Pylon Sounds

CORYNNE CHARBY - A CAUSE DE TOI
check out the video here

CORYNNE CHARBY - MA GENERATION
her generation were obviously very fond of knitwear.

CORYNNE CHARBY - PAS VU PAS PRIS (mordis rip)
although she only had a very short career, her 3 year output in the mid-80's spawned some nice tunes. i love this one - very 80's, very flashdance. if anyone has this on cd quality- please share!

BLOWUPDOLL EXCLUSIVE
GAYNAEL - CHAPEAU SABOTS
the b-side to le lac des signes. bom bom ba bom bom bom...

get over to love claudine now to watch an exclusive new claudine performance.

i never knew she recorded 'tomorrows calling' in french - nice!

BLOWUPDOLL EXCLUSIVE
PENELOPE - LES POCHES SOUS LES YEUX
i think we'd all be lost without the vogue record label!

BLOWUPDOLL EXCLUSIVE
TWINKLE - THE BOY OF MY DREAMS
here is the b-side from her classic song 'terry'

BLOWUPDOLL EXCLUSIVE
GAYNAEL - LE LAC DES SIGNES
things get groovier in the style of romentale et sentimentique - enjoy!

BLOWUPDOLL EXCLUSIVE
LEONIE - LE JARDIN ANGLAIS
leonie continues her jane birkin homage. by the look of her on the sleeve cover, there must have been some strong grass in that english garden. she looks wasted.

OLOF ARNALDS - I NYJU HUSI
if you enjoy the hypnotic melancholic vibe of vashti bunyan then i'm sure you'll love this.
find more olof here

OLOF ARNALDS - I NYJU HUSI
if you enjoy the hypnotic melancholic vibe of vashti bunyan then i'm sure you'll love this.
find more olof here

have you seen vanessa paradis' new film?
it's actually really good - 100times better than the trailer would suggest!

PARIS - I STOLE BARRY
originally posted november 2004 and a recent request from paulallapur - enjoy the best song about theft i have ever heard. for more on paris go here and here

BARON OF LOVE, PART 2
Alex Chilton
Like Flies on Sherbert
Peabody: 1979
[Buy It]

LET ME GET CLOSE TO YOU
Alex Chilton
High Priest
Big Time: 1987
[Buy It]

DOWNS (demo)
Alex Chilton
1974
Available on: Thank You Friends: The Ardent Records Story
Big Beat: 2008
[Buy It]

IT'S YOUR FUNERAL
Alex Chilton
A Man Called Destruction
Ardent: 1995
[Buy It]

Alex Chilton, who died, wrote songs. He recorded songs. He made songs. He unmade them. In the end, the life was largely in song, and the songs all had life, and that's all there is to say, and there isn't anything that can be done. Once he covered "Let Me Get Close to You," which was Goffin-King via Skeeter Davis:How long I'll never know
I've waited to tell you that I love you so
Now I have finally said it
Come on baby don't make me regret it"It's Your Funeral" is an instrumental. There are no words.

*

With a few hours to absorb the news, some memories came into focus, mostly distant ones, like hearing Big Star for the first time in the early eighties in Miami, or buying Like Flies on Sherbert in college, or driving upstate with some friends some years ago and listening on the car radio to Stuff, which collected some of Chilton's songs -- you could say that they were his best songs, but it might be more accurate to say that they were the songs of his that sounded most like songs that might be on a car radio. I remembered beginning to date the woman I'd later marry, playing lots of Chilton's music for her, and trying to figure out his secret: the way his try-anything-once aesthetic was both forthright and evasive, how he could combine an anarchic sense of humor and an unironic ability to convey pain, his addiction to the brilliant throwaway, his graceless grace. He drew lines back to Slim Harpo and Ronny and the Daytonas and Danny Pearson, so many it seemed he'd get trapped in the tangle. He escaped, again and again--but escaped to what? The most recent memory was the blurriest: it was just last November when I saw him with the reconstituted Big Star (half original, half Posies) at the Brooklyn Masonic Temple. I wrote a little piece about the show for the New Yorker that now seems dismissive to me, though I didn't mean it that way. I had no idea it would be the last I'd see of him.

*

NOTE: This is obviously not the first time we have written about Chilton here at Moistworks. Here is a piece by Alex Abramovich that investigates the end of Big Star and the beginning of Chilton's solo career.

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Arthur "Big Boy" Crudup (also known as "Pop" Crudup) (August 24, 1905 – March 28, 1976) was a delta blues singer and guitarist. He is best known outside blues circles for writing songs later covered by Elvis Presley (and since covered by dozens of other artists), such as "That's All Right Mama", "My Baby Left Me" and "So Glad You're Mine."

Born in Forest, Mississippi and living and working in throughout the South and Midwest as a migrant worker for a time, he and his family returned to Mississippi in 1926. He sang gospel, then began his career as a blues singer around Clarksdale, Mississippi. He visited Chicago as member of the Harmonizing Four in 1939 and stayed there to work as a solo musician, but barely made a living as a street singer. Record producer Lester Melrose allegedly found him while he was living in a packing crate, introduced him to Tampa Red and signed him to a contract with RCA Victor's Bluebird label.

He recorded with RCA in the late 1940s and with Ace Records, Checker Records and Trumpet Records in the early 1950s and toured throughout the country, specifically Black establshments in the South, with Sonny Boy Williamson II and Elmore James (around 1948). He also recorded under the names Elmer James and Percy Lee Crudup.

Crudup stopped recording in the 1950s, however, after further battles over royalties. His last Chicago session was in 1951, his 1952-54 recording sessions for Victor were held at radio station WGST in Atlanta[1]. He returned to recording with Fire Records and Delmark Records and touring in the 1960s, sometimes labeled "The Father of Rock and Roll", a title which he accepted with some bemusement. Throughout this time Crudup worked as a laborer to augment the small wages he received as a singer and non-existent royalties. Crudup returned to Mississippi after a dispute with Melrose over royalties, then went into bootlegging, and later moved to Virginia where he had lived and worked as a musician and laborer. In the early 1970s, two local Virginia activists, Celia Santiago and Margaret Carter, both assisted him in attempting to gain royalties he felt he were due, to little gain.

From the mid 60's, Crudup returned to bootlegging and working as an agricultural laborer, chiefly in Virginia, where he lived with his family including three sons and several of his own siblings. On the Eastern Shore of Virginia, while he lived in relative poverty as a field laborer, he occasionally sang and supplied moonshine to a number of drinking establishments, including one called the Dew Drop Inn, in Accomack County for some time prior to his eventual death, due to complications from heart disease and diabetes. (There was some confusion as to his actual date of death because of his use of several names, including those of his siblings.) He died in the Nassawadox hospital in Northampton County, Virginia, also on the Eastern Shore in 1976.

01. Mean Ole Frisco
02. Look on Yonder Wall
03. That's Alright
04. Ethel Mae
05. Too Much Competition
06. Standing At My Window
07. Rock Me Mama
08. Greyhound Bus
09. Coal Black Mare
10. Katie Mae
11. Dig Myself a Hole
12. So Glad You're Mine

Bonus:
13. Death Valley Blues
14. If I Get Lucky
15. Angel Child
16. The Moon Is Rising
17. My Mama Don't Allow Me
18. I'm In The Mood

1. http://www.megaupload.com/?d=MRP61CKI
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2. http://rapidshare.com/files/193663905/Arthur.rar

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This is one of the many harder-edged and organ dominated progressive bands that emerged in the early Seventies. Unfortunately very little is known about FUZZY DUCK’s history. The musicians were Paul Francis (drums, percussion), Mick (Doc) Hawksworth (bass, vocals, acoustic 12-string, electric cello), Roy (Daze) Sharland (organ, electric piano) and Grahame White (guitar, vocals, acoustic guitar). The eponymous album from 1971 was released on CD by both the German Repertoire Records and the UK Aftermath Records. It has obvious hints from mainly ATOMIC ROOSTER but also VANILLA FUDGE.

FUZZY DUCK’s music is simple but it touches me very much: pleasant vocals, a tight rhythm-section, strong guitarwork and, the most delightful element, floods of Hammond organ. This reminds me of Ken Hensley from early URIAH HEEP and Manfred Wieczorke from German heavy progressive band JANE. The guitarplay is also a good point, featuring fiery solos and catchy riffs. The final song “A word from bid D” includes the so called ‘ducking vocals’ from keyboardplayer Roy (Daze) Sharland, very funny to hear. FUZZY DUCK's music has echoes from ATOMIC ROOSTER, SPENCER DAVIES GROUP, VANILLA FUDGE and QUATERMASS. If you like the Hammond organ, don’t miss this CD! By the way, I own the Aftermath CD version, it contains 11 tracks, including the previously unreleased “No name face”.

Line-up
- Paul Francis / drums
- Mick Hawksworth / bass
- Roy Sharland / organ
- Graham White / lead vocals, guitar

01. Time wil be your doctor (5:11)
02. Mrs Prouts (6:48)
03. Just look around you (4:24)
04. Afternoon out (4:59)
05. More than I am (5:33)
06. Country boy (6:04)
07. In out time (6:41)
08. A word from bid D (1:41)

Bonus tracks:
09. Double time woman (3:00)
10. Big brass band (2:58)
11. One more hour (3:59)
12. No name face (3:03)

1. http://www.megaupload.com/?d=ZXCMUZ0T
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2. http://rapidshare.com/files/193660933/Fuzzy_Duck.rar

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Beggars Banquet is an LP released in 1968 by The Rolling Stones. It marked a return to the band's R&B roots, generally viewed as more primal than the conspicuous psychedelics of Their Satanic Majesties Request.

Following the long sessions for the previous album in 1967 and the departure of producer and manager Andrew Loog Oldham, Mick Jagger and Keith Richards hired producer Jimmy Miller, who had produced the Spencer Davis Group and Traffic. The partnership would prove to be a success and Miller would work with the band until 1973.

In March, the band began recording their new album, aiming for a July release. One of the first tracks cut, "Jumpin' Jack Flash", was released as a single only in May 1968, becoming a major hit.

Beggars Banquet was Brian Jones' last full effort with the Rolling Stones. In addition to his slide guitar on "No Expectations", he played harmonica on "Dear Doctor", and "Prodigal Son", sitar and tambura on "Street Fighting Man", and mellotron on "Jigsaw Puzzle" and on "Stray Cat Blues".

By June, the sessions were nearly completed in England, with some final overdubbing and mixing to be done in Los Angeles during July. However, both Decca Records in England and London Records in the US rejected the planned cover design - a graffiti-covered lavatory wall. The band initially refused to change the cover, resulting in several months' delay in the release of the album. By November, however, the Rolling Stones gave in, allowing the album to be released in December with a simple white cover imitating an invitation card. (The letters R.S.V.P. that appear on this version of the cover are an abbreviation of the French phrase répondez, s'il vous plaît, which means "please respond".) The idea of a plain album cover was also implemented by The Beatles for their eponymous white-sleeved double-album, which was released one month prior to Beggars Banquet. This similarity, coupled with Beggars Banquet's later release, garnered the Rolling Stones accusations of imitating the Beatles. In 1984, the original cover art was released with the initial CD remastering of Beggars Banquet.

Critics considered the LP as a return to form. It was also a clear commercial success, reaching #3 in the UK and #5 in the US (on the way to eventual platinum status).

The original LP pressing did not credit Rev. Robert Wilkins as the writer of "Prodigal Son". His performance of "Prodigal Son" at the 1964 Newport Folk Festival was included on the Vanguard LP Blues at Newport, Volume 2; that performance is similar to the Stones' cover.

On 10-11 December 1968 the band filmed a television extravaganza entitled The Rolling Stones Rock and Roll Circus featuring John Lennon, Eric Clapton, The Who and Jethro Tull among the musical guests. One of the original aims of the project was to promote Beggars Banquet, but the film was shelved by the Rolling Stones until 1996, when it was finally released officially.

Sympathy for the Devil is also the title of a producer's edit of a 1968 film by Jean-Luc Godard, whose own version is called One Plus One. The film, a fantasia around late 1960s counterculture, features the Rolling Stones in the process of recording the track in the studio. In the film a clip is seen where Keith Richards, Brian Jones, Jimmy Miller, Charlie Watts, Bill Wyman, Marianne Faithful and Anita Pallenberg are recording the song's "whoo whoo" backing vocals. Miller later revealed that this shot was staged, and that the backing vocals on the final track were overdubbed in Los Angeles with only Jagger, Richards and Miller present.

01. "Sympathy for the Devil" – 6:27
02. "No Expectations" – 4:02
03. "Dear Doctor" – 3:26
04. "Parachute Woman" – 2:23
05. "Jigsaw Puzzle" – 6:17
06. "Street Fighting Man" – 3:18
07. "Prodigal Son" (Rev. Robert Wilkins) – 2:55
08. "Stray Cat Blues" – 4:40
09. "Factory Girl" – 2:12
10. "Salt of the Earth" – 4:51

1. http://www.megaupload.com/?d=9SZT3Q74
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2. http://rapidshare.com/files/193425212/Beggars_Banquet.rar

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Flower Travellin' Band were an esoteric Japanese psychedelic rock/ heavy metal outfit active in the late 1960s and early 1970s, consisting of Akira "Joe" Yamanaka (vocals), Hideki Ishima (guitar), Joji "George" Wada (drums) and Jun Kozuki (bass).

The band was initially organized by Japanese entertainer and entrepreneur Yuya Uchida as "The Flowers," a cover band, and featured two vocalists - male vocalist Yuya Uchida, and female vocalist Remi Aso, who was touted as the Japanese version of Janis Joplin. Their first album consisted of covers of Western pop songs. It was primarily notable for the fact that all of the band members appeared nude on the cover, including Aso, which was considered scandalous at the time.

However, after the "Flowers" album, Uchida lost interest and Aso drifted away. The remaining members reorganized themselves, acquiring Joe Yamanaka as a vocalist on the recommendation of Uchida, and proceeded to explore a more original and rock-oriented direction.

In early 1973, they were billed to open for the Rolling Stones, but Mick Jagger's visa was rejected from a previous drug conviction and all concerts were cancelled. Later that year the band broke up, with Yamanaka going on to release solo albums in styles varying from David Bowie-styled glam rock to roots reggae.

Guitarist Hideki Ishima released a solo album, One Day, in 1973, and continued a career as a studio musician, guesting on several of Yamanaka's solo albums. Ishima is still active in the music scene in Japan, and specializes in playing the "sitarla," an instrument he designed. The sitarla apparently combines the qualities of a solidbody electric guitar and the sitar.

In recent years, Flower Travellin' Band has been rediscovered by the heavy metal, stoner rock and doom rock movements in America and England, and are often cited as influential by bands involved in these movements.

Yamanaka continues to be popular in Japan as a solo artist, and celebrated his 60th birthday in 2006 with a tour and the release of a live DVD, Joe's Bag. He continues to perform Flower Travellin' Band songs as part of his live show.

DISCOGRAPHY:
Challenge (Under the band name "Yuya Uchida and the Flowers") (1969)
-- Album of covers of 1960's songs. The name of the band at this point was actually Yuya Uchida And Flowers; entrepreneur, entertainer and promoter Uchida was a part of the band at this point. The album featured female vocalist Remi Aso, who was pictured nude on the front of the album with the rest of the band in the same state, causing a minor furor in Japan. The music consists of covers of Janis Joplin and Cream songs, among other 1960's hits.

Anywhere (1970)
-- Has the notoriety of debuting the first known Black Sabbath cover, namely the song "Black Sabbath". Uchida and Aso had left the group by this point, and they reorganized themselves as Flower Travellin' Band. The album consists of five lengthy cover songs, which are radically reimagined from the originals, with extended guitar soloing and quite different arrangements from the originals. Critically praised, particularly for the drastic reworkings of Muddy Waters' "Louisiana Blues" and the traditional "House of the Rising Sun," both of which are well-nigh unrecognizable. Once more the album cover courted controversy in Japan, featuring the four members of the band riding down the road stark naked on Honda motorcycles. The band was signed to Atlantic Records in Japan on the basis of these songs. Interestingly, the album apparently charted briefly in Canada.

Kirikyogen (1970) (as Kuni Kawachi and Flower Travellin' Band)
-- Recordings made before Anywhere with keyboardist Kuni Kawachi, not long after Yamanaka joined the band. More psychedelic and progressive rock influenced than other FTB projects, with more intricate song structure and arrangements than FTB would evidence until their final album, Make-Up. The album was produced in 1970 by Yuya Uchida, but Uchida for some reason was not satisfied with the results, and the album was not released until after Flower Travellin' Band had broken up.

Satori (1971)
-- Probably the most well-known FTB album in the West, Satori consists of five original songs, "Satori parts I-V". These are lengthy heavy rock pieces, verging on progressive rock or jam rock at times, with furious guitar soloing and strong arranging, as well as Yamanaka's over-the-top vocals. Critically, Satori is considered the album where FTB truly came into their own. Stoner Rock and Doom Metal enthusiasts often cite this album as one of the precursors in those genres. This album was later utilized as the soundtrack to Takashi Miike's film Deadly Outlaw: Rekka in which Akira "Joe" Yamanaka and Yuya Uchida had small roles.

Made In Japan (1972)
-- More fully structured songs, featuring a stronger progressive rock influence, although the intense guitar workouts and longer song structures remain somewhat similar to Satori. During this period, Flower Travellin' Band opened for many of the top rock acts of its day, including Emerson, Lake and Palmer, The Jeff Beck Group, and others.

Make Up (1973)
-- Double album, consisting of both live and studio recordings. The progressive rock influence is more pronounced here, and the band explores even more original territory compositionally. Yuya Uchida guests as a vocalist on one song, and the band is augmented by keyboardist Kuni Kawachi (with whom they had recorded an album previously). The band's final album.

From Pussies to Death in 10,000 Years of Freakout (recorded 1969-1970? issued 1995)
-- Bootleg release of early material not on any previous album. One song clearly dates from the Yuya Uchida and Flowers era ("Stone Free") while the cover of Howlin' Wolf's "How Many More Years" probably dates from 1970 or later. The other two songs on the album may date from 1969 or 1970; musically the songs seem to be part of a transition from the mildly psychedelic copy-band pop of Challenge to the proto-metal of Anywhere. Overall much more psychedelic rock influenced early recordings. Contains the 20-minute-plus "I'm Dead Parts 1 and 2," cited by musician/rock critic/occultist Julian Cope as one of the outstanding musical moments in the band's history.

01. Satori, Pt. 1
02. Satori, Pt. 2
03. Satori, Pt. 3
04. Satori, Pt. 4
05. Satori, Pt. 5

1. http://www.megaupload.com/?d=Y7F1ID9T
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I Got Dem Ol' Kozmic Blues Again Mama! is a 1969 studio album by Janis Joplin. It was the first solo studio album Joplin recorded after departing with Big Brother and the Holding Company. The LP was released on September 11, 1969 and reached gold record status within two months of its release. The CD reissue of the album contains "Dear Landlord", "Summertime" and "Piece of My Heart" as bonus tracks.

SOLO cAREER:
After splitting from Big Brother, Joplin formed a new backup group, the Kozmic Blues Band. Modeled on the classic soul revue bands,[clarify] the group backed her on the I Got Dem Ol' Kozmic Blues Again Mama! album in 1969. Their first public performance was at the Stax-Volt Christmas Show in Memphis, Tennessee on December 21, 1968, with The Bar-Kays, Booker T. & the M.G.'s, Albert King, Rufus Thomas, Carla Thomas, William Bell and Eddie Floyd.

Reviews of the new group were mixed. Some music critics, including Ralph Gleason, felt that the band's horn section competed with her voice. Other reviewers, such as reporter Carl Bernstein of the Washington Post generally ignored the flaws and devoted entire articles to celebrating the singer's magic.

Joplin and the new band toured North America and Europe throughout 1969, appearing at Woodstock in August. The Kozmic Blues album, released in September of 1969, was certified gold later that year but did not match the success of Cheap Thrills. At the end of the year, the group broke up. Their final gig with Joplin was at Madison Square Garden in New York City on December 21, 1969.

Joplin's performance was not included in the documentary film Woodstock, nor was it included on soundtrack albums released shortly after the festival. The 1975 documentary film Janis (film) included a clip of her dancing with saxophone player Cornelius "Snooky" Flowers during an instrumental break. The 25th anniversary director's cut of Woodstock includes her performance of Work Me, Lord. The segment begins with Joplin, her eyes almost shut, asking the audience, "How you doin'?" and then advising people who are stoned to "drink lots of water" before plunging into the song. Gabriel Mekler, who produced the album, told publicist-turned-biographer Myra Friedman (after Joplin's death) that the singer had lived in his house during the June 1969 recording sessions at his insistence so he could keep her away from drugs and her drug-using friends (who included Peggy Caserta).

By the time Joplin reached Woodstock two months later, her drug use had resumed. Decades later, Caserta and Myra Friedman recalled how disappointed she was in her performance and the amount of heroin she used.[citation needed] In addition to her stage fright at Woodstock, she had trouble at Madison Square Garden where, as she told rock journalist David Dalton, the audience watched and listened to "every note [she sang] with 'Is she gonna make it?' in their eyes." She told Friedman and others in the music business that she was a lot more nervous and prone to drinking and drugging in recording studios and playing large venues than at the Fillmore West and other small clubs. A writer for Playboy magazine noted during the Kozmic Blues sessions that Joplin made her own personal recordings of each day's takes with a Sony cassette recorder and, after leaving the studio at night, played them repeatedly searching for mistakes.

In February 1970, Joplin travelled to Brazil, where she stopped her drug and alcohol use. She was accompanied on vacation there by her friend Linda Gravenites, who had designed the singer's stage costumes from 1966 to 1969. Joplin was romanced by an American schoolteacher named David Niehaus, who was traveling around the world. They were photographed together in a crowd at Carnival in Rio de Janeiro.[citation needed] Returning to the United States, the singer then formed the Full Tilt Boogie Band. Composed mostly of drug-free Canadian musicians who didn't associate with her friends from Big Brother, the band included an organ but no horn section. Prior to beginning a summer tour with Full Tilt Boogie, she performed in a reunion with Big Brother at the Fillmore West in San Francisco on April 4, 1970. Recordings from this concert were included in an in-concert album released posthumously in 1972.

In late June 1970, Joplin and her new band joined the all-star Festival Express tour through Canada, performing alongside The Band, The Grateful Dead and others. Footage of her performance of the song "Tell Mama" in Calgary became an MTV video in the 1980s. The audio portion of same was included on the 1982 Farewell Song album. The audio of other Festival Express performances were included on that 1972 Joplin In Concert album. Video of the performances was included on the Festival Express DVD.

In the "Tell Mama" video shown on MTV in the 1980s, Joplin wore a psychedelically colored loose-fitting costume and feathers in her hair. This was her standard stage costume in the spring and summer of 1970. Members of her band and her entourage called her "Pearl" at her request to describe her new public image, but she did not want the media to report the nickname. During the last week of Joplin's life, Circus printed a color photo that showed the feathers in her hair. The new costumes came after her designer, Linda Gravenites (whom Joplin had praised in the May 1968 issue of Vogue), resigned shortly after their return from Brazil.

Despite Janis Joplin's substance abuse, she voiced criticism of two practices that were common at rock concerts. A 1970 interview for Newsweek reflected her opinion on gate-crashers at concerts:

"I don't believe in gate-crashing,"Janis Joplin said last week. "The people aren't up there when I'm sweating on a stage at a festival, breaking my ass. You can get the money, man. Sell your old lady, sell your dope. Look at me, man, I'm selling my heart."

While Jerry Garcia and Bob Weir of the Grateful Dead shared her rejection of gate-crashing (as evident in Festival Express), Jefferson Airplane guitarist Paul Kantner by contrast did not, as reflected in the same Newsweek piece: "I would enthusiastically urge anyone attending a rock festival to break in. They should be free," he said.

Joplin also objected to the practice of dosing people with LSD without their permission or knowledge. On August 4, 1970, while at New York's El Quijote bar with her publicist Myra Friedman and a fan, she commented that people who did that were comparable to police officers who go around smashing people's skulls. Joplin expounded on the topic a few days later. Over dinner with Friedman and "several members of Full-Tilt (Boogie Band)" in a New York restaurant called Bradley's, Joplin spoke about "what she called 'hippie brainwashing'. 'They're frauds, the whole goddamn culture. They bitch about brainwashing from their parents and they do the same damn thing. I've never known a one of those people who would tolerate any way of life but their own.

During September 1970, Joplin and her band began recording a new album in Los Angeles with producer Paul A. Rothchild, who was produced recordings for The Doors. Although Joplin died before all the tracks were fully completed, there was still enough usable material to compile an LP. "Mercedes Benz" was included despite it being a first take, and the track "Buried Alive In The Blues" — to which Joplin had been scheduled to add her vocals on the day she was found dead — was kept as an instrumental.

The result was the posthumously released Pearl (1971). It became the biggest selling album of her career and featured her biggest hit single, a cover of Kris Kristofferson's "Me and Bobby McGee" (which she learned from Arlo Guthrie), as well as the social commentary of the a cappella "Mercedes Benz", written by Joplin, close friend and song writer Bob Neuwirth and beat poet Michael McClure. In 2003, Pearl was ranked #122 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time.

Among her last public appearances were two broadcasts of The Dick Cavett Show on June 25 and August 3, 1970. On the June 25 show, she announced that she would attend her ten-year high school class reunion, although she admitted that when in high school, her schoolmates "laughed me out of class, out of town and out of the state." She attended the reunion on August 14, accompanied by fellow musician and friend Bob Neuwirth and road manager John Cooke, but it would be one of the last decisions of her life and it reportedly proved to be a rather unhappy experience for her.

During the August 3rd Cavett broadcast, Joplin referred to her upcoming performance at the Festival for Peace to be held at Shea Stadium in Queens, New York on August 6, 1970. The date was selected because it was the 25th anniversary of the atomic bombing of Hiroshima, Japan. The anti-war concert was a day-long event featuring many of the top acts of the day including Steppenwolf, Creedence Clearwater Revival, Paul Simon, The James Gang, and a dozen others.

Joplin's last public performance, with the Full Tilt Boogie Band, took place on August 12, 1970 at the Harvard Stadium in Boston, Massachusetts. A positive review appeared on the front page of the Harvard Crimson newspaper despite the fact that Full Tilt Boogie performed with makeshift sound amplifiers after their regular equipment was stolen in Boston.

The last recordings Joplin completed were "Mercedes Benz" and a birthday greeting for John Lennon on October 1, 1970, Happy Trails composed by Dale Evans. Lennon, whose birthday was October 9, later told Dick Cavett that her taped greeting arrived at his home after her death. On Saturday, October 3, Joplin visited the Sunset Sound Studios in Los Angeles to listen to the instrumental track for Nick Gravenites' song "Buried Alive In The Blues" prior to recording the vocal track, scheduled for the next day. When she failed to show up at the studio by Sunday afternoon, producer Paul Rothchild became concerned. Full Tilt Boogie's road manager, John Cooke, drove to the Landmark Motor Hotel (since renamed the Highland Gardens Hotel) where Joplin had been a guest since August 24. He saw Joplin's psychedelically painted Porsche still in the parking lot. Upon entering her room, he found her dead on the floor. The official cause of death was an overdose of heroin, possibly combined with the effects of alcohol.

Joplin was cremated in the Pierce Brothers Westwood Village Mortuary in Los Angeles, and her ashes scattered from a plane into the Pacific Ocean and along Stinson Beach. The only funeral service was held at Pierce Brothers and attended by Joplin's parents and maternal aunt.

01. "Try (Just A Little Bit Harder)" (Ragovoy/Taylor) - 3:57
02. "Maybe" (Barrett) - 3:41
03. "One Good Man" (Joplin) - 4:12
04. "As Good As You've Been To This World" (Gravenites) - 5:27
05. "To Love Somebody" (B. Gibb/R. Gibb) - 5:14
06. "Kozmic Blues" (Joplin/Mekler) - 4:24
07. "Little Girl Blue" (Hart/Rodgers) - 3:51
08. "Work Me Lord" (Gravenites) - 6:45

Bonus tracks
09. "Dear Landlord" (Session Outtake) (Dylan/Joplin) - 2:32
10. "Summertime" (Live At Woodstock) (Gershwin)- 5:04
11. "Piece of My Heart" (Live At Woodstock) (Ragovoy/Berns) - 6:31

+ A Very Rare Surprise Added By Me (ChrisGoesRock)

1. http://rapidshare.com/files/193214260/Janis_Joplin.rar