Miroslav Vitous. The multicultural band consisted of Berka (sax & keyboards) fellow Czechs Jiro Matousek (keyboards), Otto Bezloja (bass) and Dusko Goykovic (trumpet), German drummer Udo Lindenberg and Englishman Barrie Newby on guitar.
The band recorded two jazz-rock records with brass arrangements for CBS. 'Emergency' (1971) and in 1972 'Entrance' with a changed line-up.
In the summer of '72 the band split up, only to be reformed in December of the same year with a complete new line-up: Berka, Peter Bischof (ex-Orange Peel, lead vocals), Richard Palmer-James (ex-King Crimson lyricist, guitar& vocals) Jerzy Ziembrowski (bass), Veit Marvos (ex-2066 &Then, keyboards), Martin Harrison (percussion) and Bernd Knaak (drums). The new line-up secured a record deal with Brain and recorded two commercially oriented records 'Get out To the Country' (1973) and 'No Compromise' (1974) the last again with a changed line-up. Both records present jazz-rock with blues and soul elements. Afterwards the band folded for good.

===Martin 'Alucard' Horst===

"Emergency Entrance", released in 1972, also on CBS, saw the replacement of Newby with Frank Diez (Armaggedon) and Lindenberg with John Redpath. This was arguably their best album, as the third album, "Get out to the Country", saw the band at their most commercial and was, by and large, a great disappointment, even though this album featured the talents of Karthago vocalist/percussionist Peter Bischof and Demon Thor/Twenty Sixty Six and Then keyboard player Veit Marvos. Supertramp guitarist Richard Palmer-James also featured on this album, which was their first for the famous Brain label. Which brings us to this, their final album, which now featured new drummer Todd Canedy, ex-Cusco, and Frank Diez, back in the fold after a short stint in Atlantis (the band, not the waterlogged continent!). The album, which comes a close second to "Entrance", was their most progressive to date and featured a good collection of songs and instrumentals. The band disappeared without trace in the mid seventies.

Tracks :
1. Why Am I Doin' It (7:50)
2. Happiness (7:00)
3. Journey (7:30)
4. Emergency Entrance (11:20)
5. Killin' Time (10:20)

Musicians:

-Hanus Berka/saxophone, flute, keyboards, mellotron
-Frank Diez/Guitar
-Otto Bezloja/bass
-Jiøí Matousek/keyboards
-John Redpath/drums, vocals,
-Curt Cress/ drums

Releases information:Emergency - Entrance (1972) [2005-CBS]

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1132=== Here it IS ===

Otis Redding - Live in London and Paris (1967)

2011-08-28T05:36:00.000-07:00

Recorded at the Finsbury Park Astoria in London on March 17, 1967 and at the Olympia Theatre in Paris on March 21, 1967.

Steve Leggett (AMG)
When the Love Generation (which, truthfully, did no better with that emotion than any other generation) got its first real glimpse of soul giant Otis Redding at the Monterey Pop Festival in 1967 backed by Booker T. & the MG's, a powerhouse band if there ever were one, they saw love with a capital L, because Redding sang love songs like the world was about to end, wringing the emotion out of them like a soulful, urgent hurricane. He was, simply put, an unstoppable force on-stage, taking all the energy of gospel and upping the ante until it seemed like the very sky itself was about to fly off into space from the very power of it. Redding was soul, and soul in every fiber of his being. The two sets included here, which predate the Monterey performance by a couple of months, were recorded in London (March 17) and Paris (March 21) on the Stax/Volt package tour of Europe in 1967, and they just might be even more astounding (particularly the Paris night) than the Monterey set. Working again with the MG's, with the horns of the Mar-Keys along for extra kick, Redding burns the house down in both of these sets, wringing every last bit of energy out of Sam Cooke's "Shake" until it seems the universe is about to come off its hinges, turning "Try a Little Tenderness" into a silken caress, making "I've Been Loving You Too Long" into an anthem for the hopeless arc of love, and taking "Day Tripper" to places the Beatles could only dream about, all with the MG's and the Mar-Keys churning behind him like a huge, funky turbine. This was Stax soul in all its ragged, vital glory. The original tapes of these sets (Atlantic issued an LP of the London show in 1967) have been reassembled and restored for this release, and the end result is a stunning reminder of what a giant Redding was. You want to know about love? Drop this in your player.

Tracks:

London:

01. Introduction    [0:01:09.62]
02. Respect    [0:02:30.73]
03. My Girl    [0:02:46.07]
04. Shake    [0:02:41.35]
05. Day Tripper    [0:03:33.47]
06. Fa-Fa-Fa-Fa-Fa (Sad Song)    [0:04:11.60]
07. (I can't Get No) Satisfaction    [0:04:54.27]
08. Try a Little Tenderness    [0:07:01.66]

Paris:

09. Introduction    [0:00:54.06]
10. Respect    [0:03:09.45]
11. I can't Turn You Loose    [0:03:52.34]
12. I've been Loving You Too Long    [0:03:41.36]
13. My Girl    [0:02:42.67]
14. Shake    [0:02:58.01]
15. (I can't Get No) Satisfaction    [0:03:20.67]
16. Fa-Fa-Fa-Fa-Fa (Sad Song)    [0:04:32.73]
17. These Arms of Mine    [0:03:26.23]
18. Day Tripper    [0:03:32.59]
19. Try a Little Tenderness    [0:06:16.21]
Stax Records 2008
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1131=== Here it IS ===

Aretha Franklin - Young Gifted And Black 1977

2011-08-22T08:13:00.000-07:00

Original recording remastered ,Atlantic Atco masters 1993 ( LC 2982)

Reviews:

Like its predecessor, Spirit in the Dark, 1972's Young, Gifted and Black found Aretha moving with soul music's elite into a progressive phase that opened up the emotional content of her work even further. "All the King's Horses" mourns the death of her first marriage, while "Day Dreaming" and "A Brand New Me" point toward what we'd now call "healing." Two stabs at social comment, Nina Simone's title cut and, intriguingly, Elton John's "Border Song," round out this impressive portrait. --Rickey Wright

I can remember where I was when I first heard certain Aretha Franklin songs: outside an ice cream parlour on a hot July day hearing Spanish Harlem from the shop girl's radio; driving down a dusty country road at night under a canopy of stars and groovin' to Rock Steady and lying on a beach in Tunisia, this beautiful country of ancient Carthage and mosques and hearing Don't Play That Song For Me. Young, Gifted and Black was a pivotal album for me. From the jazzy strain of the first song Oh Me Oh My, the sweet and sensual Day Dreaming, the sexy, funky groove of Rock Steady to the stirring Black consciousness raising song, Young, Gifted and Black. The covers of songs from artists Otis Redding, the Beatles, Burt Bacharach and Elton John are remarkable. In the song, I've Been Loving you too Long, hear the desperate/defiant pleading in her voice, "I've been loving and loving you too long, don't make me stop now." The raw emotion she projects gets to me every time. With the Beatle's, Long and Winding Road and Elton John's, Border Song, she takes these songs to Church, fills them with gospel fervour and testifies with them. Aretha is accompanied by the cream of session musicians, Richard Tee, Billy Preston, Grady Tate and Cornell Dupree, and vocal backing by the incomparable Sweet Inspirations. Every song on this album is a gem, a minor miracle. Aretha Franklin reached her zenith with this album. This is a timeless classic, and an essential Aretha Franklin recording.

Tracks:
1. Oh Me Oh My (I'm A Fool For You Baby)
2. Day Dreaming
3. Rock Steady
4. Young, Gifted, And Black
5. All The King's Horses
6. A Brand New Me
7. April Fools
8. I've Been Loving You Too Long
9. First Snow In Kokomo
10. The Long And Winding Road
11. Didn't I (Blow Your Mind This Time)
12. Border Song (Holy Moses)
13. Jet Boy, Jet Girl [Mix]

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1130=== Here it IS ===

Chicken Shack - On Air (Original BBC recordings)

2011-08-15T06:23:00.000-07:00

The next sighting of a Chicken Shack release came in 1991 with the release of On Air, one of the Band of Joy BBC session recordings. It's since been reissued. It featured mainly stuff from the first four Chicken Shack albums, an exhortation from Stan on the liner notes to get hold of his new CD Changes, and some annoying fade outs.These recordings are with Christine Perfect

Tracks:
01 - Tired eyes
02 - I'd rather go blind
03 - Tears in the wind
04 - Nights is when it matters
05 - Telling your fortune
06 - You know you did
07 - Midnight hour
08 - Hey baby
09 - Things you put me through
10 - Get like you used to be
11 - You done lost that good thing now
12 - Look Ma I'm crying

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1129=== Here it IS ===

Oum Kalsoum - Ifrah Ya Qalbi

2011-07-21T11:28:00.000-07:00

Variant spellings:
Om Kalsoum, Oum Kaltsoum, Umm Kulthum Oum Koulsoum etc...

The Star of the East
The Diva of Arabic Song

"During the 1950s and 1960s Umm Kulthum expanded her role in Egyptian public life. She granted more interviews during which she spoke about her life, repeatedly identifying herself as a villager, a fallahah or peasant, who shared a cultural background and essential values with the majority of the Egyptian populace. Her interviews were full of stories of her family, her neighbors, and the familial qualities of village life.

She cultivated the position of spokeswoman for various causes. She advocated governmental support of Arabic music and musicians, she endowed a charitable foundation and, most importantly, after the Egyptian defeat in the 1967 war, she began a series of domestic and international concerts for Egypt. She travelled throughout Egypt and the Arab world, collecting contributions and donating the proceeds of her performances to the government of Egypt. These concerts were much publicized and took on the character of state visits. Umm Kulthum was entertained by heads of state, she toured cultural monuments, and, in interviews, repeated her views concerning the importance of support for indigenous Arab culture. More than a musician, she became 'the voice and face of Egypt'."

(Excerpt from Virginia Louise Danielson's Shaping tradition in Arabic song: The career and repertory of Umm Kulthum.)

----------------
Um Kalthoum was born in 1904 and died in 1975. She was unquestionably the most gifted singer and musician of this century in the Middle East. She was continuously popular for over 50 years and her songs are still played nightly on any number of Arabic language radio stations.
------------------
Om Kalthoum's repertoire is said to consist of about 280 songs on various themes: love, patriotism, nature, religion ... in both classical and colloquial Arabic. Although some of her songs were specific to certain events, most are still as popular as they were the day she first performed them.
-----------------
Tracks:

1          Min Elli A'al                          6:41
2          Nahj Elborda                              21:43
3        El Bood Allemni el Sahar            6:55
4          Ifrah Ya Qalbi                    5:38
5          Afdihi in Hafidza Al Hawa   7:03
6          Khallil Demoue Leeni           6:46
7          Matrawak Dammak                     5:51
8        El Chakke Yehyi el Gharam        7:12
9        Wehakkak Ental Mona Waltalab 3:53

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Robert Johnson-The Complete Recordings [2CD-box]

2011-06-27T04:00:00.000-07:00

Biography

by Cub Koda

If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, it's Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. These recordings have not only entered the realm of blues standards ("Love in Vain," "Crossroads," "Sweet Home Chicago," "Stop Breaking Down"), but were adapted by rock & roll artists as diverse as the Rolling Stones, Steve Miller, Led Zeppelin, and Eric Clapton. While there are historical naysayers who would be more comfortable downplaying his skills and achievements (most of whom have never made a convincing case as where the source of his apocalyptic visions emanates from), Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genre's best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who -- if he hadn't actually existed -- would have to be created by some biographer's overactive romantic imagination.

The legend of his life -- which by now, even folks who don't know anything about the blues can cite to you chapter and verse -- goes something like this: Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become great blues musician, he was instructed to take his guitar to a crossroad near Dockery's plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned it, and handed it back to him. Within less than a year's time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard. .../....

5 Stars Review by Stephen Thomas Erlewine

A double-disc box set containing everything Robert Johnson ever recorded, The Complete Recordings is essential listening, but it is also slightly problematic. The problems aren't in the music itself, of course, which is stunning and the fidelity of the recordings is the best it ever has been or ever will be. Instead, it's in the track sequencing. As the title implies, The Complete Recordings contains all of Johnson's recorded material, including a generous selection of alternate takes. All of the alternates are sequenced directly after the master, which can make listening to the album a little intimidating and tedious for novices. Certainly, the alternates can be programmed out with a CD player or mp3 player, but the set would have been more palatable if the alternate takes were presented on a separate disc. Nevertheless, this is a minor complaint -- Johnson's music retains its power no matter what context it is presented in. He, without question, deserves this kind of deluxe box set treatment.

This two-CD box contains all 41 recordings Johnson made, including 12 alternate takes, and each cut remains a classic. This set's release in 1990 caused quite a stir, selling more than 500,000 copies and, on the basis of endorsements from Eric Clapton and Keith Richards, introduced a great number of rock fans to Delta blues.

Muddy Waters is probably the most famous of all bluesmen, but not many people know that, in the early years of his carear, he was a Robert Johnson tribute act.

Standing on the shoulders of the great delta blues giants like Son House and Lonnie Johnson, Robert Johnson took accoustic blues to reach it's pre-war peak, before amplifiers and the electric guitar came in.

As a singer he is passionate rather than technically brilliant, but it is as an accoustic blues guiitarist that he is unsurpassed - not just my view but Eric Clapton's as well. No-one else could play such a variety of styles with such power, feeling and emotion. In fact so skillful was his playing that when Keith Richard of the Rolling Stones first heard it, he was conviced that there were two people on the record - one doing the lead work and one doing the bass runs, rather than Johnson managing both simultaneously.

The best thing about this CD is that it has every single take that he ever recorded - from the intense, crazed "Preaching Blues (Up jumped the Devil)" to the slow, moving "Come on in my Kitchen" which, according to Johnny Shines, reduced men to tears when Johnson played it live.

If you only have one accoustic blues CD in your collection - this is the one it should be.

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John Lee Hooker - The Complete Chess Folk Blues Sessions 1966

2011-06-19T05:18:00.000-07:00

by Bill Dahl

He was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.

"The Hook" was a Mississippi native who became the top gent on the Detroit blues circuit in the years following World War II. The seeds for his eerily mournful guitar sound were planted by his stepfather, Will Moore, while Hooker was in his teens. Hooker had been singing spirituals before that, but the blues took hold and simply wouldn't let go. Overnight visitors left their mark on the youth, too: legends like Blind Lemon Jefferson, Charley Patton, and Blind Blake, who all knew Moore.

Hooker heard Memphis calling while he was still in his teens, but he couldn't gain much of a foothold there. So he relocated to Cincinnati for a seven-year stretch before making the big move to the Motor City in 1943. Jobs were plentiful, but Hooker drifted away from day gigs in favor of playing his unique free-form brand of blues. A burgeoning club scene along Hastings Street didn't hurt his chances any.

In 1948, the aspiring bluesman hooked up with entrepreneur Bernie Besman, who helped him hammer out his solo debut sides, "Sally Mae" and its seminal flip, "Boogie Chillen." This was blues as primitive as anything then on the market; Hooker's dark, ruminative vocals were backed only by his own ringing, heavily amplified guitar and insistently pounding foot. Their efforts were quickly rewarded. Los Angeles-based Modern Records issued the sides and "Boogie Chillen" -- a colorful, unique travelogue of Detroit's blues scene -- made an improbable jaunt to the very peak of the R&B charts.

Modern released several more major hits by "the Boogie Man" after that: "Hobo Blues" and its raw-as-an-open wound flip, "Hoogie Boogie"; "Crawling King Snake Blues" (all three 1949 smashes); and the unusual 1951 chart-topper "I'm in the Mood," where Hooker overdubbed his voice three times in a crude early attempt at multi-tracking.

But Hooker never, ever let something as meaningless as a contract stop him for making recordings for other labels. His early catalog is stretched across a road map of diskeries so complex that it's nearly impossible to fully comprehend (a vast array of recording aliases don't make things any easier).

Along with Modern, Hooker recorded for King (as the geographically challenged Texas Slim), Regent (as Delta John, a far more accurate handle), Savoy (as the wonderfully surreal Birmingham Sam & His Magic Guitar), Danceland (as the downright delicious Little Pork Chops), Staff (as Johnny Williams), Sensation (for whom he scored a national hit in 1950 with "Huckle Up, Baby"), Gotham, Regal, Swing Time, Federal, Gone (as John Lee Booker), Chess, Acorn (as the Boogie Man), Chance, DeLuxe (as Johnny Lee), JVB, Chart, and Specialty; before finally settling down at Vee-Jay in 1955 under his own name. Hooker became the point man for the growing Detroit blues scene during this incredibly prolific period, recruiting guitarist Eddie Kirkland as his frequent duet partner while still recording for Modern.

Once tied in with Vee-Jay, the rough-and-tumble sound of Hooker's solo and duet waxings was adapted to a band format. Hooker had recorded with various combos along the way before, but never with sidemen as versatile and sympathetic as guitarist Eddie Taylor and harpist Jimmy Reed, who backed him at his initial Vee-Jay date that produced "Time Is Marching" and the superfluous sequel "Mambo Chillun."

Taylor stuck around for a 1956 session that elicited two genuine Hooker classics, "Baby Lee" and "Dimples," and he was still deftly anchoring the rhythm section (Hooker's sense of timing was his and his alone, demanding big-eared sidemen) when the Boogie Man finally made it back to the R&B charts in 1958 with "I Love You Honey."

Vee-Jay presented Hooker in quite an array of settings during the early '60s. His grinding, tough blues "No Shoes" proved a surprisingly sizable hit in 1960, while the storming "Boom Boom," his top seller for the firm in 1962 (it even cracked the pop airwaves), was an infectious R&B dance number benefiting from the reported presence of some of Motown's house musicians. But there were also acoustic outings aimed squarely at the blossoming folk-blues crowd, as well as some attempts at up-to-date R&B that featured highly intrusive female background vocals (allegedly by the Vandellas) and utterly unyielding structures that hemmed Hooker in unmercifully.

British blues bands such as the Animals and Yardbirds idolized Hooker during the early '60s; Eric Burdon's boys cut a credible 1964 cover of "Boom Boom" that outsold Hooker's original on the American pop charts. Hooker visited Europe in 1962 under the auspices of the first American Folk Blues Festival, leaving behind the popular waxings "Let's Make It" and "Shake It Baby" for foreign consumption.

Back home, Hooker cranked out gems for Vee-Jay through 1964 ("Big Legs, Tight Skirt," one of his last offerings on the logo, was also one of his best), before undergoing another extended round of label-hopping (except this time, he was waxing whole LPs instead of scattered 78s). Verve-Folkways, Impulse, Chess, and BluesWay all enticed him into recording for them in 1965-1966 alone! His reputation among hip rock cognoscenti in the States and abroad was growing exponentially, especially after he teamed up with blues-rockers Canned Heat for the massively selling album Hooker 'n' Heat in 1970.

Eventually, though, the endless boogie formula grew incredibly stagnant. Much of Hooker's 1970s output found him laying back while plodding rock-rooted rhythm sections assumed much of the work load. A cameo in the 1980 movie The Blues Brothers was welcome, if far too short.

But Hooker wasn't through; not by a long shot. With the expert help of slide guitarist extraordinaire/producer Roy Rogers, the Hook waxed The Healer, an album that marked the first of his guest star-loaded albums (Carlos Santana, Bonnie Raitt, and Robert Cray were among the luminaries to cameo on the disc, which picked up a Grammy).

Major labels were just beginning to take notice of the growing demand for blues records, and Pointblank snapped Hooker up, releasing Mr. Lucky (this time teaming Hooker with everyone from Albert Collins and John Hammond to Van Morrison and Keith Richards). Once again, Hooker was resting on his laurels by allowing his guests to wrest much of the spotlight away from him on his own album, but by then, he'd earned it. Another Pointblank set, Boom Boom, soon followed.

Happily, Hooker enjoyed the good life throughout the '90s. He spent much of his time in semi-retirement, splitting his relaxation time between several houses acquired up and down the California coast. When the right offer came along, though, he took it, including an amusing TV commercial for Pepsi. He also kept recording, releasing such star-studded efforts as 1995's Chill Out and 1997's Don't Look Back. All this helped him retain his status as a living legend, and he remained an American musical icon; and his stature wasn't diminished upon his death from natural causes on June 21, 2001.

Tracks:

01 I'm in the Mood
02 Let's Go out Tonight
03 Peace Lovin' Man
04 Stella Mae
05 I Put My Trust in You
06 You Know, I Know
07 I'll Never Trust Your Love Again
08 One Bourbon, One Scotch, OneBeer
09 The Waterfront
10 Lead Me (You Can Lead Me Baby)
11 Nobody Knows
12 Deep Blue Sea
13 I Can't Quit You Baby
14 Mustang and Gto
15 House Rent Blueso
16 Catfish Blues
17 Want Ad Blues
18 This Land Is Nobody's Land

My CD; EAC,FLAC,Cue,100% Log + Complete Cover Scans

===>Here it IS<===1126

XIT - Relocation (1977)

2011-05-26T02:11:00.000-07:00

History

XIT was originally based in Albuquerque, New Mexico. Members include founder and Native American Music Award winner Tom Bee, (writer of lyrics on Plight of the Redman). The original group were A. Michael Martinez (singer and lead guitar on Plight), Mac Suazo (narrator and bass on Plight), Lee Herrerra (drums on Plight), and R. C. Garriss (2nd lead guitar on Plight).

"XIT" stands for "crossing of Indian Tribes", according to Tom Bee. Their music often addresses themes of historic and contemporary Native American issues. Their initial recording, 1972's Plight of the Redman, is a concept album about the changes in Native American life since the arrival of Columbus.

Albums

    Plight of the Redman, 1972 (featuring A.M. Martinez on all vocals)
    Silent Warrior, 1973
    Relocation, 1977
    Entrance, 1994 (all songs written by A.M. Martinez and Mac Suazo)
    Drums Across the Atlantic, 1995
__________________________________________________________
Title: Relocation 1977 [SOAR 131 1992]

Artist: XIT

American Indian 70's rock and roll by XIT keeping their legend alive on this collector's edition of contemporary Native American music, performed in the unique style that made them famous worldwide. Produced by Tom Bee.

Tracks :

01: Dark Skin Woman
02: Nothing Could Be Finer Then A 49er
03: Riding Song
04: Sweethearted Love Song
05: Rainbow Rider
06: Let My People Dance
07: Christopher Columbus
08: Relocation
09: Sunrise vision
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===>Here it IS <===1125

Chicken Shack-Accept 1970

2011-05-10T03:25:00.000-07:00

The band were formed in April 1965 , naming themselves after Jimmy Smith's Back at the Chicken Shack album. Chicken shacks (chicken restaurants) had also by then frequently been mentioned in blues and rhythm and blues songs, as in Amos Milburn's hit, "Chicken Shack Boogie". Their first concert was at the 1967 National Blues and Jazz Festival at Windsor and they were signed by the Blue Horizon record label in the same year.

Talented guitarist Stan Webb is regarded by many as one of the great un-sung heroes of British blues music. He was born in London on February 3, 1946 and at a young age moved to Kidderminster with his parents. During the 1950's, he started playing guitar in local skiffle bands and eventually formed his first group called The Blue Four. By this time, Webb was heavily influenced by American blues and R&B music and later formed Sounds Of Blue.

Chicken Shack enjoyed modest commercial success, with Christine Perfect being voted Best Female Vocalist in the Melody Maker polls, two years running.

Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. Pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown. In 1977 Silvester joined Los Angeles based ensemble, Wha-Koo. Webb was also recruited for Savoy Brown in the mid-1970s, and recorded the album Boogie Brothers with them.

John Glascock, later of Jethro Tull, played on Chicken Shack's Imagination Lady (1972) album.
Accept is the fourth album by the blues band, Chicken Shack, released in 1970. Accept was Chicken Shack's last album on the Blue Horizon label. This album was also the last for Andy Sylvester, Dave Bidwell and Paul Raymond as members of Chicken Shack.
_____________________
Stan Webb remains a much respected guitarist whose contribution to early British blues music continues to gain recognition. He still occasionally performs today as both a solo act and also sometimes with various new line-ups of Chicken Shack.
___________________________
Chicken Shack-1970-Accept [REMASTER JAPAN 2005]
_______________________________________________
Tracklist
    Diary Of Your Life     4:20
    Pocket     3:22
    Never Ever     2:30
    Sad Clown     2:40
    Maudie     2:50
    Telling Your Fortune     3:05
    Tired Eyes     2:03
    Some Other Time     3:00
    Going Round     2:40
    Andalucian Blues     2:10
    You Knew You Did You Did     2:20
    She Didn't Use Her Loaf     3:10
    Apple Tart     0:02
     Hideaway (Instrumental Bonus)   5:07

Musician:
Dave Bidwell     Drums
Paul Raymond     Keyboards, Vocals
Andy Silvester     Bass
Stan Webb     Guitar, Vocals
Allison Young     Vocals

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===> Here it IS <===1124

Delaney & Bonnie & Friends – On Tour with E.Clapton (1970)

2011-05-09T09:50:00.000-07:00

Six Archbishops of Canterbury are buried in Croydon, England, and if you’re a connoisseur of orange marmalade, the variety that comes in those handmade earthenware crocks comes from Croydon, too. It’s also a “swinging place for big shows,” because Croydon was the scene of a concert that was to become Delaney & Bonnie & Friends’ first album for Atco, On Tour With Eric Clapton.
The Croydon audience, which more than likely went to see their local-boy-made-good Eric Clapton, rather than Delaney & Bonnie, ended in giving D & B a most enthusiastic reception. Rightly so, for even though they occasionally laid things on a bit thick, Delaney & Bonnie & Friends with Eric Clapton put on a show that was a beautiful hybrid of southern funk and British rock.
The Friends were fantastic at Croydon, especially Carl Radle on bass and Jim Gordon on drums, probably the tightest rhythm section going these days. The horns don’t get it on quite so well, and sometimes get carried away with second-hand Beatles licks more than they should, “Only You Know And I Know,” is really overdone by the horns, and they overwhelm everyone except themselves.
Eric Clapton is a whiz on guitar, though he keeps to himself a lot, for fear of taking the spotlight from Delaney or Bonnie. On “Things Get Better,” for example, Clapton takes an extended solo exploring the possibilities of one note. Eric seems to have found a new humility during his association with Delaney Bramlett, and it is reflected in his playing. Diehard Clapton fans might be disappointed, but it’s nice to see someone of obvious talents decide to quit being a Pop Star and start being a good musician.

Delaney is developing into an amazing singer, as shown on his tribute to Robert Johnson, “Poor Elijah,” and his work with Bonnie is getting into the realm of the finest boy-girl soul duets that anyone’s done. Bonnie sings one solo, “That’s What My Man Is For,” and she’s not bad, but she’s been in better voice on the Bramletts’ previous albums for Elektra and Stax. Ah, well, perhaps the girl can’t help it.

If there was ever any doubt as to the future of Delaney & Bonnie & Friends after Clapton’s departure, it’s all been forgotten. Their first, post-Clapton single, “Free the People,” is a sheer delight. Opening with Salvation Army horns playing “Rock of Ages,” Bonnie sings in her best Sunday schoolgirl voice, “Free the people from the fire/Pull the boat out of the raging sea./Tell the devil he’s a LIEyuh,/Come and save the likes of me.” Delaney picks it up with his verse, punctuated by some hilarious horn riffs, and then they take off — just like “Hey, Jude” with a tuba. Some Top 40 stations have picked up on it, and with luck, it’ll be a hit.
And next time you spread orange marmalade on your English muffins (or whatever you spread it on), think of Croydon. A lot of people there love Delaney & Bonnie.
- Chas. Burton, Rolling Stone, 7/9/70.

Bonus Reviews!
Delaney & Bonnie are what would happen to rock and roll if it were capable of growing up — maybe they’re what would happen to this country if it were capable of growing up. Whites so down-home in their soul inflections sound inbred, they sing of love like teens of yore, but even though their love is quite physical it’s been weathered spiritually and morally. No wonder Eric Clapton found their youthful fun and mature equanimity an antidote to the formless pretensions of Cream and Blind Faith. He certainly contributes — whenever the voices don’t quite carry the one-take live performances, there he is with a terse, punchy solo that adds just the right note of strength and understanding. Nice that he’s got Dave Mason (and Delaney himself) to help out. And nice that they all pay their respects to Robert Johnson and Little Richard. A-
- Robert Christgau, Christgau’s Record Guide, 1981.
Recorded with Eric Clapton, On Tour features Delaney & Bonnie’s blend of country, rock, blues, and gospel. It includes “I’m Coming Home.” * * * *
- Kenneth M. Cassidy, The All-Music Guide to Rock, 1995.
Delaney & Bonnie & Friends on Tour with Eric Clapton is a joyous live romp tinged with soul-satisfying gospel. Clapton is loose and plays at his searing best, while Delaney’s forceful vocal delivery and Bonnie’s lead and harmony vocals sway between over-the-top dynamics and reflective balladry. * * * * 1/2
- Patrick McCarty, Musichound Rock: The Essential Album Guide, 1996.

(2010 Deluxe Edition Box Set) Delaney and Bonnie Bramlett were a husband-and-wife team whose soul-inflected rock earned them an admirer in Eric Clapton — the guitarist even credited Delaney for giving him the confidence to sing. Cut at London’s Royal Albert Hall while the Bramletts were touring with Clapton in 1969, this live album featured wicked performances of the kind of country and boogie that would define Southern rock. This four-disc reissue includes the entire concert plus songs from later nights. The 52 tracks catch the musicians — a who’s who of Clapton-related players, including George Harrison — at their peak. Bonnie’s wailing, powerhouse vocals steal the show on R&B burners like “That’s What My Man Is For,” and some of the best songs here are ones that didn’t fit onto the original vinyl album — including Clapton’s heartfelt “I Don’t Know Why.” * * * *
- Mark Kemp, Rolling Stone, 9/2/10.

In 1969, the Bramletts briefly led a roaring-R&B big band with Clapton, George Harrison and Dave Mason on guitars. The set lists at these four U.K. shows were consistent. So were the fireworks.
- David Fricke, Rolling Stone, 12/23/10.

{2010 Deluxe Edition}

Tracks:

CD1: Royal Albert Hall 12-1-69

01 – Intro~Tuning
02 – Opening Jam
03 – Gimme Some Lovin’
04 – Band Introductions
05 – Only You Know And I Know
06 – Medley- Poor Elijah~Tribute To Johnson
07 – Get Ourselves Together
08 – I Don’t Know Why
09 – Where There’s A Will, There’s A Way
10 – That’s What My Man Is For
11 – Medley- Pour Your Love On Me~Just Plain Beautiful
12 – Everybody Loves A Winner
13 – Things Get Better
14 – Coming Home
15 – I Don’t Want To Discuss It
16 – Little Richard Medley- Tutti Frutti~The Girl Can’t Help It~Long Tall Sally~Jenny Jenny
17 – My Baby Specializes

CD2: Colston Hall 12-2-69

01 – Intro~Tuning.
02 – Opening Jam
03 – Gimme Some Lovin’
04 – Things Get Better
05 – Medley- Poor Elijah~Tribute To Johnson
06 – I Don’t Know Why
07 – Medley- Pour Your Love On Me~Just Plain Beautiful
08 – Where There’s A Will, There’s A Way
09 – Coming Home
10 – Little Richard Medley- Tutti Frutti~The Girl Can’t Help It~Long Tall Sally~Jenny Jenny
11 – I Don’t Want To Discuss It
12 – Crowd~Announcement

CD3: Fairfield Halls 12-7-69 (1st Show)

01 – Intro~Tuning
02 – Gimme Some Lovin’
03 – Introductions.
04 – Things Get Better
05 – Medley- Poor Elijah~Tribute To Johnson
06 – I Don’t Know Why
07 – Where There’s A Will, There’s A Way
08 – That’s What My Man Is For
09 – I Don’t Want To Discuss It.
10 – Coming Home

CD4: Fairfield Halls 12-7-69 (2nd Show)

01 – Intro~Tuning
02 – Gimme Some Lovin’
03 – Pigmy (Instrumental)
04 – Introductions
05 – Things Get Better
06 – Medley- Poor Elijah~Tribute To Johnson
07 – Only You Know And I Know
08 – Will The Circle Be Unbroken
09 – Where There’s A Will, There’s A Way
10 – I Don’t Know Why
11 – That’s What My Man Is For
12 – Coming Home
13 – Little Richard Medley- Tutti Frutti~The Girl Can’t Help It~Long Tall Sally~Jenny Jenny

(Remastered and Expanded) Rhino Handmade RHM2 524797
FLAC, Eac ,LOG 100%, CUE , Artwork
===> Here it IS <===1123

Wilson Pickett - Original Album Series (1966-68)

2011-05-07T08:46:00.000-07:00

Pickett was born March 18, 1941 in Prattville, Alabama and grew up singing in Baptist church choirs.

He was the fourth of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.

Rise to stardom: In The Midnight Hour (1965)

Pickett's Atlantic career began with a self-produced single, "I'm Gonna Cry". Looking to boost Pickett's chart chances, Atlantic next paired him with record producer Bert Berns and established songwriters Barry Mann and Cynthia Weil. With this team, Pickett recorded "Come Home Baby," a duet with singer Tami Lynn, but this single failed to chart.

Pickett's breakthrough came at Stax Records' recording studio in Memphis, Tennessee, where he recorded his third Atlantic single, "In the Midnight Hour" (1965), his best-remembered hit, peaking at #1 R&B, #21 pop (US), and #12 (UK).It sold over one million copies, and was awarded a gold disc.

The genesis of "In the Midnight Hour" was a recording session on May 12, 1965, at which Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, which also included bassist Donald "Duck" Dunn. Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the M.G.'s, did not play on any of the Pickett studio sessions. Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?" He performed a dance step. Cropper later explained in an interview that Wexler told them that "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here this was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[citation needed]
[edit] Stax/Fame years (1965-67)

Pickett recorded three sessions at Stax in May and October 1965, and was joined by keyboardist Isaac Hayes for the October sessions. In addition to "In the Midnight Hour," Pickett's 1965 recordings included the singles "Don't Fight It," (#4 R&B, #53 pop) "634-5789 (Soulsville, U.S.A,)" (#1 R&B, #13 pop) and "Ninety-Nine and A Half (Won't Do)" (#13 R&B, #53 pop). All but "634-5789" were original compositions Pickett co-wrote with Eddie Floyd and/or Steve Cropper; "634-5789" was credited to Cropper and Floyd alone.

For his next sessions, Pickett would not return to Stax; the label's owner, Jim Stewart, banned all outside productions in December, 1965. As a result, Wexler took Pickett to Fame Studios, another recording studio with a closer association to Atlantic Records. Located in a converted tobacco warehouse in nearby Muscle Shoals, Alabama, Pickett recorded some of his biggest hits there. This included the highest charting version of "Land of 1,000 Dances", which became Pickett's third R&B #1, and his biggest ever pop hit, peaking at #6. it was another million selling disc.

Other big hits from this era in Pickett's career included two other covers: Mack Rice's "Mustang Sally", (#6 R&B), and Dyke & the Blazers' "Funky Broadway", (R&B #1, #8 Pop). Both tracks were million sellers. The band heard on almost all of Pickett's Fame recordings included keyboardist Spooner Oldham and drummer Roger Hawkins..../....

Pickett died from a heart attack on January 19, 2006 in Reston, Virginia. He was aged 64.

{2010 Rhino 5 CD Box}

In The Midnight Hour (1966)
01 - In The Midnight Hour
02 - Teardrops Will Fall
03 - Take A Little Love
04 - For Better Or Worse
05 - I Found A Love
06 - That's A Man's Way
07 - I'm Gonna Cry
08 - Don't Fight It
09 - Take This Love I've Got
10 - Come Home Baby
11 - I'm Not Tired
12 - Let's Kiss And Make Up

The Exciting Wilson Pickett (1966)
01 - Land Of 1000 Dances
02 - Something You Got
03 - 634-5789
04 - Barefootin'
05 - Mercy, Mercy
06 - You're So Fine
07 - In The Midnight Hour
08 - Ninety-Nine And A Half (Won't Do)
09 - Danger Zone
10 - I'm Drifting
11 - It's All Over
12 - She's So Good To Me

The Wicked Pickett (1966)
01 - Mustang Sally
02 - New Orleans.
03 - Sunny
04 - Everybody Needs Somebody To Love
05 - Ooh Poo Pah Doo
06 - She Ain't Gonna Do Right
07 - Knock On Wood
08 - Time Is On My Side
09 - Up Tight Good Woman
10 - You Left The Water Running
11 - Three Time Loser
12 - Nothing You Can Do

The Sound Of Wilson Pickett (1967)
01 - Soul Dance Number Three
02 - Funky Broadway
03 - I Need A Lot Of Loving Every Day
04 - I Found A Love, Part I
05 - I Found A Love, Part II
06 - You Can't Stand Alone
07 - Mojo Mamma.
08 - I Found The One
09 - Something Within Me
10 - I'm Sorry About That
11 - Love Is A Beautiful Thing

I'm In Love (1968)
01 - Jealous Love
02 - Stagger Lee
03 - That Kind Of Love
04 - I'm In Love
05 - Hello Sunshine
06 - Don't Cry No More
07 - We've Got To Have Love
08 - Bring It On Home To Me
09 - She's Lookin' Good
10 - I've Come A Long Way

EAC, LOG 100%, CUE, SCANS
===> Here it IS <===1122...or you can buy it here===> Original-Album-Wilson-Pickett

Various Artists - No Nukes.(1979) protest concert

2011-05-02T14:17:00.000-07:00

At long last, after many false alarms, the No Nukes concert finally made it onto CD. Two discs with all the music from the original 3-LP set, including Springsteen's "Devil With the Blue Dress Medley" and his duet with Jackson Browne on "Stay," recorded live at the 1979 MUSE concerts.

The "No Nukes" protest concert in 1979 was one of the defining '70s events for aging '60s hippies, a way to prove that they held political and social power. The concert was top-loaded with folk-rockers and laid-back California pop stars: Crosby, Stills & Nash, James Taylor, Poco, Nicolette Larson, and Jesse Colin Young, who had all reached their peak; the Doobie Brothers and Jackson Browne, who were still at the crest of their popularity; and Tom Petty and Bruce Springsteen, who were still young, fresh, and vital. ~ Stephen Thomas Erlewine, All Music Guide

Tracklist:

CD1:

1. "Dependin' On You" - The Doobie Brothers
2. "Runaway" (Del Shannon, Max Crook) - Bonnie Raitt
3. "Angel From Montgomery" (John Prine) - Bonnie Raitt
4. "Plutonium is Forever" - John Hall
5. "Power" - The Doobie Brothers, John Hall, James Taylor
6. "The Times They Are A-Changin'" (Bob Dylan) - James Taylor, Carly Simon, Graham Nash
7. "Cathedral" (Graham Nash) - Graham Nash
8. "The Crow on the Cradle" (trad.) - Jackson Browne and Graham Nash
9. "Before the Deluge" (Jackson Browne) - Jackson Browne
10."Lotta Love" - Nicolette Larson with The Doobie Brothers
11."Little Sister" - Ry Cooder
12."A Woman" - Sweet Honey in the Rock
13."We Almost Lost Detroit" - Gil Scott-Heron
14."Get Together" (Chet Powers) - Jesse Colin Young

CD2:

1. "You Can't Change That" - Raydio
2. "Once You Get Started" - Chaka Khan
3. "Captain Jim's Drunken Dream" (James Taylor) - James Taylor
4. "Honey Don't Leave L.A." (Danny Kortchmar) - James Taylor
5. "Mockingbird" - James Taylor and Carly Simon
6. "Heart of the Night" - Poco
7. "Cry to Me" - Tom Petty and the Heartbreakers
8. "Stay" (Maurice Williams) - Bruce Springsteen & The E Street Band with Jackson Browne and Rosemary Butler
9. "Detroit Medley": "Devil With a Blue Dress On"/"Good Golly Miss Molly"/"Jenny Take a Ride!"/"C.C. Rider" - Bruce Springsteen & The E Street Band
10."You Don't Have to Cry" - Crosby, Stills & Nash
11."Long Time Gone" - Crosby, Stills & Nash
12."Teach Your Children" (Graham Nash) - Crosby, Stills & Nash
13."Takin' It to the Streets" (Michael McDonald) - The Doobie Brothers and James Taylor

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===> Here it IS <===1121

David Crosby - Voyage

2011-05-02T14:04:00.000-07:00

Almost three hours of remastered music spanning 1966-2006, including a full disc of previously unreleased tracks.
Career-spanning 3-CD David Crosby box spotlights the two-time Rock And Roll Hall Of Famer's solo stand-outs and classics with legendary groups, including The Byrds, CSN, and CSNY! Plus one full disc of previously unreleased material.

Background

Music icon, singer-songwriter, social justice activist and sublime master of harmony vocals David Crosby is a two time Rock and Roll Hall of Famer, inducted as a member of seminal folk-rock band The Byrds and Woodstock era-defining trio Crosby, Stills and Nash. CSN, who have been called "the voice of a generation," were GRAMMY®-honored in 1969 as Best New Artist, and Crosby continues to tour and record with the now legendary group as well as with CSNY, their four-man unit with Neil Young.
David Crosby also has a decades-long legacy of adventurous solo work plus multiple albums as a duo with Graham Nash and with CPR, the jazz-flavored trio he formed with his son James Raymond in '95. A native Californian, Crosby's storied career began as a folk singer in the coffee-house scene of the early 1960s, and remains one of the most remarkable threads weaving through contemporary music. Produced by Graham Nash and Joel Bernstein, VOYAGE—the first retrospective of Crosby's influential work—charts Crosby's course from 1966 to the present.

Album Facts

3-CD boxed set, first ever Crosby retrospective, celebrates forty years of music from one of Rock's most influential figures. Produced by Graham Nash and Joel Bernstein, with associate producer James Austin.
Almost three hours of remastered music spanning 1966-2006, including a full disc of previously unreleased riches.
Handsome booklet features cover photo by legendary rock photographer Henry Diltz, in-depth liner notes by Steve Silberman, tributes from a host of fellow musicians and profound track-by-track commentary from the Crosby himself plus Roger McGuinn, Graham Nash, Phil Lesh, Neil Young, Joni Mitchell, and more.
Disc 1 — Essential Vol. 1 — kicks off with Byrds classics including "Eight Miles High" and "Renaissance Fair." Plus the Crosby-penned CSN immortals "Wooden Ships," "Guinnevere," and "Long Time Gone" and the CSNY signature songs "Déjá Vu" and "Almost Cut My Hair." Also features the Crosby solo gems "Tamalpais High (At About 3)" and "Laughing," plus the Crosby-Nash standouts "Carry Me," "Dancer," and more.
Disc 2 — Essential Vol. 2 — features the CSN favorites "In My Dreams" and "Delta" plus CSNY's "Compass." CPR is spotlighted with five tracks including "Rusty And Blue" and "Somehow She Knew." Also includes Crosby-Nash's "Through Here Quite Often" and the Crosby solo recordings "Hero" and his powerful version of "My Country 'Tis Of Thee."
Disc 3 — Burried Treasure — boasts almost 75 minutes of previously unreleased musical magic, including demos for "Déjá Vu," "Long Time Gone," and "Almost Cut My Hair" plus an alternate mix of "Guinnevere." Also features the Crosby & Nash live tracks "The Lee Shore" and "Traction In The Rain," CSNY's live take on "Dream For Him" (written for Crosby's son Django) and an alternate mix of CSNY's "Homeward Through The Haze." Plus, the previously unissued song "Kids And Dogs."

Disc One — Essential Vol. 1

Eight Miles High — The Byrds
Renaissance Fair — The Byrds
Everybody's Been Burned — The Byrds
Wooden Ships — Crosby, Stills & Nash
Guinnevere — Crosby, Stills & Nash
Long Time Gone — Crosby, Stills & Nash
Déjá Vu — Crosby, Stills, Nash & Young
Almost Cut My Hair — Crosby, Stills, Nash & Young
Tamalpais High (At About 3) — David Crosby
Laughing — David Crosby
Music Is Love — David Crosby
Song With No Words (Tree With No Leaves) — David Crosby
What Are Their Names? — David Crosby
I'd Swear There Was Somebody Here — David Crosby
Where Will I Be? — Crosby & Nash
Page 43 — Crosby & Nash
Critical Mass — Crosby & Nash
Carry Me — Crosby & Nash
Bittersweet — Crosby & Nash
Naked In The Rain — Crosby & Nash
Dancer — David Crosby & Graham Nash

Disc Two — Essential Vol. 2

Shadow Captain — Crosby, Stills & Nash
In My Dreams — Crosby, Stills & Nash
Delta — Crosby, Stills & Nash
Compass — Crosby, Stills, Nash & Young
Tracks In The Dust — David Crosby
Arrows — Crosby, Stills & Nash
Hero — David Crosby
Yvette In English — David Crosby
Rusty And Blue — CPR
Somehow She Knew — CPR
Breathless — CPR
Map To Buried Treasure — CPR
At The Edge — CPR
Through Here Quite Often — Crosby & Nash
My Country 'Tis Of Thee — David Crosby

Disc Three — Buried Treasure (All Previously Unissued)

Long Time Gone (Demo) — Crosby & Stills
Guinnevere (Alternate Mix) — David Crosby
Almost Cut My Hair (Demo) — David Crosby
Games (Demo) — David Crosby
Déjà Vu (Demo) — Crosby & Nash
Triad (Demo) — David Crosby
Cowboy Movie (Studio Version) — David Crosby
Kids And Dogs (Unissued Song) — David Crosby
Have You Seen The Stars Tonite? (Alternate Mix — Paul Kantner/Jefferson Starship
The Lee Shore (Live) — Crosby & Nash
Traction In The Rain (Live) — Crosby & Nash
King Of The Mountain (Demo) — David Crosby
Homeward Through The Haze (Alternate Mix) — Crosby, Stills, Nash & Young
Samurai (Studio Version) — David Crosby
Climber (Studio Version) — Crosby, Stills, Nash & Young
Dream For Him (Live) — Crosby, Stills, Nash & Young

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Moby Grape - Grape Jam (1969)

2011-05-01T01:40:00.000-07:00

About CD editions;
Both Wow and Grape Jam were taken out of print on November 3, 2007, along with Moby Grape for reasons that were not officially specified. It has been widely circulated on the Moby Grape mailing list that former manager Matthew Katz, whom the band has been in legal battles with since the late 1960s, threatened to file a lawsuit against Sundazed claiming ownership of the albums' artwork.

Grape Jam has been criticized for its rather loose and mostly improvised performances which contrast sharply with the heavily produced material on "Wow". However Grape Jam is also notable in that it features guest appearances on piano by Al Kooper and Mike Bloomfield. This studio album was recorded in New York City in January and February 1968. Skip Spence plays guitar on "Never" and piano on "Boysenberry Jam"[1] . Peter Lewis does not appear on this album. Never is the best known song here and has often been cited as a probable source for Led Zeppelin's song Since I've Been Loving You: the opening lyrics, the bluesy arrangement and some melodic elements are almost identical. "The Lake" is a strange combination of poetry submitted by a fan and avant-garde psychedelic Musique concrète sound effects somewhat like side four of Freak Out! or Revolution 9. The album was the inspiration for a number of other studio "jam" albums during the late 1960s and early 1970s. Later examples of this trend included Al Kooper's Super Session and the 3rd LP of George Harrison's All Things Must Pass.

Tracklist:

1. Never
2. Boysenberry Jam
3. Black Currant Jam
4. Marmalade
5. The Lake

Bonus tracks on this 2007 CD edition:

6. Grape Jam #2* previously unissued
7. Grape Jam #9* previously unissued
8. Bags' Groove* previously unissu

Personnel:
Peter Lewis – rhythm guitar, vocals
Bob Mosley – bass, vocals
Jerry Miller – lead guitar, vocals
Skip Spence – rhythm guitar, piano, vocals
Don Stevenson – drums, vocals
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===> Here it IS <===1119

Moby Grape - St (1969)

2011-04-30T13:24:00.000-07:00

Rare Sundazed Release. (Original June 1967) (Sundazed 2007 SC11190)
Due to Matthew Katz's never ending efforts to have full control over Moby Grape as a marketing concept Sundazed was forced to withdraw this release from the market.
This Sundazed release has 5 Bonus tracks.

Review by Mark Deming
Moby Grape's career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. Moby Grape is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries -- no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip. Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat). As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it. And producer David Rubinson got it all on tape in a manner that captured the band's infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process. "Omaha," "Fall on You," "Hey Grandma," and "8:05" sound like obvious hits (and might have been if Columbia hadn't released them as singles all at once), but the truth is there isn't a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good.

Tracklist:
1. Hey Grandma
2. Mr. Blues
3. Fall on You
4. 8:05
5. Come in the Morning
6. Omaha
7. Naked, If I Want To
8. Someday
9. Ain't No Use
10. Sitting by the Window
11. Changes
12. Lazy Me
13. Indifference
14. Rounder (instrumental)*
15. Looper (audition rec.)*
16. Indifference (audition rec.)* previously unissued
17. Bitter Wind* previously unissued
18. Sweet Ride (Never Again)*

Personnel:

Peter Lewis – rhythm guitar, vocals
Bob Mosley – bass, vocals
Jerry Miller – lead guitar, vocals
Skip Spence – rhythm guitar, vocals
Don Stevenson – drums, vocals
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===> Here it IS <===1118

Moby Grape - Truly fine Citizen (1969)

2011-04-30T13:15:00.000-07:00

Truly Fine Citizen is the rock band Moby Grape's fourth album. After the departure of Bob Mosley, the remaining trio headed to Nashville where they cut this album in just three days with legendary Columbia Records producer Bob Johnston. This album fulfilled the band's contract with Columbia Records. At the time, the band was in the midst of legal disputes with their manager, Matthew Katz, with the result that certain songs written by band members were instead credited to their road manager, Tom Dell'Ara.[1] In particular, songs written by Jerry Miller and Don Stevenson became Tom Dell'Ara songs, to counter Matthew Katz withholding royalties on previous recordings.[2]

Replacing Bob Mosley on bass was famed Nashville session musician Bob Moore, who had played bass on many Elvis Presley sessions and was one of the founders of Monument Records, for many years the recording home of Roy Orbison.

After completing this album, the band went on hiatus until 1971 when they reunited with Skip Spence and Bob Mosley to record the reunion album, 20 Granite Creek.

Tracklist:

1. Changes, Circles Spinning
2. Looper
3. Truly Fine Citizen
4. Beautiful Is Beautiful
5. Love Song
6. Right Before My Eyes
7. Open Up Your Heart
8. Now I Know High
9. Treat Me Bad
10. Tongue Tied
11. Love Song

Bonus tracks on this 2007 CD edition:

12. Rounder
13. Miller's Blues
14. Changes
15. Skip's Song
16. Looper
17. Soul Stew
18. Cockatoo Blues

Personnel:

Peter Lewis – rhythm guitar, vocals
Jerry Miller – lead guitar, vocals
Don Stevenson – drums, vocals

Additional Personnel:

Bob Moore - bass

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=== Here it IS ===1117

Moby Grape - 20 Granite Creek (1971)

2011-04-30T13:06:00.000-07:00

20 Granite Creek is the rock band Moby Grape's fifth album. After recording their last album for Columbia Records, Truly Fine Citizen, the band went on hiatus until 1970 when they reunited with Skip Spence and Bob Mosley and recorded this reunion album for Reprise Records; their only album for the label. Also of note is the fact that David Rubinson, who produced most of the band's Columbia albums, was back in the fold as producer here, as well as serving as the band's manager.

Review

by Matthew Greenwald

The story of Moby Grape has been told and re-told countless times, with its tales of excess, mismanagement, and record company screwups. By the end of the '60s the Grape was all but finished -- or so everyone thought. After an aborted attempt at a Peter Lewis solo album, producer David Rubinson was able to help engineer this re-formation of all five original members, along with extra member Gordon Stevens on various stringed instruments. Written and recorded at the Grape's communal house in the Santa Cruz mountains, the results of the experiment rendered 20 Granite Creek, an album that is rightfully the successor to the first album (1967's Moby Grape). One of the most shining examples is Peter Lewis' funky and fast "Goin' Down to Texas," which clearly illustrates the power Moby Grape had in this, one of the original three-guitar lineups. Skip Spence, who was one of the more interesting writers in the band, contributes one song, the delicate and gorgeous oriental-sounding "Chinese Song." The whole record is quite similar in feel to the Doors' L.A. Woman, another truly great, homemade comeback album. Of course, it didn't sell anything. A true crime in a never-ending saga.

Tracklist:

1. Gypsy Wedding
2. I'm the Kind of Man That Baby You Can Trust
3. About Time
4. Goin' Down to Texas
5. Road to the Sun
6. Apocalypse
7. Chinese Song
8. Roundhouse Blues
9. Ode to the Man at the End of the Bar
10. Wild Oats Moan
11. Horse Out in the Rain

Personnel:

Bob Mosley - electric bass, vocals
Jerry Miller – electric guitar, vocals
Peter Lewis – electric guitar, vocals
Don Stevenson – drums
Skip Spence - electric guitar, vocals

Additional Personnel:

Gordon Stevens - electric viola, dobro, mandolin
David Rubinson - electric piano, congas
Andy Narell - steel drums
Jeffrey Cohen - bass

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=== Here it IS === 1116

Moby Grape - Dark Magic==>Live 1965-1969 Various Venues

2011-04-30T12:53:00.000-07:00

Tracklist:

CD1

01 - Introduction At Monterey Pop Festival
02 - Indifference
03 - Mr. Blues
04 - Sitting By The Window
05 - Omaha
06 - Millers Blues
07 - Hey Grandma
08 - Sitting By The Window
09 - Omaha
10 - Going Nowhere
11 - Sweet Little Angel
12 - I Am Not Willing
13 - Honky Tonk Blues
14 - Bitter Wind
15 - Murder In My Heart For The Judge
16 - Dark Magic
Credits:
Disc One
Tracks 1-5 recorded at The Monterey Pop Festival, Monterey, Ca., June 16, 1697.
Track 6 recorded at The Avalon Ballroom, San Francisco, Ca., 1968
Tracks 7-9 recorded at Steve Pauls Scene, New York City, 1968
Tracks 10-15 unknown venue, 1967
Track 16 recorded at Winterland, San Francisco, Ca., 1967

CD2

01 - $20 Blues
02 - Hey Grandma Blues
03 - Changes
04 - Dark Magic Part 1
05 - Dark Magic Part 2
06 - Looper
07 - 8-05
08 - Learn From Your Mistakes
09 - Can't Be So Bad
10 - Sitting By The Window
11 - Fall on You
12 - It's A Beautiful Day
13 - Big Boss Man
14 - Hey Mama
15 - I Can Only Give You Everything

Credits:
Disc Two
Tracks 1-2 recorded unknown venue, july 23, 1968
Tracsk 3-5 recorded at The Avalon Ballroom, San Francisco, Ca., Dec.31, 1966
Tracks 6-7 recorded at Winterland, 1967
Tracks 8-13 recorded at Stony Brook University, Stony Brook, N.Y., 1969
Tracks 14-15 Peter & The Wolves 45,PW#500, Los Angeles, 1965 featuring Peter Lew
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=== Here it IS === 1115

Moby Grape - Legendary Grape(2003)

2011-04-30T12:32:00.000-07:00

Legendary Grape (2003) Released 1989 as a cassette (500 copies)

The original album was issued in 1989 as a five hundred copy, cassette-only release on Herman Records. The album was at the time credited to The Melvilles, being one of the names used by Moby Grape during the course of their protracted dispute with former manager Matthew Katz over ownership of the band name and related royalties. The tapes were remastered by Dig Music, and eight additional songs were added for the release of Legendary Grape.

The album was recorded by original Moby Grape members Peter Lewis, Jerry Miller, Bob Mosley and Don Stevenson. All group members contributed songs, as had been the case during all of the band's history. However, whereas in the past Jerry Miller and Don Stevenson had generally written together, including some of Moby Grape's best known songs, both were now writing exclusively separately. Founding member Skip Spence was not well enough to perform, though one of his songs was included on the recording. It was the practice of Spence's bandmates to try to include at least one of his songs on every Moby Grape recording, irrespective of Spence's ability to participate in the recording.

Shortly after the album's original release, Bob Mosley, who was subject to the challenges of schizophrenia, as was Spence, commenced a period of homelessness that lasted approximately five years, until recovering through the assistance of bandmate Peter Lewis, among others.

Tracks:

01.All My Life" (Spence) 3:36
02.Nighttime Rider" (Mosley) 3:07
03.Give It Hell" (Miller) 2:55
04.On The Dime" (Miller) 3:50
05.Lady of the Night" (Miller) 3:42
06.Changing" (Lewis) 3:05
07.Took It All Away" (Mosley) 3:06
08.Bitter Wind in Tanganika" (Mosley) 3:33
09.Talk About Love (I'm Talking About You)" (Berry) 1:57
10.You'll Never Know" (Miller) 4:15
11.You Can Depend on Me" Mosley 3:09
12.Further On Up the Road" (Robey, Veasey) 3:01
13.It Don't Take Much" (Mosley) 3:20
14.Gettin' Used to Being Treated Wrong" (Stevenson) 2:33
15.Forty Feet Tall" (Miller) 4:47
16.Forbidden Love" (Stevenson) 2:58
17.Telephone Love" (Mosley) 2:33
18.Rodeo" (Pettigrew) 4:14

musicians:

Peter Lewis: Guitar
Jerry Miller: Guitar
Bob Mosley: Bass
Don Stevenson: Drums
Dan Abernathy: Guitar

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1114 === Here it IS ===

Vieja Trova Santiaguera - La Manígua (1998)

2011-03-30T02:53:00.000-07:00

Traditional Cuban Group featuring the Vocals of Veteran Singers Rey Caney and Rolando Creagh. Includes a Duet of the Cuban Standard 'rico Vacilon' with Spanish Pop Superstar Jarabe De Palo. Also Highlighted is the Fine 'tres' Playing of Caney and Themasterful Vocal Harmonies Created by the Group.

While the Buena Vista Social Club is earning all the fame, these five guys have it going as well: a movie about them ('Lagrimas Negras') and a (long) lifetime full of musical experience. The Vieja Trova has played together as a band for long, and this clearly shows in their music. Out of my collection of Cuban music, this is the CD I usually recommend to friends who have listened to the Buena Vista Social Club and would like to hear more. And more, much more they get to hear!! Always positive for us 'gringos': the booklet comes with the lyrics and much additional information.

If you enjoy Cuban music do not miss this one. This is as good as it gets!!!
Perfect to be at a Beach house, having a Mojito o some wine or a fresh Pisco Sour, or even a cold beer or a Bloody Mary for that matter having a babecue with friends listening to this... It will definitely set the right mood...!!!

Tracks:

1. Maria Cristina
2. Me Voy Pa Sibanicu
3. La Vida Sigue Igual
4. Para Que Gocen Todos
5. Mil Gracias
6. Rico Vacilon
7. Cuida Eso
8. Todos Los Ojos Te Miran
9. Prueba Ese Tono
10. Si Fuera Como Tu
11. Le Dije A Una Rosa
12. Flor De Ausencia
13. El Final No Llegara
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my rip ; flac,eac,log 100% , cue, scans;

1113 === Here it IS ===

The Strawbs - Ringing Down The Years/Don't Say Goodbye

2011-03-27T09:26:00.000-07:00

In 2002, Road Goes on Forever released Ringing Down the Years/Don't Say Goodbye, which contained two albums -- Ringing Down the Years and Don't Say Goodbye -- by the Strawbs on one compact disc.

"Ringing Down the Years" is a stellar album. Harking back to the Strawbs roots in folk music, it is like a rich red wine, matured with age. The underlying theme here is about life, death, joy, sorrow, loves, losses and the stark reality of it all. It boasts incredibly rich orchestral melodies, harmonies, themes, and lyrics, that collectively soar. This album is unlike any other Strawbs album. The first time I listened to this CD, I simply couldn't believe how good it sounded, and still couldn't after playing little else in the weeks that followed.

"Don't say goodbye" which accompanies Ringing Down the Years is by comparison im my opinion the Strawbs worst CD. It lacks energy, wanders, and could kindly be described as somewhat nondescript. Putting it back to back with "Ringing down the years" was positively cruel. I'd happily own anything by the Strawbs, but the harsh reality is that this is the one CD by them that I almost never play.. it is as a collection of songs, and can't seem to rise above the reality of being just that. Somehow the chemistry to make it more than this simply isn't there.

Credits
Dave Cousins (Guitar (Acoustic)), Dave Cousins (Banjo), Dave Cousins (Guitar), Dave Cousins (Composer), Dave Cousins (Vocals), Dave Cousins (Group Member), The Strawbs (Producer), Richard Hudson (Guitar (Acoustic)), Richard Hudson (Composer), Richard Hudson (Drums), Richard Hudson (Vocals), Richard Hudson (Group Member), Charles Cronk (Composer), Rod Demick (Bass), Rod Demick (Vocals), Rod Demick (Group Member), Tony Hooper (Guitar (Acoustic)), Tony Hooper (Vocals), Tony Hooper (Group Member), Chris Parren (Keyboards), Chris Parren (Group Member), Andy Richards (Composer), Brian Willoughby (Guitar), Brian Willoughby (Group Member), Neil Chapman (Composer), Graeme Williamson (Composer), Barry Grint (Mastering), Rodney Green (Producer), Denis Blackhan (Digital Remastering), Rodney Green (Design), Rodney Green (Illustrations), Rodney Green (Digital Artwork)

Disc: 1
1. Might as Well Be from Mars
2. The King
3. Forever Ocean Blue
4. Grace Darling
5. Afraid to Let Go
6. Tell Me What You See in Me
7. Ringing Down the Years
8. Stone Cold Is the Woman's Heart
9. Taking a Chance
Disc: 2
1. A Boy and His Dog
2. Let It Rain
3. We Can Make It Together
4. Tina Dei Fada
5. Big Brother
6. Something for Nothing
7. Evergreen
8. That's When the Crying Starts
9. Beat the Retreat

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1112 === Here it IS ===

Moby Grape - Wow.(1968) [Withdrawn Sundazed Release]

2011-03-27T08:44:00.000-07:00

Moby Grape is an American rock group from the 1960's, known for having all five members contribute to singing and songwriting and that collectively merged elements of folk music, blues, country, and jazz together with rock and psychedelic music. Due to the strength of their debut album, several critics consider Moby Grape to be the best rock band to emerge from the San Francisco music scene in the late sixties. The group continues to perform occasionally. As described by Jeff Tamarkin, "The Grape's saga is one of squandered potential, absurdly misguided decisions, bad-luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco. Moby Grape could have had it all, but they ended up with nothing, and less."

The complete version of Wow was first released on CD in Japan in 1995. A newly remastered version was released by Sundazed Records on October 9, 2007 featuring a number of bonus tracks, most of which are previously unreleased. At the same time Sundazed also released the CD debut of Grape Jam in its entirety with 3 previously unreleased bonus tracks.

Both Wow and Grape Jam were taken out of print on November 3, 2007, along with Moby Grape for reasons that were not officially specified. It has been widely circulated on the Moby Grape mailing list that former manager Matthew Katz, whom the band has been in legal battles with since the late 1960s, threatened to file a lawsuit against Sundazed claiming ownership of the albums' artwork.
Artwork

Artwork of the Wow album (design and illustration) was done by Bob Cato. Cato proposed a surreal image without any input from the band. Cato was influenced by various Victorian woodcuts. According to Peter Lewis the title was left off the cover because "What was in the box was more important than the box." It was nominated for the Grammy Award for Best Recording Package in 1969.

Tracklist:

1. The Place and the Time
2. Murder in My Heart for the Judge
3. Bitter Wind
4. Can't Be So Bad
5. Just Like Gene Autry; A Foxtrot
6. He
7. Motorcycle Irene
8. Three-Four
9. Funky-Tunk
10. Rose Colored Eyes
11. Miller's Blues
12. Naked, If I Want To
13. The Place and the Time (alternate)*
14. Stop (demo rec.)* previously unissued
15. Loosely Remembered* previously unissued
16. Miller's Blues (alternate*) previously unissued
17. What's To Choose* previously unissued
18. Seeing previously unissued

(total CD time for Wow 59:04)

Personnel

* Peter Lewis – rhythm guitar, vocals
* Bob Mosley – bass, vocals
* Jerry Miller – lead guitar, vocals
* Skip Spence – rhythm guitar, piano, vocals
* Don Stevenson – drums, vocals
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1111 === Here it IS ===

Ron Elliott - The Candlestickmaker (1970)

2011-03-27T08:35:00.000-07:00

This review is from: The Candlestickmaker (Audio CD)
For fans of the Beau Brummels, this CD, "The Candlestickmaker" by Ron Elliott is a must-have! Though this album never did much when first released in 1970, it wasn't because it was a "bad" album. Artistic integrity took precedent over a desire to be commercial. Though one might easily pick a catchy tune here, suitable for radio play, it is essentially a continuation of what had been done on the last two Beau Brummel albums, "Triangle" and "Bradley's Barn" (both now also available on CD). I give it a four star rating ONLY because it's not long enough. Most albums at this time period were short in length by today's standards.
Being a life-long fan of the Beau Brummels, it's difficult to be critical of this first solo effort by the bands primary songwriter and guitarist. It's simply a terrific little collection of songs! Side One consists of five songs in the three to four minute vein. Well known L.A. session musicians round out Elliott's group of players; Chris Ethridge (bass), Dennis Dragon (drums). With contributions by Ry Cooder, Leon Russell, Bud Shank and others. Sal Valentino (primary vocalist of the Brummels) adds his classic tambourine touch.
Side Two is the real mind-blower! The "Candlestickmaker Suite". Consisting of Part 1, "Dark Into Dawn" and Part 2, "Questions". According to Elliott, this side describes a mans journey through madness, with a healing aspect to it. With Marc McClure on second guitar, this acoustic journey is mesmerizing in its elegance. Gentle, mysterious, adventuresome and enthralling come to mind. Ron Elliott has never really received his due in the music world, either for his astonishing song writing abilities, or his masterful guitar playing. Equally adept playing electric guitar (as he did on many of the Brummel's songs), here, his acoustic talents become evident. Side One features more of his electric guitar.
It was many years after the Beau Brummels ceased as a band, that I hunted down this once-rare album. I was delighted by it from the first listening! Now available on CD, the sound is even better. So pour a glass of wine, light a candle or two, and shut out the lights....you're about to be treated to one of the late 60's rare masterpieces by one of the master songwriter/guitarists of that time! Enjoy!

Biography

Tracklist:

1. Molly In The Middle
2. Lazy Day
3. All Time Green
4. To The City To The Sea
5. Deep River Runs Blue
6. Medley: Candlestick Maker Suite: Dark Into Dawn/Questions

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1110 === Here it IS ===

The Music Emporium - The Music Emporium. [Sundazed]

2011-03-19T13:57:00.000-07:00

by Richie Unterberger

The Music Emporium's sole release is a fair psychedelic obscurity, best when it goes heaviest on the dreamy melodic elements and Carolyn Lee does the singing. "Velvet Sunsets" and "Gentle Thursday," for instance, sound a bit like a garage version of a mixture of the Jefferson Airplane and the United States of America. The more upbeat items, on which Music Emporium leader Casey Cosby takes on the lead vocals, are lumpier, more awkward late-1960s hard rock/psychedelic efforts. Originally a super-rare pressing of just 300, it's been reissued more than once for collectors, and those iterations are much easier to find than the rare original. The best of the reissues, by far, is the 2001 edition on Sundazed, which is taken from the master tape, and includes a detailed history of this hitherto mysterious band. It also adds five previously unissued bonus tracks, although these are just instrumental versions of five of the ten songs on the original LP.

Tracks:

1. Nam Myo Renge Kyo

2. Velvet Sunsets

3. Prelude

4. Catatonic Variations

5. Times Like This

6. Gentle Thursday

7. Winds Have Changed

8. Cage

9. Sun Never Shines

10. Day Of Wrath

11. Nam Myo Renge Kyo (Instrumental)

12. Velvet Sunsets (Instrumental)

13. Winds Have Changed (Instrumental)

14. Sun Never Shines (Instrumental)

15. Gentle Thursday (Instrumenatl)

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1109 === Here it IS ===

The Syndicate Of Sound - Little Girl. [Sundazed]

2011-03-19T13:44:00.000-07:00

This 1997 reissue of LITTLE GIRL includes four tracks that weren't on the original LP: "The Upper Hand," "Mary," "Keep It Up" and "Good Time Music."

Syndicate Of Sound: Don Baskin (vocals); Jim Sawyers (guitar); John Sharkey (guitar, organ); Bob Gonzalez (bass); John Duckworth (drums).

Reissue producers: Bob Irwin, Jud Cost.

Recorded at Golden State Recorders, San Francisco, California in 1966. Originally released on Bell (6001). Includes original release liner notes by "Chuck" Patti and new liner notes by Jud Cost.

Tracks 1-13 are stereo. Tracks 14-16 are mono.

Personnel: John Sharkey (vocals, guitar, piano, organ, keyboards, vibraphone); Jim Sawyers (vocals, guitar); Don Baskin (vocals, flute, saxophone); John Duckworth (vocals, drums); Larry Ray (12-string guitar).

Liner Note Authors: Chuck Patti; Jud Cost.

Recording information: 1997.

Arranger: John Sharkey.

The teen-band pride of San Jose, CA, the Syndicate of Sound scaled the heights of the rock & roll world for a very brief moment in the summer of 1966 with their Top Ten hit "Little Girl." With a catchy, jangly electric 12-string riff, a solid beat, a macho teen vocal, and a chord progression heavily influenced by "Hey Joe," the tune perfectly mirrored the sound of the times and was a can't-miss hit, a British sound played with American garage enthusiasm. But their success ride was short; within a year or two, their ranks were decimated from the draft, touring exhaustion, and the musically changing times. This reissue serves as their lasting legacy, combining the original 12-song album with four bonus tracks. Kicking off with a pair of souped-up R&B covers, the album casts a pretty wide net, with half of the tunes penned by various bandmembers. Of these, ballads sit alongside rockers like "Lookin' for the Good Times (The Robot)" and "Rumors" (complete with Yardbirds-style fuzz guitar rave-up in the middle), while the Kinks-style "That Kind of Man" is an imaginative British-sound knockoff. The outside material, however, is where the band shows their true chameleon-like strength. Covers of the Hollies' "I'm Alive," Louis Jordan's "Is You Is or Is You Ain't My Baby" (via Buster Brown's version), the Sonics' "The Witch," and Roy Orbison's "Dream Baby" show a band that could either play a song "just like the record" or bring their own twist to the proceedings. The four CD bonus tracks likewise demonstrate that the group had no shortage of original material, but unfortunately nothing compiled here has the hit sound of "Little Girl," an easy explanation as to why the group ended up with one-hit wonder status. ~ Cub Koda

Tracks:

1.Big Boss Man
2.Almost Grown
3.So Alone
4.Dream Baby
5.Rumors
6.Little Girl
7.That Kind Of Man
8.I'm Alive
9.You
10.Lookin' For The Good Times (The Robot)
11.Witch, The
12.Is You Is Or Is You Ain't My Baby
13.Upper Hand, The
14.Mary - (mono)
15.Keep It Up - (mono)
16.Good Time Music - (mono)

_____________________________________________
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No LOG, Incl. Full Artwork
1108 === Here it IS ===

The Flamin' Groovies - Supersnazz. [Sundazed]

2011-03-19T13:31:00.000-07:00

Supersnazz is The Flamin' Groovies' first studio album, released in 1969 on the Epic label. It was their only album for a major company. Its commercial failure put an end to the group's major-company record career.
Tracks

1. "Love Have Mercy"
2. "The Girl Can't Help It"
3. "Laurie Did It"
4. "Apart from That"
5. "Rockin' Pneumonia and the Boogie Woogie Flu"

6. "The First One's Free"
7. "Pagan Rachel"
8. "Somethin' Else / Pistol Packin' Mama"
9. "Brushfire"
10. "Bam Balam"
11. "Around the Corner"

2000 Sundazed CD bonus tracks

12. "Rockin' Pneumonia and the Boogie Woogie Flu"
13. "The First One's Free"
14. "Somethin' Else"
15. "Laurie Did It"

Personnel

* Roy A. Loney - rhythm guitar, vocals
* Cyril Jordan - guitar, vocals
* Tim Lynch - guitar, vocals, harmonica
* George Alexander - bass, vocals, harmonica
* Mike Lang - keyboards
* Danny Mihm - drums, percussion
____________________________________________
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1107 === Here it IS ===

J.K. and Co. - Suddenly One Summer. [Sundazed.]

2011-03-19T13:20:00.000-07:00

This is a good, semi well-known psych album, indeed there aren’t too many 60s rock fans that dislike J.K. & Co.’s Suddenly One Summer. It’s the only album this group would release. Prior to Suddenly One Summer, Jay Kaye had been in the Loved Ones, though I don’t think this band released any singles.
Jay Kaye was only 15 years old when he recorded this album in 1968. The lyrics, vocals, songs and musicianship are remarkably advanced for someone who was so inexperienced in the studio. Jay Kaye made the trip from Las Vegas to Vancouver, Canada to record the lp with top flight session musicians (among them members of noted Vancouver band Mother Tucker’s Yellow Duck). The album was inspired by recent Beatles’ masterpieces and of course LSD, so it’s not surprising that much of this record is full of orchestral psychedelia and heavy studio effects – music with a spiritual slant. Another teen, Robert Buckley aided Jay Kaye with many of the album’s arrangements and psychedelic effects. It was he who created the decaying backward effects on the masterful “Fly,” a track that sounds well ahead of its time and similar in feel to prime-era Radiohead (though 30 years prior).
Suddenly One Summer was conceived as a concept album and briefly featured in Billboard claiming “to depict musically a man’s life from birth to death.” At least half the album is full of great psychedelia. ”O.D.” features wild guitar playing, great drug addled madness, and soaring vocals, “Fly,” as mentioned before, is an all-time psych classic, and “Magical Fingers Of Minerva” is a great sitar based rocker that usually ends up on trippy compilations. Other compositions of note are the gorgeous acoustic track “Nobody,” a great pop rocker titled “Christine,” and the dramatic finale, “Dead.” The LP plays from strength to strength and never falls off into the deep end.
J.K. & Co.’s album was a decent size underground hit in California, leading White Whale to release a single to capitalize on the group’s popularity. They chose the 36-second album opening intro which at the time was seen as a major marketing disaster. In the end, White Whale’s terrible management blunder would halter the career of Jay Kaye and also hurt the company’s ability to market J.K. & Co as a serious group. After the record’s release Kaye had even put together a band with his Cousin John (bass) and friend Rick Dean (drums) to promote the LP’s songs live but success eluded them. In 2001 Sundazed released this great conceptual acid album through their BeatRocket label.

___________________________________

Tracklist:

1. Break Of Dawn

2. Fly

3. Little Children

4. Christine

5. Speed

6. Crystal Ball

7. Nobody

8. O.D.

9. Land Of Sensations & Delights

10. The Times

11. Magical Fingers Of Minerva

12. Dead

_____
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1106 === Here it IS ===

Chicken Shack - O.K. Ken (1969)

2011-03-19T11:01:00.000-07:00

Chicken Shack are a British blues band, founded in the mid-1960s by Stan Webb (guitar and vocals), Andy Silvester (bass guitar), and Alan Morley (drums), who were later joined by Christine Perfect (vocals and keyboards) in 1968.

The band were formed in April 1965 , naming themselves after Jimmy Smith's Back at the Chicken Shack album. Chicken shacks (chicken restaurants) had also by then frequently been mentioned in blues and rhythm and blues songs, as in Amos Milburn's hit, "Chicken Shack Boogie". Their first concert was at the 1967 National Blues and Jazz Festival at Windsor and they were signed by the Blue Horizon record label in the same year.

Chicken Shack enjoyed modest commercial success, with Christine Perfect being voted Best Female Vocalist in the Melody Maker polls, two years running.

Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. Pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown. In 1977 Silvester joined Los Angeles based ensemble, Wha-Koo. Webb was also recruited for Savoy Brown in the mid-1970s, and recorded the album Boogie Brothers with them.

John Glascock, later of Jethro Tull, played on Chicken Shack's Imagination Lady (1972) album.

________________________________________

The group became the second major signing of the Blue Horizon record label (co-founded by Mike Veron), the first being Fleetwood Mac. Chicken Shack's first two albums,Forty Blue Fingers Freshly Packed and Ready to Serve and OK Ken?, were quite successful, with much of the credit due to the fact that they had a beautiful, talented, female keyboardist and vocalist-- something that most definitely added individuality to the group in the male-dominated late 60's music scene. Christine's version of Etta James' 'I'd Rather Go Blind' was a massive hit, and she was voted Best Female Vocalist in the Melody Maker polls two years running. After Christine married John McVie and left the band, Stan Webb did carry on with the band in various incarnations, but Chicken Shack never quite matched their earlier success. The 'irrepressible' Stan Webb still lives in Kidderminster in a house that is filled with twenty-nine years of Chicken Shack memoribilia. The talented, yet relatively unrecognized, guitarist has this to say about the way major success has eluded him: "Some people say, 'You should be on stage at the Albert Hall, not Eric Clapton.' And I think, well, I don't agree with that, but I should certainly be able to go on there as well. But I'm happy with what's happening now. I've done the years and I'm getting more respect than I ever did then. It's worked for me."
________________________________________

Tracks:

1. "Baby's Got Ma Crying" (Stan Webb) – 2:25
2. "The Right Way Is My Way" (Webb) – 2:00
3. "Get Like You Used to Be" (Christine Perfect) – 3:05
4. "Pony and Trap" (Webb) – 3:00
5. "Tell Me" (Webb) - 4:40
6. "A Woman Is the Blues" (Webb, Perfect) - 2:50
7. "I Wanna See My Baby" (Perfect) – 3:30
8. "Remington Ride" (Webb) – 2:50
9. "Fishing in Your River" (Webb) – 4:30
10. "Mean Old World" (Perfect) – 3:15
11. "Sweet Sixteen" (Webb) - 6:20

Personnel:

* Stan Webb – guitar, vocals
* Christine Perfect – keyboards, vocals
* Andy Sylvester – bass guitar
* Dave Bidwell – drums

Additional Personnel

* Roderick Lee – trumpet
* Terry Noonan - trumpet
* Steve Gregory - tenor saxophone
* Buddy Beadle - alto and baritone saxophones
* Johnny Almond - tenor saxophone
* Don Fey - tenor saxophone
* Walter Horton - harmonica

Production

* Producer - Mike Vernon

my rip ; flac,eac,log 100% , cue, scans;
1105 === Here it IS ===

Alice Cooper - Nobody Likes Me(1969 Toronto)

2011-03-16T00:06:00.000-07:00

(review from http://www.allcdcovers.com )

Description
This is a bootleg recording of the original Alice Cooper group performing at the 1969 Toronto Peace Festival. This bootleg is known by many other titles other than NOBODY LIKE ME. Only two of the songs on the album ever showed up on a studio album ("Painting A Picture" as "No Longer Umpire" and "Science Fiction" as "Fields of Regret" on their first album - PRETTIES FOR YOU).more… And two other songs were not even performed by the group, but by blues artist Ronnie Hawkins ("Goin' To The River" and "Ain't That Just Like A Woman"). This is an early glimpse of the group at a time when they were arguably still learning (?) to play their instruments, and people would walk out of their performances (?). That is, until Frank Zappa "discovered" them.

(review from Allmusic.com)
Furnier formed his first group, the Earwigs, as an Arizona teenager in the early '60s. Changing the band's name to the Spiders in 1965, the group was eventually called the Nazz (not to be confused with Todd Rundgren's band of the same name). The Spiders and the Nazz both released local singles that were moderately popular. In 1968, after discovering there was another band with the same name, the group changed its name to Alice Cooper. According to band legend, the name came to Furnier during a Ouija board session, where he was told he was the reincarnation of a 17th century witch of the same name. Comprised of vocalist Furnier -- who would soon begin calling himself Alice Cooper -- guitarist Mike Bruce, guitarist Glen Buxton, bassist Dennis Dunaway, and drummer Neal Smith, the group moved to California in 1968. There, the group met Shep Gordon, who became their manager, and Frank Zappa, who signed Alice Cooper to his Straight Records imprint.

Track Listing
1. Painting a Picture
2. Freak Out Song
3. Nobody Likes Me
4. I've Written Home to Mother
5. A C Instrumental
6. Science Fiction
7. Goin' to the River
8. Ain't That Just Like a Woman
My own retail CD, EAC, LOG, CUE, SCANS
1104 === Here it IS ===

The Cryan Shames - Sugar And Spice. Sundazed.

2011-03-08T13:43:00.001-08:00

* Artist: The Cryan' Shames
* Rating: StarStarStarHalf Star
* Release Date: July 14, 1992
* Type: Compilation (best of)
* Genre: Rock

Review
The Cryan' Shames' debut album was typical of the more thrown-together rock LPs of the era: both sides of their first two singles and a bunch of cover versions. The singles, actually, were pretty good, including their most well-known song, "Sugar and Spice," a cover of a Searchers hit that actually was more memorable and imaginative than the original. Its B-side, "Ben Franklin's Almanac," was a respectable original with shades of the Byrds, the Yardbirds, and California harmonies; the second single, "I Wanna Meet You," was a decent meld of Beatles-Byrds jangle with Beach Boys harmonies; and its flip, "We Could Be Happy," was an OK soft rock number. Throw in the sole original composition not from a single, "July" (one of the better 1966 Byrds sound-alikes), and you have half a decent (though not great) period pop/rock album. The problem is, though, that the cover versions that fill out the record -- including songs written and/or popularized by the Beatles, the Byrds, and the Animals, along with "Heat Wave" -- are neither too creatively done or even imaginative selections. "Sugar and Spice" and all four of the originals appear on the Legacy compilation Sugar & Spice, which makes this album superfluous if you already have that anthology. The 2002 CD Sundazed reissue is bolstered by six bonus songs: their 1967 single "Mr. Unreliable" (different from the LP version) and its laid-back B-side "Georgia," a cover of the Beatles' "You're Gonna Lose That Girl," and three previously unreleased 1969 tracks that found them going into a mellow folk-country/soft rock direction. ~ Richie Unterberger, Rovi

This review is from: Cryan Shames (Audio CD)
This is some of the best of the Cryan' Shames...including songs that aren't on the "Sugar & Spice" compilation like their brilliant version of "If I Needed Someone". Legend has it that George Harrison nixed them releasing this cover (originally found on the Beatles freshman effort "Please Please Me") as a single...even though it's so faithful to the original. And there is a great send-up of "We Gotta Get Out Of This Place", or "Out of this Place We're Gotten To Get" as mirthful lead singer Tom Doody calls it, using his fake British accent that caused many people to mistakenly think he was a Brit. Of course there is there signature tune "Sugar & Spice" (also done at the time by the Searchers--who had the bigger national hit). Another great tune and a favorite in Chicagoland to this day on oldies radio is "I Wanna Meet You". Jim Peterik, leader of the Ides of March (another Chicago band), Survivor ("Eye of the Tiger") and the brains behind 38 Special once awed at the Cryan' Shames...he said they could walk up on the stage, plug in and "Boom...I first saw you in a magazine, I wanna meet you..." They were pro's, and this is where it started.

Tracklist:

1. Sugar And Spice
2. We Could Be Happy
3. Heat Wave
4. We'll Meet Again
5. Ben Franklin's Almanac
6. She Don't Care About Time
7. Hey Joe (Where You Gonna Go)
8. If I Needed Someone
9. July
10. I Wanna Meet You
11. We Gotta Get Out Of This Place
12. You're Gonna Lose That Girl
13. Mr. Unreliable (45 vers.)
14. Georgia
15. It Don't Matter To Me
16. Bits And Pieces (vers. one)
17. The Road (prev. unissued)

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1103 === Here it IS ===

The Beau Brummels - Magic Hollow. Rhino Handmade Boxset 4 CD's.

2011-03-08T13:21:00.001-08:00

The Beau Brummels - Magic Hollow. Rhino Handmade Boxset 4 CD's.

Release Date: 8/23/2005

Recording Date: 6/2005

Label: Rhino Handmade

Type: CD

Genre/Styles
United States of America, AM Pop

What the Critics Say

As a four-CD, 113-track collection of 1960s Beau Brummels recordings (nothing is included from their post-'60s reunions), Magic Hollow is an excellent overview of the career of one of the finest and most underrated American bands. There's a good balance between their most familiar material (including all of their hits) and rarities, 42 of the tracks seeing release here for the first time (though some of those are alternate versions). True, some die-hard fans of the group would have welcomed a Bear Family-styled no-stones-unturned box set, as for all this set's length, there are several CD's worth of cuts that don't appear here. Some of the Triangle album is missing, most of Bradley's Barn is absent, and there are a wealth of missing unreleased-in-the-'60s tracks that have shown up on other Beau Brummels comps. But if a four-CD size limitation had to be imposed, this is about as good as could be hoped for, chronologically sequenced so as to gracefully trace their evolution from the first truly fine American British Invasion-inspired band to folk-rock and country-rock innovators. For those who've collected the Beau Brummels for a while, the most attention-grabbing items will be the rarities, which are both plentiful and usually of surprisingly high quality. "People Are Cruel," a September, 1964 recording of a previously unheard Ron Elliott original (even pre-dating their signing to Autumn Records), has their excellent haunting British Invasion-style melodies and vocal harmonies already in place; the backing track "Here I Am in Love Again," sadly missing vocals, has an intriguingly complex, beguiling tune; "Darkness" is a fine Elliott solo demo from 1965. Though their Autumn era is heavily represented by two full CDs of music, there are less previously unreleased cuts on the set from the mid-'60s than there are from their stint at Warner Brothers in 1966-68, and discs three and four really pour on the vault discoveries. Disc three alone has a bunch of previously unissued Sal Valentino compositions that further prove him to be a fine composer in his own right, even if he was overshadowed by primary Beau Brummels writer Elliott. A wealth of early 1967 outtakes (including some solo Valentino demos, highlighted by "Only Dreaming Now" and "Magic Hollow" itself) show them moving toward the more sophisticated feel of Triangle, though without as orchestrated a sound. Disc four, in addition to containing much of Triangle and some of Bradley's Barn, rounds off the picture of their journey into countrified folk-rock with another generous helping of outtakes, demos, and alternates that are in most respects up to the level of the music they officially released between late 1967 and late 1968. Also, it should be noted that Magic Hollow contains all of the band's non-LP single sides from their Warner Brothers era, some of which have been fiendishly hard to find since the '60s. It's all iced with a fine, 48-page booklet, jam-packed with photos, track information, and extensive interview quotes with bandmembers that bring much of their less-documented history to light. ~ Richie Unterberger, Rovi

Tracklist:

Disc 1

1. People Are Cruel
2. Still In Love With You Baby (Demo Version)
3. Stick Like Glue (Demo Version)
4. Laugh, Laugh (Alternate Version)
5. Just A Little (Alternate Version)
6. They’ll Make You Cry
7. Ain’t That Loving You Baby (Alternate Vocal Version)
8. That’s If You Want Me To
9. Laugh, Laugh (Promo Single Version)
10. Still In Love With You Baby (Single Version)
11. Just A Little (Alternate Backing Track)
12. I Want More Loving (Alternate Mix)
13. Just Wait And See
14. Stick Like Glue
15. Just A Little (Single Version)
16. Here I Am In Love Again (Backing Track)
17. I Will Go (Demo Version)
18. That’s Alright (Demo Version)
19. No Lonelier Man
20. She’s My Girl
21. Love Is Just A Game
22. She Loves Me (Demo Version)
23. Can’t Be So
24. I’m Alone Again
25. Tommorow Is Another Day
26. Woman (Vocal Version)
27. When It Comes To Your Love (Version One)

28. She Loves Me (Backing Track)

Disc 2

29. You Tell Me Why
30. I Want You (Single Version)
31. Dream On
32. Can It Be
33. I’ll Tell You
34. Doesn’t Matter
35. Gentle Wandering Ways
36. In Good Time
37. That’s Alright
38. I Grow Old
39. Sometime At Night (Sal’s Vocal Version)
40. Fine With Me (Version One)
41. Don’t Talk To Strangers
42. I’ve Never Known
43. When It Comes To Your Love (Album Version)
44. Sad Little Girl
45. Before Darkness Ends
46. Till The Day
47. Friend Of Mine
48. Darkness
49. Good Time Music
50. She Sends Me
51. Down On Me
52. Let Me In (Version One)
53. Cry Some
54. Hey Love
55. Go Away
56. This Is Love
57. Find A Place

58. I Will Go (Backing Track)

Disc 3

59. One Too Many Mornings
60. She Reigns
61. Hang On Sloopy
62. Mr. Tambourine Man
63. Bang Bang
64. Homeward Bound
65. You’ve Got To Hide Your Love Away
66. On The Road Again
67. Out Of Control
68. God Help The Teenagers Tonight
69. Delilah
70. Stand Up
71. Let Me In (Version Two)
72. Here We Are Again
73. Fine With Me (Single Version)
74. Galadriel (Demo Version)
75. You And I
76. It Ain’t No Use
77. She’s Coming (Demo)
78. Don’t Make Promises
79. Galadriel
80. Two Days ‘Til Tomorrow (Unedited Version)
81. Walking In The Park
82. Only Dreaming Now (Demo Version)
83. Magic Hollow (Demo Version)
84. Where Are You

85. Glass (Backing Track)

Disc 4

86. Are You Happy?
87. Only Dreaming Now
88. The Painter Of Women
89. It Won’t Get Better
90. Magic Hollow
91. Triangle
92. Lower Level
93. Lift Me
94. High There
95. I Love You Mama (Version One)
96. Just A Little Bit Of Lovin’
97. The Dreamer
98. Jessica (Demo Version)
99. I Love You Mama (Version Two)
100. Bittersweet
101. Essica (Alternate Version)
102. I’ll Be Your Baby Tonight
103. Long Walking Down To Misery (Single Version)
104. Cherokee Girl (Single Version)
105. I’m A Sleeper (Single Version)
106. Another (Demo Version)
107. Black Crow
108. Deep Water
109. Love Can Fall A Long Way Down
110. Tan Oak Tree
111. Turn Around
112. Another
113. Deep Water (Alternate Version)

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No LOG , Incl. Full Artwork & Booklet.
1102 === Here it IS ===

Genesis - From Genesis To Revelation (1969)

2011-03-05T09:38:00.000-08:00

1967–1970: The beginning

Genesis was formed in 1967 when Peter Gabriel and Tony Banks were students at Charterhouse School in Godalming. Formed out of school bands Garden Wall and The Anon, Genesis's original line-up consisted of Peter Gabriel (vocals), Anthony Phillips (guitar), Tony Banks (keyboards), Mike Rutherford (bass & guitar) and Chris Stewart (drums). The group (minus Stewart) originally formed as a songwriting partnership with no intention of performing, but decided to start playing their own music when they were unable to find anyone else willing to record it.

Charterhouse School alumnus Jonathan King attended a concert at Charterhouse in 1968 while the band was still in school. Following the concert, another student gave King a tape of songs the band had recorded and King thought enough of them to sign them to a recording contract. King was a songwriter and record producer who had a hit single at the time, "Everyone's Gone to the Moon". King named the band Genesis (after previously suggesting the name Gabriel's Angels , recalling that he had "thought it was a good name... it suggested the beginning of a new sound and a new feeling."

The resulting album, From Genesis to Revelation, was released on Decca Records in March 1969. During the sessions, Stewart was replaced by John Silver on drums. The band recorded a series of songs influenced by the light pop style of the Bee Gees, one of King's favourite bands at the time. King assembled the tracks as a concept album, and added string arrangements during the production. Their first single, "The Silent Sun", was released in February 1968. The album sold poorly but the band, on advice from King, decided to pursue a career in music.[5] King holds the rights to the songs on the From Genesis to Revelation album and has re-released it many times under a variety of names, including In the Beginning, Where the Sour Turns to Sweet, Rock Roots: Genesis, ...And the Word Was and, most recently, The Genesis of Genesis.

From Genesis to Revelation was the first album by Genesis, released in March 1969 on Decca Records in England (London Records in North America). It was produced by Jonathan King, who discovered them in 1967 while the members of Genesis were pupils at Charterhouse School, King's alma mater.

Tracks:

1. "Where the Sour Turns to Sweet" – 3:16
2. "In the Beginning" – 3:47
3. "Fireside Song" – 4:20
4. "The Serpent" – 4:40
5. "Am I Very Wrong?" – 3:33
6. "In the Wilderness" – 3:33
7. "The Conqueror" – 3:42
8. "In Hiding" – 2:40
9. "One Day" – 3:22
10. "Window" – 3:35
11. "In Limbo" – 3:32
12. "Silent Sun" (Gabriel/Banks) – 2:15
13. "A Place to Call My Own" – 2:00
14 - A Winter's Tale
15 - One Eyed Hound
16 - That's Me
17 - The Silent Sun (mono single version)

Personnel

* Peter Gabriel – vocals, flute, percussion
* Anthony Phillips – guitar, vocals
* Tony Banks – organ, guitar, piano, keyboards, vocals
* Mike Rutherford – bass guitar, guitar, vocals
* John Silver – drums, vocals, except on "Silent Sun"
* Chris Stewart – drums on "Silent Sun"

* Strings & Horns Arranged & Conducted By Arthur Greenslade & Lou Wharburton

LOSSLESS,EAC,LOG,CUE,SCANS my CD
1101=== Here it IS ===

Gong - Shamal (1975)

2011-03-05T09:30:00.000-08:00

Studio Album, released in 1976

From Progarchives.com;5 stars. "Shamal" is a GREAT Gong's album. The instruments are perfectly balanced to produce impressive jazzy progressive rock pieces. The omnipresent percussion (xylophone, vibraphone, marimba, glockenspiel and tubular bells) form magic, pleasant and charming melodies. The music is embellished by many flute, saxophone, violin and lead vocals parts. Steve Hillage provides some electric guitars on a few tracks. There are some good keyboards: piano, organ and moog. The overall music sounds a bit like the complex and instrumental work of Frank Zappa with Ruth Underwood in the 70's. There is an impressive Canterburian wah-wah organ a la Caravan on "Chandra". "Bambooji" is very exotic, with its special flute, traditional string instrument and delicate percussions: with the desert wind at the end, it evokes the culture around the Sahara desert. "Cat in Clark's Shoes" has some Van Der Graaf Generator, Happy The Man and Darryl Way's Wolf influences. "Mandrake" is a beautiful instrumental piece made of charming and celestial percussions & flutes. The last track "Shamal" is more fusion oriented, sounding like a simplified Brand X of the 70's plus some urban & sustained sax notes: it contains quite less percussions.

HIGHLY RECOMMENDED!

Songs / Tracks Listing

1. Wingful of Eyes (6:20)
2. Chandra (7:18)
3. Bambooji (5:13)
4. Cat in Clark's Shoes (7:43)
5. Mandrake (5:04)
6. Shamal (9:00)

Total Time: 40:01

Line-up / Musicians

- Mike Howlett / bass, vocals
- Didier 'Bloom' Malherbe / Tenor & Soprano saxophones, flutes, Bamboo flutes, Gongs
- Mireille Bauer / marimba, Glockenspiel, xylophone, assorted percussions & Gongs
- Pierre Moerlen / drums, vibraphone, Tubular Bells
- Patrice Lemoine / pianos, organ, Mini-Moog synth
- Steve Hillage / guitars ("Bambooji" & "Wingful of Eyes")
- Miquette Giraudy / vocals ("Bambooji")
- Sandy Colley / vocals ("Shamal")
- Jorge Pinchevesky / violin ("Cat in Clark's Shoes", "Bambooji", "Shamal", "Chandra")

Releases information:

Virgin CDV2046

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1100 === Here it IS ===

Amon Duul Yeti (1970)

2011-03-04T06:17:00.000-08:00

Like its namesake mythical creature, Amon Duul II's YETI is a ... Full Descriptiongigantic, threatening, and elusive beast that will easily trample listeners underfoot. Following up the epic PHALLUS DEI, YETI finds the Krautrock offshoot codifying their terrifyingly feral improvisations across four album sides of loud, psychedelic excess and dotting the fried landscape with a loose songcraft. "Soap Shop Rock," the four-part album opener, features droning organ, grilled violin, the distorted guitar tandem of Chris Karrer and John Weinzierl, and the yowling arias of Miss Renate Knaup fighting for space, while "Cerebus" loosens the band's more acoustic and Eastern yearnings. The entire album remains one of Krautrock's heavy masterpieces, but above the froth looms "Archangels Thunderbird," an anthem of demented catchiness for the ages.

CD contains bonus tracks.
Most CD versions of Yeti contain the edited 2:11 version of Pale Gallery from Lemmingmania. It is actually 5:07. Only the Captain Trips CD (Captain Trip CT-031) features the full-length version.

======================================================
Product Description
German digitally remastered (by EROC at The ranch) reissue of the 1970 space rock classic includes the bonus tracks, 'Rattlesnakeplumcake' & 'Between The Eyes'. 2001.
======================================================

Studio Album, released in 1970

Songs / Tracks Listing

1. Soap Shop Rock:
- a. Burning Sister (3:41)
- b. Halluzination Guillotine (3:05)
- c. Gulp A Sonata (0:45)
- d. Flesh-Coloured Anti-Aircraft Alarm (5:53)
2. She Came through the Chimney (3:56)
3. Archangels Thunderbird (3:30)
4. Cerberus (4:18)
5. The Return of Ruebezahl (1:35)
6. Eye-Shaking King (6:37)
7. Pale Gallery (2:11)
8. Yeti (Improvisation) (18:00)
9. Yeti Talks to Yogi (Improvisation) (6:06)
10. Sandoz in the Rain (Improvisation) (8:55)

Total Time: 67:59

Bonus tracks on 2001 Repertoire release: (this one)

11. Rattlesnakeplumcake (3:18)
12. Between The Eyes (2:29)

Line-up / Musicians

- Renate Knaup / vocals, tambourine
- Chris Karrer / violin, guitars, vocals
- John Weinzierl / guitars, vocals
- Falk Rogner / organ
- Peter Leopold / drums
- Dave Anderson / bass
- Shrat / bongos, vocals

Guests:
- Rainer Bauers / guitar, vocals (10)
- Ulrich Leopold / bass (10)
- Thomas Keyserling / flute (10)

review from progarchives.com

4 stars 4.5 stars really!!!

After their stunning Phallus Dei debut album, ADII could only up the ante with the voluminous Yeti album, a double disc affair that was filled with a live jam for the duration of one disc. Again released on the Liberty Records label in the early part of 70, graced with an ape-grim reaper outer gatefold and a shrine-in-heaven inner gatefold artworks (both again courtesy of KB-man Rogner), Yeti often comes within the top 5 Krautrock albums listed. Original drummer has now left leaving Peter Leopold (of AD1 fame) the stool and guesting on the Sandoz In The Rain closing track is part of the AD1 line-up (3 of the 6 members).

Opening on the uber-fantastic Soap Shock Rock, AD II strikes just as hard as they did in PD with Kanaan, but here the 14-mins four-part suite is the album's absolute highlight. The eastern-folky 4-mins She Came Through The Chimney is quite a change SSR, sounding like Comus mating with Quintessence, with Karrer's violin sounding like High Tide's Simon House. If you'll make abstraction of the Eastern flavour of Chimney and Karrer's violin, you'll find Cerberus is much in the same folky vein, as well, a tad more Comus-like, until the fuzz guitar gives it an unlikely electric finale, which suits my ears just fine. Renate gives a weird vocal overtone to Archangels, a track hinting at later albums (Carnival and Wolf City), with some huge riffs and makes this song one of AD II's harder rocking tracks with the short proggy guitar-laden Return Of Ruebezahl. The following Eye Shaking King is the album's second highlight and one of the band's better-known tracks, with an immediately recognizable riff, a searing & soaring guitar solo and filter-trafficked vocals. The aptly-titled Pale Gallery is somewhat of a filler, even if it offers some downright trippy/spacey soundscapes over a repetitive beat.

The second disc (speaking of the vinyl, as the Cd version is crammed into one disc) is completely different, spreading lengthy loose spacey jams over two sides, which contrasts quite starkly with the first disc's relatively tight songwriting and playing. While the first disc was relatively hard rocking, this one goes to great extent into space rock, somewhere in the region of the Saucerful-era Pink Floyd. So Yeti is overstaying its welcome a bit, yet its companion piece Yogi does more of the same. Definitely toking music. But for the closing Sandoz In The Rain, AD II is joined by AD1 members and the resulting track sounds very much like the Paradieswärts Düül album of the other section of the commune. BTW: Sandoz is the name of the pharmaceutical labs that developed the LSD. With its light folky acoustic feel and a cool flute, Sandoz is Yeti's third highlight and a charming closer.

Yes, ADII had managed to top their debut album, but it was a tough task, needing a double disc to manage it. And if most progheads would agree to Wolf City and Carnival in Babylon being their best albums, this reviewer is much more inclined to the first three albums that we should call the Liberty era. Soon after Shrat and Dave Anderson would leave AD II (bound for Sameti and Hawkwind, respectively), leaving Lothar Meid to fill up on bass, but the former would not be replaced and the group would go on to record the third album in their Liberty Records trilogy TDL, which would go on as yet another seminal Krautrock record. Just as essential as Phallus Dei, this one is a bit more diluted, but then again there is more goodies as well. Start chronologically.

CD borrowed from the city library (no artwork scanned ; art found on the web)
FLAC, EAC,LOG,CUE,SCANS (my rip)
1099 === Here it IS ===

The Minnie Ripperton Anthology (2001)

2011-03-01T09:06:00.001-08:00

This review is from: Les Fleurs - The Minnie Riperton Anthology (Audio CD)

A well-chosen anthology spanning Minnie Ripperton's most creative and musically satisfying decade from the late sixties onwards.

Minnie is best known for LOVIN' YOU - which is rightly included here as, despite a little over-familiarity, it still stands as a deeply affecting performance of a truly great song. But evidently there is much, much more to Minnie than that.

As LOVIN' YOU demonstrates, Minnie was in possession of a breathtaking multi-octave vocal range. However, this collection also testifies to the sheer quality of her songwriting and breadth of musical vision. Minnie's talent clearly included the ability to co-produce her own songs, choose the best producers and musicians to work with and the refusal to waste her vocal talent on throwaway material (a frequent flaw in so many performers in this field). It is true that this is an album of mostly sweet, mid-tempo soul rather than out and out dance floor material but it really does encompass most of the enduring sounds and textures of 1970s Black American music.

The price of the album is justified on its own for the pair of Charles Stepney productions (LES FLEUR and I AM THE BLACK GOLD OF THE SUN), which are two achingly beautiful acoustic-psychedelic soul masterpieces dating from the very late '60s. Both were revived much later on by DJ Gilles Peterson and later covered by 4 Hero and Masters At Work (as Nu Yorican Soul).

You could also say the same for the much-sampled soul-jazz of INSIDE MY LOVE from 1975, which, like so many of Minnie's songs is just incredibly yet understatedly sexy. It was co-written and produced by Minnie and will also be familiar to anybody who has seen Quentin Tarrantino's "Jackie Brown". MEMORY LANE, from 1979, is very much in the same rich vein as Curtis Mayfield's best `70s output and is probably my favourite tune on the whole album (and, as I recall, a big Norman Jay tune from the days of his Original Musiquarium show on KISS FM). Another highlight is YOUNG, WILLING AND ABLE, with its jazzy, Roy Ayers-like feel.

In all, there are 15 tracks - with no fillers as far as I am concerned. As you will learn from Dean Rudland's excellent sleeve notes, in 1979 Minnie died tragically young at the age of just 31. This album is a fantastic tribute to her amazing, enduring talent and is ultimately a great collection of top quality soul music.

Tracks:

1. I Am The Black Gold Of The Sun

2. Reasons

3. Every Time He Comes Around

4. Young Willing And Able

5. Inside My Love

6. Memory Lane

7. Love Hurts

8. Here We Go

9. You Take My Breath Away

10. Strange Affair

11. Take A Little Trip

12. I'm A Woman

13. Lovin' You

14. Les Fleurs

15. Light My Fire

Thanks go to COR for sending this post!!!
No LOG, Artwork incl
1098 === Here it IS ===

Aquila - Aquila (1970)

2011-02-25T09:16:00.001-08:00

AQUILA
Crossover Prog • United Kingdom
From Progarchives.com, the ultimate progressive rock music website

Aquila biography
Welsh band Aquila arose from the ashes of late 1960's band BLONDE ON BLONDE. Founding guitarist Ralph Denyer left that band in 1970 to work on his Aquila project. Blonde on Blonde recruited new vocalist/guitarist David Thomas (an old school friend of Denyer) to replace Denyer, and went on to record their best album "Rebirth".

Aquila's music, while substantially based in art rock, draws in influences from a diverse range of influences, including jazz and heavy rock. Deyner was the clear leader of the band, writing all the songs on their sole release, a self titled album.

Quite what happened to the band thereafter, and why they split up so quickly is something of a mystery, especially since they were signed to a major label (RCA). Wind instrumentalist George Lee joined ARRIVAL, a mainly vocal collaboration who enjoyed brief singles success before his arrival with the song "Friends". (Answers.com notes that this is the same George Lee who was born in Ghana, real name Kwame Narh Kojo Larnyoh, who was a member of Burning Spear and Toots & the Maytals, but I suspect this is inaccurate.)

No photos of the band appear to exist, even the images on the album sleeve are sketches of each band member. The image on this page is taken from the LP sleeve.

The sole "Aquila" album ended up in the bargain bins of the UK, but ironically, is now a sought after rarity.

With due acknowledgement to an article written by Nigel Camilleri for DPRP.net, about the only reference to the band currently traceable!

Bob McBeath
Scotland

Studio Album, released in 1970

4 stars A forgotten classic

1970 band Aquila's only release was this self titled album. In that year, founding member of Welsh proto-prog outfit Blonde on Blonde, Ralph Denyer, left that band to go it alone. He brought in four other musicians including George Lee, a dedicated wind instrumentalist and the five piece Aquila was formed.

Denyer is the clear leader, writing all the material on the album. He did however entrust production duties to Patrick Campbell-Lyons who at the time formed 50% of the real Nirvana, i.e. the late 60's early 70's proto-prog outfit, not the grunge band from Seattle.

Whenever I play this album, and even though I bought it over 30 years ago I still do so on regular occasions, right from the start I find myself anticipating the sensational ending section. I am of course doing so again here, and we should return to the beginning.

The album is split into two distinct halves. Side one has four self contained tracks which range from jazz rock to psychedelic proto-prog, while all the while remaining firmly in art rock territory. Side two is taken up entirely by the "Aquila suite", a 26 minute venture in three parts, delving into much deeper territories.

The opening track "Change your ways" has a jazz tinge to a rock basis. The mid-pace of the song seems quickened by the driving beat of the rhythm section. The track is reminiscent of the early work of CHICAGO, with a similar gruff vocal. "How many more times" is a slightly softer Hammond organ based piece with overlain flute and still that strong rhythm section, perhaps reminiscent of MOUNTAIN. The strength of the melody and the passionate vocals, together with a lengthy Rod ARGENT organ style solo make this one of the album's highlights. This track in particular is reminiscent of the music of STEAMHAMMER.

"While you were sleeping" is the closest of the set to Denyer's former band, with a more psychedelic feel. The literal echoing of the vocal line by the sax is quite striking, the song being very similar to TEN YEARS AFTER's "Love Like a man" from their "Cricklewood Green" album released the same year. Side one closes with "We can make it if we try", which combines light pop verses with loose thunderous choruses. The instrumental break is a jazz sax solo backed by Hammond organ. Some nice bass work by Phil Childs here too.

And so to the crux of the album, "The Aquila Suite". The first movement opens with a brief solo flute rendition of the closing theme before the band burst in and we're straight into a Hammond led blues rock rhythm. The feel is slightly JETHRO TULL ("Thick as a brick" era) accentuated not just by the presence of flute and organ, but by the way the former is played. Once again, the rhythm section drive the track along as it twists and turns through various instrumental leads and occasional "Fly high" verses. Midway through, a percussion break (as opposed to drum solo) intervenes, not unlike OSIBISA's contribution to the closing section to URIAH HEEP's "Look at yourself".

The brief first part of the "Second Movement" is entitled "Cloud circle", the music being onomatopoeic as it moves from flute to organ. This is followed by "The hunter", a slower section with more of a blues feel, but lyrically the song is perfunctory serving only to carry the concept forward. "The kill" lifts the pace, as the high pitched organ backed by dramatic percussion simulates the bird of prey's dive for it quarry, the sax leads the ever increasing pace until the deed is done.

The third movement is what we have been anticipating right from the start, and is for me one of the most delightful pieces of music in my collection. There are two distinct sections, "Where do I belong" and "Aquila (conclusion)". "Where do I belong" is an uplifting, emotional ballad with sensitive lyrics which prolong the bird of prey analogy in a personal context. Here the organ is swirling and ever present, while saxes carry the main theme coming to the fore for the almost smooth solo section. During the solo, the Hammond is all the while raising the emotion of the piece until Denyer brings things to a wonderful conclusion. Acoustic guitar backs Denyer's link vocal which ends with a single held note on the organ. The held note swells driven on by rolling drums before bursting in to the magnificent closing section. This organ and multi-tracked sax wall of sound is simply awesome. Think "Hamburger concerto" (Focus), think "I want you" (Beatles), and your approaching the majesty of the conclusion. As endings to an album go, this is the standard by which others should be judged.

In all, an unjustly lost album from 1970. It is perhaps George Lee's contribution which distinguishes "Aquila" from other releases of the time, his multi- instrumental talents giving each track a unique flavour. Ralph Denyer's own contribution though should not be under-played. As sole songwriter and vocalist, as well as lead guitarist, he takes great credit for the way he exploits the talents of his fellow band members.

Highly recommend, if you can find it!

Songs / Tracks Listing

1. Change your ways (5:18)
2. How many more times (6:22)
3. While you were sleeping (5:25)
4. We can make it if we try (4:35)
5. The Aquila suite
... First movement - Aquila (Introduction), Flight of the golden bird (8:29)
6. Second movement - Cloud circle, The hunter, The kill (8:52)
7. Third movement - Where do I belong, Aquila (Conclusion) (8:57)

Total Time: 47:48

Line-up / Musicians

- Ralph Denyer / vocals, electric & acoustic guitars
- Phil Childs / Fender bass & piano
- George Lee / flute & Alto, Soprano, Tenor and Baritone saxes
- Martin Woodward / Hammond organ
- James Smith / drums, timpani, various percussion

- Produced by Patrick Campbell-Lyons

Aquila - Aquila (1970)[TRC046@1994]

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1097 === Here it IS ===

ToeFat - 1971 Two [Progrock]edition 1994 + 2 bonus

2011-02-25T07:18:00.000-08:00

Having represented the first half of their curious moniker on the cover of album number one, Toe Fat proceeded to address the second on album number two, the imaginatively named Toe Fat II, with what appears to be a battle scene, pitting some species of alien lard against assorted roast chicken parts and a helpless bunch of grapes. Oh, and if you think that makes no sense, little else about the group's sophomore slump, which was released by Motown's rock imprint Rare Earth (Parlophone in the U.K.) does, either. For starters: recent lineup changes had seen founding members Ken Hensley and drummer Lee Kerslake depart for greater riches with a nascent Uriah Heep, and be replaced by Alan Kendall and Brian Glascock, respectively; bassist John Glascock was still being credited under the surname of Konas, for some mysterious reason; and aging frontman Cliff Bennett -- a pre-British Invasion relic, famous for having fronted the Rebel Rousers -- still seemed a bit unsure about this newfangled, heavy rock thing. As a result, confusion had also set in on the musical front, even though bluesy hard rock still predominated, thanks to the forceful riffs, hot licks, and weeping wah-wah provided by new six-stringer Kendall, which fueled engaging foot-stompers like "Since You've Been Gone" and "Midnight Sun," as well as ominous post-psych maulers such as "Idol" and "Three Tie Loser." The band was decidedly less focused on the album's remaining material, though, beginning with opener "Stick Heat" -- a sprawling heavy rocker showing tentative doom tendencies, which, for some unfathomable reason, was prefaced by lonely banjo strums; proceeding with "There'll Be Changes" -- a straight-up blues number, featuring an uncredited Peter Green cameo, and rather fitting harmonica work from band associate Moxy; and culminating in tentative flirtations with prog rock eclecticism on the atmospheric interlude "Indian Summer," and the half dainty/half rocking flower power anthem, "A New Way." In sum, Toe Fat's shtick was starting to smell a bit gamey, and there was little cause for surprise when it was revealed that the group had decided to cash in their chips even before the album's release in early 1971. Along with its superior predecessor, Toe Fat II would go on to collect dust in cut-out bins throughout the '70s before gaining newfound respect -- as such albums do -- when reappraised by hard rock enthusiasts decades later.

Tracks

1 Stick Heat 6:08
2 Indian Summer 2:10
3 Idol 3:29
4 There'll Be Changes 6:49
5 A New Way 7:54
6 Since You've Been Gone 4:46
7 Three Time Loser 4:30
8 Midnight Sun 4:42

LOSSLESS,EAC,LOG,CUE,SCANS
1096=== Here it IS ===
Ty 2 the ripper

ToeFat - 1970 - ToeFat [progrock]

2011-02-25T07:09:00.000-08:00

At the end of 1969, Cliff Bennett had seemingly run out his string as a British Invasion-era star. Seeking a new sound and image, he hooked up with keyboard player/singer Ken Hensley, bassist John Glascock, and drummer Lee Kerslake, all of whom had previously played with a group called the Gods (who later became known for having Greg Lake, in his pre-King Crimson days, as a member). For unknown reasons, they christened themselves Toe Fat and managed to get signed to Parlophone and then to Regal Zonophone in England, with their albums appearing in America on the Rare Earth label. Their mix of blues and progressive rock wasn't the most commercial of sounds in any case, and the grotesque cover art on the group's two LPs seemed to repel potential purchasers. By 1970, Hensley had left to hook up with David Byron and Mick Box in what would become Uriah Heep, and Kerslake followed his lead out of Toe Fat. Brian Glascock came in on drums and Alan Kendall joined on guitar for one U.S. tour, but the group finally split up in 1972. Kerslake subsequently re-teamed with Hensley and joined Uriah Heep, while John Glascock later joined Jethro Tull and Alan Kendall joined the Bee Gees, initially as a session guitarist and later as a permanent bandmember, where he remained until the early '80s.
The late-'60s success of heavy-handed acts like Cream, the Jimi Hendrix Experience, and Led Zeppelin instigated many British musicians -- young and old -- to grow their hair and start hard rock bands, and London's oddly named Toe Fat were no exception. Formed in June 1969 by veteran singer Cliff Bennett (ex-Rebel Rousers) with multi-talented guitarist and keyboard player Ken Hensley, bassist John Glascock, and drummer Lee Kerslake (all of them ex-Gods), Toe Fat quickly parlayed their respectable résumés into a deal with Parlophone in the U.K. and Rare Earth in the U.S. But their eponymous first album didn't pack nearly as much bombast as the musical titans named above, sounding more like contemporaries Savoy Brown, Status Quo, or Humble Pie (at about 75 percent of Steve Marriott's intensity). If anything, the group's typically midpaced, R&B-steeped fare owed as much to the on-the-wane British blues boom as anything hot and heavy; although at their best, memorable cuts like "That's My Love for You," "But I'm Wrong," "Working Nights," and the driving "You Tried to Take It All" cast out great hooks to match the band's top-notch musicianship and Bennett's emotionally soulful voice. Some controversy remains as to who really played on the record, but if Hensley was truly the man, as credited, he really takes over on "Nobody" (boasting wildly distorted fuzz guitars and extended soloing) and "I Can't Believe" (featuring more forceful guitar work and just as many keyboards), then strums along in suitably controlled fashion on the acoustic-laced "The Wherefors and the Whys." Speaking of dubious performances, largely forgotten Ian Anderson doppelgänger Mox was brought in to add flute to "Just Like All the Rest," which only serves to bring about inevitable Jethro Tull comparisons. But the album's two covers fare quite well, with "Just Like Me" delivering a punchy update on the standard popularized by the Coasters and Hollies, while the album's tough-rocking first single, "Bad Side of the Moon," was actually written by none other than the emerging Elton John/Bernie Taupin team (and would also be covered by Canadians April Wine a short time later). Unfortunately, although it met with widespread critical kudos, Toe Fat's debut was a resounding commercial flop, and may now be best remembered because of its curious, Hipgnosis-designed cover art, featuring toe-headed people lounging on a beach. The group would persist through one more album, but with Hensley and Kerslake already gone to form Uriah Heep (they had left even before Toe Fat's first American tour in support of Derek & the Dominos), that album's greater stylistic inconsistency did the band no favors.

Cliff Bennett Piano, Vocals
Ken Hensley Organ, Guitar, Piano, Vocals
Lee Kerslake Drums, Vocals
Joe Konas Bass
John Konas Bass, Vocals
Mox Flute, Harmonica
Jonathan Peel Producer

tracks

1 That's My Love for You 4:05
2 Bad Side of the Moon 3:26
3 Nobody 6:06
4 The Wherefors and the Whys 3:45
5 But I'm Wrong 3:59
6 Just Like Me 4:14
7 Just Like All the Rest 2:32
8 I Can't Believe 4:00
9 Working Nights 2:33
10 You Tried to Take It All 4:26

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1095=== Here it IS ===
Ty 2 the ripper

Amon Düül - Collapsing Singvögel Rückwärts & Co (1969)

2011-02-24T10:14:00.000-08:00

Amon Düül biography
Amon Düül were a huge musical collective that had a spectacular appearance in a tv-show in 1968. Before they put out their first album they split though, and one half set off to form Amon Düül 2 . The others kept the name Amon Düül and in 1969 published the first Krautrock album ever, "Psychedelic Underground". It was very badly produced, and the music consisted of long improvisations, but after this album no other band needed to have an inferiority complex. Their second official album "Paradieswärts Düül" is much better produced and has a folky touch. The albums "Collapsing - Singvögel Rückwärts", "Disaster" and "Experimente" stem from the same session as "Psychedelic Underground" and are of similar nature; they were published after the band had split up already.

Studio Album, released in 1969

Songs / Tracks Listing

1. Booster (Kolkraben) (3:06)
2. Bass, Gestrichen (Pot Plantage, Kollaps) (3:32)
3. Tusch Ff. (4:39)
4. Singvogel Ruckwarts (Singvogel Vorwarts) (4:17)
5. Lua-Lua-He (Chor Der Wiesenpieper) (2:05)
6. Shattering & Fading (Flattermanner) (4:31)
7. Nachrichten Aus Cannabistan (3:18)
8. Big Sound (Die Show Der Blaumeisen) (2:14)
9. Krawall (Repressiver Montag) (3:18)
10. Blech & Alfbau (Bau, Steinen & Erden) (2:11)
11. Natur (Auf Dem Lande) (2:56)

Total Time: 36:07

Line-up / Musicians

- Ella Bauer / percussion, vocals
- Rainer Bauer / vocals, guitar
- Angelica Filanda / percussion, vocals
- Helga Filanda / percussion, vocals
- Wolfgang Krischke / percussion, piano
- Ulrich Leopold / bass
- Uschi Obermaier / maracas

Releases information

Spalax 14949 This reissue 1969/1996

3 stars. This is a primitive, tribal psychedelic rock manifestation, continuously improvised, spontaneous and making a large place to acoustic, ritualistic percussions, agressive fuzzed out guitars. Tracks 2& 3 contain massive, obsessive, hammering drums exercices in ethnic folk, acid proportions, based on repetitive, endless motifs. Track 3 also features stoned, bizarre monotonous voices at the end. Track 4 is an original kraut improvisation, including dark drum experimentations, noises and violent bluesy rock guitars. Track 5 is a heavy psych piece, delivering an insistent rhythm and free chants. Track 6 is a folk trip song with a basic repetitive rhythm, almost unsignificant stoned voices in the distance and psych guitar harmonies. Track 7 includes an avalanche of ritual drums. Track 9 is a mechanical noisy experimentation with drums, concerte sounds and voices (the atmosphere is closed to cryptical stuffs written by the German avant garde band Anima). Certainly less refined than Amon Duul II but it contains a very catchy primitive energy. The contemplative, pastoral psych "Paradieswarts" remains the best part of these late 60's live sessions and among the best Amon Duul's materials. A very bad sound quality but it is an interesting release for krautrock collectors.

3 stars Though this album follows the style of the first recording of the gonzo jamming of this musical collective, I found this as a more interesting and pleasant release than the trashy "Psychedelic Underground". Here the sound quality is a bit more better, and the atavistic session excerpts have been molded as collages with editing and enrichening them with soundeffects. I guess this album would appeal to fans of tribal music, as there is a strong presence of ethnic collective drumming in the music, accompanied by toxicated waillings and chaotic fuzzed electric guitars. There are also some very quiet parts there, though in some cases the building up of hypnotic trance is disturbed with sudden cuts or sounds, making this record a more chaotic listening experience than the following more mellow "Paradieswärts Düül" album, which I see as their most profilic release, and this one being a good second in their discography from the quality point of view.

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1094=== Here it IS ===
TY Sylvie Flipe 2 send this post!!!

Love - Da Capo (1967)

2011-02-16T08:06:00.000-08:00

Review by Richie Unterberger

Love broadened their scope into psychedelia on their sophomore effort, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who," and the enchanting "She Comes in Colors," perhaps Lee's best composition (and reportedly the inspiration for the Rolling Stones' "She's a Rainbow"). It's only half a great album, though; the seventh and final track, "Revelation," is a tedious 19-minute jam that keeps Da Capo from attaining truly classic status. [An expanded edition of the LP featured back-to-back mono and stereo versions of the album, plus a tracking session of "Seven & Seven Is."]

Tracks:

stereo tracks

1 Stephanie Knows Who Lee 2:33
2 Orange Skies MacLean 2:49
3 ¡Que Vida! Lee 3:37
4 Seven & Seven Is Lee 2:15
5 The Castle Lee 3:00
6 She Comes in Colors Lee 2:43
7 Revelation Echols, Forssi, Lee, MacLean 18:57

mono tracks

8 Stephanie Knows Who Lee 2:33
9 Orange Skies MacLean 2:49
10 ¡Que Vida! Lee 3:37
11 Seven & Seven Is Lee 2:15
12 The Castle Lee 3:00
13 She Comes in Colors Lee 2:43
14 Revelation Echols, Forssi, Lee, MacLean 18:57

Bonus track

15 Seven & Seven Is Lee [Tracking Session] 3:13

Time Total 60:16:19

(this==> is the 2002 remaster)
2002 CD (digitally remastered) Elektra/Warner 8122 73604-2
WARNERREMASTARS.COM

Is NOT the Elektra CD reissue or the German 2004 remaster (which as so includes the mono mixes)

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Tangerine Dream - Electronic Meditation (1970)

2011-02-13T07:10:00.002-08:00

Electronic Meditation is the debut album by the German electronic music group Tangerine Dream.

The album was recorded in a rented factory in Berlin in October 1969, using just a two-track Revox tape recorder.
Its style is a unique form of free jazz, electronic art music, and instrumental rock;
or as Sound on Sound magazine described it, "free electronic rock".
Its instrumentation ranges from conventional instruments such as the guitar, organ, drums,
and cello to various custom-made electronic devices implemented by Edgar Froese and found sounds
such as broken glass, burning parchment, and dried peas being shaken in a sieve.
The backwards vocals at the end of side two are actually Edgar Froese reading from the back of
a ferry ticket from Dover to Calais. The original LP had a balloon inserted in the cover.

Electronic Meditation is the only Tangerine Dream album to feature the line-up of Froese, Schulze and Schnitzler. The 2002 CD reissue on Sanctuary Records revealed that there were two previously uncredited musicians: organist Jimmy Jackson and flautist Thomas Keyserling.

Tracks:

All songs written by Edgar Froese, Klaus Schulze, Conrad Schnitzler.

1. "Genesis" – 5:57
2. "Journey Through a Burning Brain" – 12:26
3. "Cold Smoke" – 10:38
4. "Ashes to Ashes" – 4:06
5. "Resurrection" – 3:27

Personnel

* Edgar Froese – six- and twelve-string guitar, organ, piano, sound effects, tapes
* Conrad Schnitzler – cello, violin, typewriter
* Klaus Schulze – drums, percussion, metal sticks
* Jimmy Jackson – organ (uncredited)
* Thomas Keyserling – flute (uncredited)

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Jefferson Airplane - Crown Of Creation

2011-02-13T05:50:00.000-08:00

Early 1968 found the Jefferson Airplane releasing their fourth studio album, Crown Of Creation. It was their third excellent album in a row and was a compromise of sorts between their last two releases. The album would feature individual tracks that reflected the different personalities of the group members. The music would be both elegant and complex and quickly returned the Airplane to the upper reaches of the American charts.

Crown Of Creation would be almost the perfect release for 1968 and remains a wonderful snapshot of the era. The writing and the musicianship, particularly the bass work of Jack Casady, was some of the best of the group’s career and the decade.

I was a high school senior when this album was released and for me at the time it all flowed through Grace Slick The power of her voice, the sexuality in her delivery, and the strength of her songwriting all combined to present an aura that would make her a memorable rock ‘n’ roll personality. While I have come to appreciate the other parts of this album, she still shines four decades later.

“Lather” was a song about aging written for her then boyfriend Spencer Dryden who was turning thirty. “Greasy Heart” proved that she could rock with the best of the boys. It was both sexual and a commentary plus featured one of the great Jack Casady bass performances. And speaking of sexuality, there was also the David Crosby song, “Triad,” that the Byrds rejected as being too erotic. This song of a threesome would find a home with Grace Slick and company.
Marty Balin, who was reduced to authoring one song on their last release, is credited with four here. “In Time” and “Share A Little Joke” cover familiar ground and feature his clear tenor voice. His best song, “If You Feel” stays with you and remains a lost gem in the Airplane catalog.

Spencer Dryden contributed “Chushingura” which is a trip to another world with the emphasis on trip. “Star Track,” penned by Jorma Kaukonen, features some creative wah-wah guitar.

Paul Kantner would continue to develop as a songwriter. The title song was apocalyptic in nature and would hint at his still to come work with the Jefferson Starship. The Kantner, Slick, and Balin harmonies show how well their voices could come together. The final track, “The House At Pooneil Corners,” which was written with Marty Balin, ends the album in style.

Crown Of Creation finds the Jefferson Airplane at their best. It remains a powerful and lasting document of just how good American rock ‘n’ roll can be. It was and is an essential listening experience.

Tracks:

1 Lather 2:56

2 In Time 4:12

3 Triad 4:54

4 Star Track 3:08

5 Share a Little Joke 3:07

6 Chushingura 1:17

7 If You Feel 3:21

8 Crown of Creation 2:54

9 Ice Cream Phoenix 2:59

10 Greasy Heart 3:25

11 The House At Pooneil Corners 5:49

12 Ribump Ba Bap Dum Dum 1:29

13 Would You Like a Snack? 2:37

14 Share a Little Joke 3:06

15 Saga of Sydney Spacepig 10:33

This newly remastered 2003 deluxe edition contains bonus tracks.
Jefferson Airplane: Marty Balin, Paul Kantner, Jorma Kaukonen (vocals, guitar); Grace Slick (vocals); Jack Casady (bass) Spencer Dryden (drums).

Additional personnel: Charles Cockey (guitar, vocals); Tim Davis (congas); Bill Goodwin (talking drums); Dan Woody (bongos); Gary Blackman (nose solo); Gene Twombly (sound effects).
Gary Blackman, Charles Cockey (vocals, guitar); David Crosby (guitar); Tim Davis (congas); Bill Goodwin (talking drums); Dan Woody (bongos).

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Jefferson Airplane - Volunteers (1969)

2011-02-13T05:35:00.000-08:00

This was the sixth album recorded by the group and the first to be wholly recorded in San Francisco, at Wally Heider's then state-of-the-art 16-track studio. Guests included Jerry Garcia on pedal steel guitar, veteran session pianist Nicky Hopkins, future Airplane drummer Joey Covington on percussion, David Crosby, and Stephen Stills. It was one of the earliest 16-track recordings. The back cover of the album shows a picture of the MM-1000 professional 16-track tape recorder built by Ampex which was used to record the album.

The album was marked with strong anti-war and pro-anarchism songs. The theme of nature, communities and ecology was also explored with the songs "The Farm" and "Eskimo Blue Day". The title track was actually inspired by a "Volunteers of America" garbage truck that awoke singer Marty Balin one morning. The album provoked even more controversy with lyrics such as "Up against the wall, motherfucker" (from the song "We Can Be Together") which appeared on the opening track and "shit" which is said several times on "Eskimo Blue Day". Musically, the album is characterized by lead guitarist Jorma Kaukonen's razor-sharp guitar work (the dueling solos on "Hey Fredrick", plus "Good Shepherd" and "Wooden Ships") and the distinctive piano playing of Nicky Hopkins. It also featured that band dabbling in a country rock sound, particularly in "The Farm" and "Song For All Seasons".

Despite its controversies, the album was a commercial success becoming the band's fourth top twenty hit record and went gold within two months of its release.[1]

This was to be both Jefferson Airplane's founder Marty Balin and drummer Spencer Dryden's last album with the group, (although they did both appear on the "Mexico" single released in 1970 and its B-side "Have You Seen the Saucers?") signifying the end of the best-remembered "classic" lineup. It was to be the last all-new LP for two years; Jack Casady and Jorma Kaukonen would now devote more of their energy to their embryonic blues group "Hot Tuna", while Paul Kantner and Grace Slick celebrated the birth of their daughter China in 1971.

Even though the album was released in late 1969, the cover photo dates back to 1967, and features the band wearing disguises, and was taken during the filming of a promotional film made for their single "Martha."

A specially remixed Quadraphonic (4 channel) version of the album was also released in 1973. The Quad version was available on LP Record, and Reel to reel, and 8-track cartridge tape. The Quad mixes are noticeably different than the usual (2 channel) stereo mixes (actually, "Hey Fredrick" has a completely different lead vocal, "Volunteers" is a totally different recording, and "The Farm"'s backing vocals by the Ace of Cups is brought up to front). A few tracks from the Quad version were included on the 3 CD box set Jefferson Airplane Loves You, however on the box set the 4 channel recordings have been reduced to 2 channels due to the technical limitations of Compact Disc .

The 2004 CD rerelease features 5 additional bonus tracks from the group's annual Thanksgiving concert at the Fillmore East, New York in 1969.

In 2003, the album was ranked number 370 on Rolling Stone magazine's list of the 500 greatest albums of all time.

The album was released again in 2009 along with the entirety of the Airplane's live performance at the Woodstock Festival in 1969 as Jefferson Airplane Woodstock Experience.

Tracks:
01. We Can Be Together (Paul Kantner) - 5:47
02. Good Shepherd (traditional, arr.by Jorma Kaukonen) - 4:19
03. The Farm (Kantner/Gary Blackman) - 3:11
04. Hey Frederick (Grace Slick) - 8:29
05. Turn My Life Down (Kaukonen) - 2:54
06. Wooden Ships (David Crosby/Kantner/Stephen Stills) - 6:23
07. Eskimo Blue Day (Slick/Kantner) - 6:31
08. A Song For All Seasons (Spencer Dryden) - 3:26
09. Meadowlands (traditional, arr. by Slick/Kantner) - 1:03
10. Volunteers (Marty Balin/Kantner) - 2:01

Bonus > live, recorded November 28-29, 1969 at Fillmore East

11. Good Shepherd (traditional, arr. by Kaukonen) - 7:20
12. Somebody To Love (Darby Slick) - 4:10
13. Plastic Fantastic Lover (Marty Balin) - 3:21
14. Wooden Ships (Crosby/Kantner/Stills) - 7:00
15. Volunteers (Balin/Kantner) - 3:25

Personnel:
Grace Slick - lead female vocals, piano (03,04,07,10), organ (09), recorder (07)
Paul Kantner - lead vocals, rhythm guitar
Marty Balin - lead vocals, percussion
Jorma Kaukonen - lead guitar
Jack Casady - bass
Spencer Dryden - drums, percussion

Nicky Hopkins - piano (01,04,06,08,10)
Steven Stills - Hammond organ (05)
Jerry Garcia - pedal steel guitar (03)
Joey Covington - congas (05), chair (07)
David Crosby - music sailboat (06)
Ace Of Cups (Mary Gannon, Marilyn Hunt, Diane Hursh, Denise Jewkes) - backing vocals (03,05)

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Juicy Lucy - Lie Back And Enjoy It (1970)

2011-02-13T03:57:00.000-08:00

`Juicy Lucy' was formed in 1969 by ace steel guitarist Glen `Ross' Campbell out of the ashes of 'The Misunderstood'. During its life span Juicy Lucy had two saxophonists, two keyboard players, three guitarists, two vocalists, and four bass players going through the ranks. By the time of the fourth album 'Pieces', there was not one founder member left. Even Glen `Ross' Campbell had left in despair.

Vertigo had the marvelously hypnotic record label that when it whizzed round on your turn table, would send you dizzy. Vertigo was the home record label for most of the bands that were considered underground or cult at the time such as 'Black Sabbath', `Uriah Heep', 'The Sensational Alex Harvey Band', 'Gentle Giant', and `Status Quo' to name but a few. Fortunately Repertoire Records have released this C.D. version of 'Lie Back and Enjoy It ' and a very good job of it they have done, too. They gave the buying public a very good deal with a full reproduction of the foldout cover and two extra bonus tracks to add onto the original nine tracks. But for those of you who miss the hypnotic record label, try your hand at the double C.D. 'Still Dizzy After All These Years', a fine collection of the Vertigo years featuring many bands that went onto bigger and better things, and some that for reasons only known by the masters of rock 'n' roll didn't. With the C.Ds and cover printed with the correct squiggles, 'Lie Back and Enjoy It' went straight into the British charts at #53 in November 1970.

The passage of time has not been kind to some of the songs on this album. Standard blues material with plenty of embellishments from the musicians currently find a home within the ranks. Hereby lays the most pressing problem. With such a liquid lineup it was hard for `Juicy Lucy' to actually sound like a band, not just a group of musicians thrown together in the recording studio. Half the band plays as if they were worried that they would soon be booted out of the band (they were), whilst the other half play as if they had the knowledge that after this recording they were going to move onto new fresh pastures (which they did - notably Micky Moody to 'WhiteSnake', Rod Coombes to `Stealers Wheel & then the Strawbs' and Keith Ellis to `Spooky Tooth').

Yet, there are some astounding performances from the guitar works of Micky Moody, the steel guitar works of Glenn `Ross' Campbell, the occasional saxophone break from Chris Mercer, and the ever impressive vocals of Paul Williams (one of the most underrated blues singers to ever tread the boards and bend a microphone. The first seven tracks are fair compositions including a cover of the old Willie Dixon Blues Classic 'Built for Comfort'. The band aimlessly stumbles through many genres of the rock 'n' roll spectrum, from blues to country, and heavy rock to pop. However, it's not until they crack open the Frank Zappa jewel from Hot Rats 'Willie the Pimp' that the band really jell, let their hair down, giving it a go with the confidence that these superior musicians should have. The results are startling with Paul Williams singing at his most Beefheartesque (I do not know if that's a word or not, but if it isn't, it should be) and Micky Moody laying down two smokin' slide guitar solos, while the whole band joins in the fun with a truly rumbustious display.

PRETTY WOMAN - Mid-paced sensuous rocker - a minor hit single in the UK; mellow vocals and funky bass. BUILT FOR COMFORT - Slightly slower than the original by Willie Dixon; jazz sax solo and tasty steel guitar solo; also features organ. THINKING OF MY LIFE - More up-tempo than most of the other songs; gritty vocals, sax and electric guitar solos. WILLIE THE PIMP - A fine take on this song; Paul Williams does his best Beefheart impression, and Glen Ross Campbell and Mick Moody trip out with 2 minutes of scorching acid-boogie on steel and electric slide.

Tracks:

1. Thinking of My Life
2. Built for Comfort
3. Pretty Woman
4. Whisky in My Jar
5. Hello L.A., Bye Bye Birmingham
6. Changed My Mind
7. That Woman's Got Something
8. Willie the Pimp
9. Lie Back and Enjoy It
10. Walking Down the Highway [bonus]
11. I'm a Thief [bonus]

Musicians:

Paul Williams: Vc,Congas,Piano
Glenn Ross Campwell: Steel Guitars,Mandoloin
Chris mercer: Saxs,Keyboards
Keith Ellis: Bass guitars
Rod Coombes: Drums,Percussions
Micky Moody: Guitars

EDITION : REP 4427-WY 1993

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Otis redding -Story 3CD set

2011-02-05T10:30:00.000-08:00

to see title "large", click on image!

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Klaus Shulze - Picture Music (1975)

2011-02-03T13:17:00.001-08:00

Studio Album, released in 1973

Excellent addition to any
prog rock music collection

Review by Sean Trane
SPECIAL COLLABORATOR Prog-Folk Specialist
4 stars

If Irrlicht is probably more important historically , because it came out first, Klaus schulze is reaching fast his maturity with this album. Somehow the music is very similar to Tangerine Dream (the group he helped found with Edgar Froese, but left after the first album), but you can also plainly recognize that this album is clearly a Schulze Oeuvre. By this time , the use of sequencers were relatively common (as with Eno , Jarre and Oldfield) but this was still clearly adventurous music.

Today , with modern technology , it is easy to write-off such album as saying that they were able to do this because they were the first to own such synthetysers , but back then , only a truly adventurous person (such as the ones mentioned above) could've pulled such great sounds. Not as excellent as Timewind or Blackdance but still much worth a spin.
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Review by Mellotron Storm
PROG REVIEWER
4 stars "Picture Music" was recorded in 1973 but not released until 1975 for some reason.This is a significant album as Klaus introduces those pulsating beats that TANGERINE DREAM hadn't started to do yet.This is a lot easier to digest than his debut "Irrlicht",although there is a passage on "Mental Door" that is a little difficult.The album features two side long suites. "Totem" features those pulsating beats while two different synth-like sounds play over top and around, which creates a spacey soundscape.The tempo picks up after 12 minutes and then settles somewhat 19 minutes in as the beat stops.Organ comes in late, and it ends on a very spacey note. "Mental Door" is spacey as well with different sounds passing in and out of the cosmic soundscape.A louder,disconcerting sound comes in with twittering noises 8 minutes in.I like when the drums come in after 9 minutes.The intensity is released after 17 1/2 minutes.This sounds so much better as it becomes spacey with some excellent drumming from Klause.I thought he retired from the drums.Haha.Great way to end the album. A must for the electronic-prog fan out there.

Tracks

1. Totem (23:34)
2. Mental Door (23:03)
Total Time: 46:37

Musicians

Klaus Schulze / all instruments

Releases information

1995 Tempel 14923

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Klaus Schulze - Moondawn (1976)

2011-02-03T12:39:00.000-08:00

Studio Album, released in 1976

Excellent addition to any
prog rock music collection

Review by Chris S
SPECIAL COLLABORATOR Honorary Collaborator
5 stars This is as an important electronic progressive release as was Tangerine dream's ' Phaedra'. The version I am reviewing is the Revisted Records release which includes the stunning bonus track ' Floating Sequence'. A variation somewhat of the original first track ' Floating'.The album as a whole delivers perfectly the reason why Krautrock is the home of progressive electronica music. The originators and pioneers. Popol Vuh, Klaus Schulze, Tangerine Dream, Faust to name a few. ' Floating' and ' Mindphaser' are powerfully structured songs spread over 52 odd minutes. The drumming build ups are excellent and Moondawn has all the necessary ingredients within the electronic genre to justify a masterpiece rating. There are moments on ' Mindphaser' when quite literally you feel like you are being propelled through another dimension. Music is THE drug, you just need the right musician or composer to take you on the journey. Klaus Schulze succeeded on Moondawn. Great reading and overall presentation with this remaster cover and jewel case CD version. A definitve cult album and majestic piece of work from 1976.
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dONT-tRIP-oN-YR-aSS 2006-5-10
5 stars This is one of Klaus Schulze's best albums, and his first one performed in Berlin School style. For those who don't know what Berlin School is, here's a short definition (thanks to Wikipedia ^_^): "The Berlin School of electronic music, or just Berlin School, was a development of electronic music in the 1970s characterized by soaring electric guitar or synthesizer melodies in high-register accompanied by complex, shifting sequencer bass ostinatos. The lead soloist's warm, human improvisations were counterpoint to the cold, robotic precision of the bassline. Sound effects such as wind, and washes of Mellotron choir, flute, or strings were often added for color. Most works were instrumental, vocals were used sparingly." The addition of drums adds a great new element to Klaus's electronic excellency. The first track Floating grabs your attention right away when you hear (and what I just found out) the lords prayer in Arabic. The rest of the track continues with soaring synthesizers and twinkling effects soon to be accompanied by improvised drumming. Mindphaser is my absolute favorite track. It starts off with the calming sound of the oceans water splashing up against the shore, with choir effects and the addition of thunder. This continues for half of the song and is then interrupted by blasting organs and racing drums. The track then carries out into the sound of early electronica. The bonus track, Floating Sequence, is another great addition to this album. By far one of my top 5 Klaus Schulze albums. 5/5.

Tracks

1. Floating (27:15)
2. Mindphaser (25:22)
3. Supplement - Bonus (25:22)

Total Time: 77:59

Musicians

- Klaus Schulze / ARP 2600/ARP Odyssey/Farfisa Professional organ/ Farfisa Syntorchestra/EMS Synthi A/Crumar keyboards/sequencer synthanorma 3-12 and The Big Moog
- Harold Grosskopf / drums

Releases information

Revisited Records SPV 085-304142 CD - REV 018 (2005) (re-release with bonus track)

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Klaus Shulze - Cyborg (1973)

2011-02-03T12:23:00.000-08:00

Studio Album, released in 1973

Excellent addition to any
prog rock music collection

Review by philippe
SPECIAL COLLABORATOR Content Development & Krautrock Team

5 stars "Cyborg" is a seminal work in abstract experimental electronic music. The psycho acoustic and hypnotic effects on the listener are incredible. This double album features almost similar electronic equipments used in "Irrlicht" (acoustic strings manipulations, molecular machines, primitive keyboards). This deep meditative and almost supernatural musical adventure starts with a magical linear organic composition led by cello chords, long dronescapes with circular "intergalactic" noises. The atmosphere has something creepy, sad but released within a fragile beauty. The second part begins with an obsessional, cybernetic, industrial accompaniment, floating in a static time. In distance come modulated sounds, giving a macabre accent to the ensemble. Progressively rises monumental synth waves. Beautiful, ethereal electronic loops come from the dark. "Cyborg" second album carries on an imaginative and haunted abstract symphony. The first composition starts with organic powerful "drones" sustained by rising synth lines. The tension goes higher and the composition opens on a church like organ chant. Discreet electronic repetitive rhythms give an other dimension to this unique and unmistakable piece. The last track features an avalanche of electronic loops, effects and accidents, sometimes turning the attention of the listener with mysterious, celestial synthesiser chords. With Irrlicht, this one represents the pick of Schulze's musical creativity. No musical conformism, no definition, just exquisite traumatic dreamscapes.
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Dellius | 5/5 | 2008-9-29

5 stars Cyborg and Irlicht are the humus of the Schulze's universe, experimental and non figurative soundscapes. Only with organs and strings, all passed trough his morpher hands in the mixing board (as another musical instrument) Klaus give us an extatic story, about a organic machine, recording her breathe in a marriage with some kind of green soul. An evolution in a conception of life, unknow life, but, as the music, wispering life too. If in these times Tangerine Dream become more than a secuenced Dali's in acid soundscape , Schulze could be the Mark Ernst, avery record a mutation, ambient, symphonic or minimal, only become more physical in the begining of the 80's. In the version for Brain records, Klaus found the perfect artist for the image of the music, the painer Urs Urman, in collaboration (depending the released) till 1978.

Tracks Listing

CD1
1. Synphära (22:49)
2. Conphära (25:52)
CD2
3. Chromengel (23:49)
4. Neuronengesang (24:57)

Total Time: 107:27

Musicians

- Klaus Schulze / all instruments

Edition 1995 Tempel 14992

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Quilapayun - Umbral (1979)

2011-02-01T08:54:00.000-08:00

Entre los discos pertenecientes a la discografía de Quilapayún este es de lo más fuertes, pues presenta el salto del canto político a la creación y al surrealismo. Voces y música, una gran combinación.

01 Arriba en la Cordillera
02 El Arbol de los Libres
03 Ronda del Ausente
04 La Vida Total
05 Paloma Quiero Contarte
06 Complainte de Pablo Neruda
07 Transiente
08 Canción Para Victor Jara
09 Vamos Mujer
10 Discurso del Pintor Roberto Matta
11 Quand Les Hommes Vivront d'Amour
12 Americas (Cantate Populaire)

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>*******<