Pylon Sounds

**
HEY ALL ~ thanks for stopping in. will be posting more lp`s soon. got my isp / google thing figured out , ha.
hit me with any requests you might have , or have made & i have forgotten.
i will certainly try & get to em.
might throw in a few curve balls here & there to keep ya on ya feet !
maybe a classic 70`s LP or sometin` -----

rok on

If ya take the time to download , please take the time to comment.

thanks to CY & WKC for all the great feedback & comments ....!!!!

oh , btw -- check out the new Hamilton Streetcar myspace site ! rare b-sides & such !
super nice guys.
Hamilton Streetcar



WATCH THIS SPACE -- aka`





i created this blog to share some of my collection ... i have over 3,500 lp`s.
i am using an old vintage marantz 1150D amp [ thanks pa ! ], Yamaha YP-D4 turntable , seasound SOLO EX soundcard , & nuendo to do all tranfers.
this seems to capture the warmth of vinyl as well , which is really nice !
most of my wax is real clean so i hope to get some clean transfers.
minor eq / comp if needed to add more clarity. also a bit of WAVS x-clik , x-pop , etc.
some recordings will be cd transfers , but the majority will be scare psych LP`s.
i have about a thousand cds , many of which are OOP & obscure enuff to share.
i am new to the blog thing , but have noticed alot of really obscure stuff being posted. i will try & fill in the cracks as best i can , but i am sure there be someone / somewhere who beats me to the punch , so to speak.
i just dont wanna waste time with something that is already avaliable , so i will try & keep my posts as original as feasable.
i am a huge psych fan & collector , so as i mentioned the majority , 70% will be pre `70 psych & or pop psych , or just plain wierd [ bonzo dog band ]
all files are the result of my own effort & time , from my own personal collection. no files here are borrowed or otherwise mirrored & or cloned.
i expect the same reciprication.
LASTLY IF YOU LIKE/LOVE ANY OF THESE LP`S , PLEASE SEEK IT OUT & BUY IT `

enjoy your time in the kosmos & if ya take time to download the music , take time to let me know what ya think please!

aka`

WHEN THE SAINTS GO MARCHING IN
James Brown
Hell
Polydor : 1974
[Buy It]

When I was fourteen or so, I went to a summer-camp-type-thing for kids interested in high school debate. I think that my parents were trying to find some way to make lemonade out of the fact that I argued all the time. When I was there, I met a girl from New Orleans. She was one of the first people I liked as a person, without reservation; she had what a hippie would call good energy, and was skinny and mile-a-minute, and said funny things that were rarely (but sometimes excellently) mean. She was a die-hard Saints fan who, at the time, wore her suffering as a badge. Those weren't the worst Saints teams, not by a long stretch--they were the .500 or so Bum Phillips squads, post-Chuck Muncie and Archie Manning--but I was from Miami, and the Dolphins were riding high with the Killer Bs and Dan Marino. I listened to her stories about her team with a mix of pity and fascination. It was the first time I saw fandom as a form of faith rather than a method for receiving a regularly scheduled reward. We've kept in touch faintly over the years, and when the clock ran out last night on Super Bowl XLV, she was the first person I emailed. She was over the moon and, I hope, stays there for a while.

Even when the Saints were unlucky, they were lucky, in that they had the best music. "When the Saints Go Marching In" was already a pre-jazz spiritual standard before Louis Armstrong got to it in the thirties, before Fats Domino got to it in the fifties, before Barbecue Bob and Professor Longhair and Bo Diddley and Dr. John and Blind Willie Davis and Jerry Lee Lewis and Precious Bryant and Aaron Neville got to it along the way. It's a song everyone knows and understands; it's about salvation and jubilation and absorbing the bad as part of a larger good. It fit the team when the team was unfit, and it fits them now. To celebrate yesterday's victory, I have picked one of the strangest versions: James Brown's proto-disco reading, from Hell in 1974 (coincidentally, those mid-seventies years, where John North was lucky to get five wins out of his team, were pretty hellish). There's blaxploitation guitar. There's an insistent shaker on the left side of the mix. Plus so much more: the showboating, the shouting, the for-rent female backup vocals, and the laughable lyric alterations ("Get on the Jesus crusade!"). If Drew Brees' performance was precise and perfect, this is baggy-pants and often wrong. But it's no less compelling. Congratulations, New Orleans, and congratulations, fourteen-year-old debate girl who loves the Saints to distraction.

MARIANNE FAITHFULL - GREEN ARE YOUR EYES
i heard this for the first time yesterday and was blown away by it.

CHANTAL KELLY - TOI, MON MAGICIEN
could this be another blowupdoll exclusive?
a massive thanks goes to blowup buddy heather for sharing this super rare chantal track. not only that, it's also bloody brilliant!

ok folks :

gonna get back into the swing of things soon. just ordered a new cartridge for my turntable , then we can start getting more lp`s up !
in the meantime , here is a hard to find doc about record collecting & collectors.
i hope i never get this bad , ha. these DOODS are truly serious -- anyway this film is quite amusing -- enjoy


"Excellent, excellent film about record collectors from the perspective of a film maker AND record collector. What's so unique about Alan Zweig's documentation, is that he includes his own person in it, sometimes filming a location and himself in a mirror, or speaking directly to the audience about his private and personal thoughts. The other record collectors portrayed in this 110 minutes movie are beyond belief; can you imagine someone seriously claiming to collect EVERY song ever made? Or being able to tell the tracklists of ALL of his ten-thousands of albums by heart? "Vinyl"will blow your mind beyond the subject of sheer record collecting. It's a study on human obsessions in general."


download ---- HERE --

CLAUDINE LONGET - MORNING STAR
ripped from a tv performance - this never released christmassy song was requested last week.

i want to buy marie espinosas album 'la démarrante' but can't find anywhere to buy it from. i live in the uk and am struggling to find a place that will send it to me - amazon.fr will send me books but not music for some reason. or does anyone know where i can buy it is a download? (in the uk). ebay doesn't even have it! help!

have you seen this amazing clip of adriano celentano singing the very bizarre 'prisencolinensinainciusol'?! it features some of the most fantastic dancing i have ever seen and look out for the ever funky raffaella carrà - she rocks it!

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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)

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Rick Derringer (born Richard Zehringer, August 5, 1947, in Fort Recovery, Ohio) is an American guitarist, vocalist, and entertainer. He is perhaps best known for the songs "Rock and Roll, Hoochie Koo" and "Real American". Derringer was also "Weird Al" Yankovic's producer and additional guitarist for five years, before rhythm guitarist Jim West became sole guitarist.

When he was seventeen years old, his band The McCoys recorded "Hang on Sloopy" in the summer of 1965, which became the number one song in America before "Yesterday" by The Beatles knocked it out of the top spot.

Derringer also recorded and played with a version of Johnny Winter's band called "Johnny Winter And ..." and both Edgar Winter's White Trash and The Edgar Winter Group. Derringer also had a successful solo career, and his solo version of "Rock and Roll, Hoochie Koo" was a hit single. He also recorded extensively with Steely Dan, playing lead guitar on songs such as "Show Biz Kids".

Along with Judas Priest, Derringer opened for Led Zeppelin on their last American tour.

01. Radio Intro
02. Still Alive and Well
03. Let Me In
04. Teenage Love Affair
05. Sittin' By The Pool
06. One Eyed Jack
07. Sailor
08. Beyond The Universe
09. Rock and Roll Hoochie Koo (inluding You Really Got Me)
10. Roll With Me
11. Rebel Rebel
12. Keep On Makin' Love
13. Let's Make It
14. Radio Outro

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The Velvet Underground & Nico is the debut album by experimental rock band The Velvet Underground and vocal collaborator Nico. It was originally released in March 1967 by Verve Records.

Recorded in 1966 during Andy Warhol's Exploding Plastic Inevitable multimedia event tour, The Velvet Underground & Nico would gain notoriety for its experimentalist performance sensibilities, as well as its focus on controversial subject matter expressed in many of their songs.

The Velvet Underground & Nico was recorded with the first professional line up of The Velvet Underground, including Lou Reed, John Cale, Sterling Morrison and Maureen "Moe" Tucker; with Nico, who would occasionally sing lead with the band at the instigation of their mentor and manager, Andy Warhol. Nico would sing lead on three of the album's tracks—"Femme Fatale", "All Tomorrow's Parties" and "I'll Be Your Mirror"—and back up on "Sunday Morning". In 1966, as the album was being recorded, this was also the line up that would perform live as a part of Warhol's Exploding Plastic Inevitable.

The bulk of the songs that would become The Velvet Underground & Nico were recorded in mid-April, 1966, during a four-day stint at Scepter Studios, a decrepit recording studio in New York City. This recording session was financed by Warhol and Columbia Records' sales executive Norman Dolph, who also acted as an engineer with John Licata. Though exact total cost of the project is unknown, estimates vary from $1500 to $3000.

Soon after recording, Dolph sent an acetate disc of the recordings to Columbia in an attempt to interest them in distributing the album, but they declined, as did Atlantic Records and Elektra Records. Eventually, the MGM Records-owned Verve Records accepted the recordings with the help of Verve staff producer Tom Wilson, who had recently moved from a job at Columbia.

With the affirmation of a label, three of the songs, "I'm Waiting for the Man", "Venus in Furs" and "Heroin", were re-recorded in two days at T.T.G. Studios during a stay in Hollywood later in 1966. As the record's release date was bumped back time after time because of production problems, Wilson also took them into a New York studio in November 1966 to add a final song to the track listing: the single "Sunday Morning". The production on that song is far more professional and lush, aimed as it was at radio playtime.

There is some confusion as to who actually produced The Velvet Underground & Nico. Although Andy Warhol was the only formally credited producer, he had very little direct influence or authority over the album beyond paying for the recording sessions. In fact, several other individuals who worked on the album are often mentioned as the album's technical producer.

Norman Dolph and John Licata are sometimes attributed to producing the Scepter Studios sessions, considering they were responsible for recording and engineering them (despite the fact that neither of the two were ever mentioned in the original album's credits). Dolph himself, however, admits John Cale as the album's rightful creative producer, as he handled the majority of the album's musical arrangements. And yet, Cale later recalled that it was Tom Wilson who actually produced nearly all the tracks on The Velvet Underground & Nico. "The band never again had as good a producer as Tom Wilson," Cale told an interviewer. "Andy Warhol didn't do anything." Sterling Morrison described Warhol as the album's producer "in the sense of producing a film. We used some of his money and our money...Andy was the producer but we were the "executive producers" too. We made the record ourselves and then brought it around and MGM said they liked it."

—However, others cite Warhol's lack of manipulation on the album itself a legitimate means of production. Lou Reed discussed the matter in an interview:

He just made it possible for us to be ourselves and go right ahead with it because he was Andy Warhol. In a sense, he really did produce it, because he was this umbrella that absorbed all the attacks when we weren't large enough to be attacked... and as a consequence of him being the producer, we'd just walk in and set up and do what we always did and no one would stop it because Andy was the producer. Of course he didn't know anything about record production—but he didn't have to. He just sat there and said "Oooh, that's fantastic," and the engineer would say, "Oh yeah! Right! It is fantastic, isn't it?"

The Velvet Underground & Nico was notable for its overt descriptions of topics such as drug abuse, prostitution, sadism and masochism, and sexual deviancy. "I'm Waiting for the Man" describes a man's efforts to obtain heroin while "Venus in Furs" is a nearly literal interpretation of the nineteenth century novel of the same name (which itself prominently features accounts of BDSM). "Run Run Run" also built around drug culture as its premise. One of the most well-known tracks on the album is "Heroin", a song that details an individual's use of the drug and the experience of feeling its effects.

Lou Reed, who wrote the majority of the album's lyrics, never intended to write about such topics for shock value. Reed, a fan of poets and authors such as Raymond Chandler, Nelson Algren, William S. Burroughs, Allen Ginsberg, and Hubert Selby, Jr., saw no reason why the content in their works couldn't translate well to rock and roll music. An English major, having studied for a B.A. at Syracuse University, Reed said in an interview that he thought joining the two (gritty subject matter and music) was "obvious". "That's the kind of stuff you might read. Why wouldn't you listen to it? You have the fun of reading that, and you get the fun of rock on top of it."

Though the album's dark subject matter is today considered revolutionary, several of the album's songs are concerned with other topics. Certain songs were written by Reed as observations of the members of Andy Warhol's "Factory Superstars". "Femme Fatale" in particular was written about Edie Sedgwick at Warhol's request. "I'll Be Your Mirror", inspired by Nico, is a tender and affectionate song; stark in contrast to a song like "Heroin". A common mis-perception is that "All Tomorrow's Parties" was written by Reed at Warhol's request (as stated in Victor Bockris and Gerard Malanga's Velvet Underground biography Up-Tight: The Velvet Underground Story). While the song does seem to be another observation of Factory denizens, Reed had written the song (and even recorded a demo version in 1965) before meeting Warhol.

Much of the album's sound was conceived by John Cale, who stressed the experimental qualities of the band. Cale, who was influenced greatly by his work with La Monte Young, John Cage and the early Fluxus movement, encouraged the use of alternative ways of producing sound in music. Cale thought his sensibilities meshed well with Lou Reed's, who was already experimenting with alternative tunings. For instance, Reed had "invented" the ostrich guitar tuning for a song he wrote called "The Ostrich" for the short-lived band The Primitives. Ostrich guitar tuning consists of all strings being tuned to the same note. The method was utilized on songs "Venus in Furs" and "All Tomorrow's Parties". Often, the guitars were also tuned down a whole step, which produced a lower, fuller sound that Cale called "sexy".

Cale's viola was used on several of the album's songs, notably "Venus in Furs" and "Heroin". The viola used guitar and mandolin strings, and when played loudly, Cale would often liken its sound to that of an airplane engine. Quite often, Cale would only play one note on the viola and sustain it for as long as possible, as on much of "Heroin".

The Velvet Underground & Nico is sometimes referred to as the "banana album" as it features a Warhol print of a banana on the cover. Early copies of the album invited the owner to "Peel slowly and see"; peeling back the banana skin revealed a flesh-colored banana underneath. A special machine was needed to manufacture these covers (one of the causes of the album's delayed release), but MGM paid for costs figuring that any ties to Warhol would boost sales of the album.

When the album was first issued, the main back cover photo (taken at an Exploding Plastic Inevitable performance) featured an image of actor Eric Emerson projected upside-down on the wall behind the band. Emerson threatened to sue over this unauthorized use of his image, unless he was paid. Rather than complying, MGM recalled copies of the album and halted its distribution until Emerson's image could be airbrushed from the photo on subsequent pressings. Copies that had already been printed were sold with a large black sticker that couldn't be peeled off covering the actor's image.

Frustrated by the album's year-long delay and unsuccessful release, Lou Reed's relationship with Andy Warhol grew tense until Reed finally fired Warhol as manager in favor of Steve Sesnick. Nico was also forced out of the group, though she would start a moderately successful career as a solo artist, releasing her debut solo album, Chelsea Girl in October 1967. Chelsea Girl would feature five songs written by members of The Velvet Underground, including "Wrap Your Troubles in Dreams", a song Reed wrote and recorded earlier with the aid of John Cale and Sterling Morrison in 1965.

Tom Wilson remained working with the group through 1967, producing their 1968 album White Light/White Heat and Nico's Chelsea Girl.

Disc 1:
01. Sunday Morning [stereo] - 2.55
02. I'm Waiting for the Man [stereo] - 4.39
03. Femme Fatale [stereo] - 2.39
04. Venus in Furs [stereo] - 5.12
05. Run Run Run [stereo] - 4.22
06. All Tomorrow's Parties [stereo] - 5.59
07. Heroin [stereo] - 7.12
08. There She Goes Again [stereo] - 2.41
09. I'll Be Your Mirror [stereo] - 2.14
10. The Black Angel's Death Song [stereo] - 3.11
11. European Son [stereo] - 7.51
12. Little Sister [Nico] - 4.28
13. Winter Song [Nico] - 3.22
14. It Was a Pleasure Then [Nico] - 8.06
15. Chelsea Girls [Nico] - 7.28
16. Wrap Your Troubles in Dreams [Nico] - 5.06

Disc 2:
01. Sunday Morning [mono] - 2.57
02. I'm Waiting for the Man [mono] - 4.47
03. Femme Fatale [mono] - 2.39
04. Venus in Furs [mono] - 5.13
05. Run Run Run [mono] - 4.25
06. All Tomorrow's Parties [mono] - 6.01
07. Heroin [mono] - 7.14
08. There She Goes Again [mono] - 2.42
09. I'll Be Your Mirror [mono] - 2.16
10. The Black Angel's Death Song [mono] - 3.14
11. European Son [mono] - 7.57
12. All Tomorrow's Parties [A-side single 1966] - 2.53
13. I'll Be Your Mirror [B-side single 1966] - 2.18
14. Sunday Morning [A-side single 1966] - 2.59
15. Femme Fatale [B-side single 1966] - 2.37

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One of the best-sounding Led Zeppelin bootlegs that surfaced in the 1990s was Another White Summer, which focuses primarily on a June 27, 1969 concert at Playhouse Theater in London. A bootlegger calling itself Big Music obviously had a high-quality master recording to work with, for the sound quality is superb (by 1969 standards).

In fact, one could go so far as to say that Another White Summer is a bootleg that would even impress an audiophile. The word superb also describes the performances themselves — as much jamming and improvising as Robert Plant and Jimmy Page do, Zeppelin sounds quite focused on "Communication Breakdown" and an 11-minute "Dazed and Confused," as well as interpretations of Chicago blues classics like Howlin' Wolf's "How Many More Times" and Willie Dixon's "You Shook Me."

Meanwhile, two versions of the instrumental "White Summer" (one of which is a bonus track recorded in 1970 instead of 1969) find Page getting into some interesting, raga-influenced jamming. When this concert was recorded, Zeppelin only had one album out — the ultra-influential Led Zeppelin II was still a few months away from being released. Easily recommended to heavy metal/hard rock and blues-rock lovers, Another White Summer is among the more rewarding bootlegs of Zeppelin's early concerts.

01. Communication Breakdown (Page, Jones, Bonham)
02. I Can't Quit You Baby (Willie Dixon arr. by Led Zeppelin)
03. Dazed and Confused (Page)
04. Medley /White Summer, Black Mountain Side/ (Page)
05. You Shook Me (Willie Dixon arr. by Led Zeppelin)
06. How Many More Times (Howlin’ Wolfs “How Many More Years” arr. by Led Zeppelin)
07. White Summer (Page)

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The first band that could be considered a parent of The Who was a dixieland band started by Pete Townshend and John Entwistle called The Confederates. Townshend played the banjo and Entwistle the French horn (which he would continue to use in The Who and in his solo career). Roger Daltrey, a senior that year, asked Entwistle to join his band. Entwistle agreed and suggested Townshend as an additional guitarist.

In their early days the band was known as The Detours. Like many of their British peers, the group was heavily influenced by American blues and country music, initially playing mostly rhythm and blues. Daltrey was initially the lead guitarist, but he soon moved to lead vocals and Townshend became sole guitarist. The Detours changed their name to "The Who" in 1964 and, with the arrival of Keith Moon that year, their line-up was complete. However, for a short period during 1964, under the management of Peter Meaden, they changed their name to The High Numbers, during which time they released "Zoot Suit/I'm The Face", a single designed to appeal to their mostly mod fans. When it failed to chart, the band fired Meaden and quickly reverted to The Who. They became one of the most popular bands among the British mods, a 1960s subculture involving cutting-edge fashions, scooters and music genres such as rhythm and blues, soul, and beat music.

The band crystallised around Townshend as the primary songwriter and creative force (though Entwistle would also make notable songwriting contributions). Townshend was at the centre of the band's tensions, as he strove to write challenging and thoughtful music, while Daltrey preferred energetic and macho material (Daltrey would occasionally refuse to sing a Townshend composition and Townshend would thus sing it himself). Moon, not really a songwriter (although he contributed a handful of songs in the 60s), was a fan of American surf music.

In September 1964, at the Railway Tavern in Harrow and Wealdstone, England, Pete Townshend smashed his first guitar. Playing on a high stage, Townshend's physical style of performance resulted in him accidentally breaking off the head of his guitar when it collided with the ceiling. Angered by snickers from the audience, he proceeded to smash the instrument to pieces on the stage. He then picked up a Rickenbacker twelve-string guitar and continued the concert. A large crowd attended their next concert, but Townshend declined to smash another guitar. Instead, Keith Moon wrecked his drumkit. Instrument destruction became a staple of The Who's live shows for the next several years. The incident at the Railway Tavern is one of Rolling Stone magazine's "50 Moments That Changed the History of Rock 'n' Roll".

The Who's first release, and first hit, was January 1965's "I Can't Explain", influenced by the early Kinks hits (with whom they shared American producer Shel Talmy). This top ten UK hit was followed by "Anyway, Anyhow, Anywhere", which was the only song credited as being composed in a joint effort by Townshend and Daltrey, though Townshend implied Daltrey assisted in songwriting without credit in the liner notes to Meaty Beaty Big and Bouncy.

Their debut album My Generation (The Who Sings My Generation in the U.S.) was released the same year. The album included such mod anthems as "The Kids Are Alright" and the title track "My Generation". Subsequent hits, such as the 1966 singles "Substitute", about a young man who feels like a fraud, "I'm a Boy" about a young boy dressed as a young girl, "Happy Jack" about a mentally disturbed young man, and 1967's "Pictures of Lily", a tribute to masturbation, all show Townshend's growing use of stories of sexual tension and teenage angst. More hits followed, including "I Can See for Miles" and the 1968 single "Magic Bus".

Although they had success as a singles band, Townshend had more ambitious goals. He wanted to treat The Who's albums as unified works, rather than collections of unconnected songs. Although Townshend later said that the song "I'm A Boy" was from a projected opus, the first sign of this ambition came in their 1966 album A Quick One, which included the storytelling medley "A Quick One While He's Away", which they later referred to as a "mini opera," and which has been called the first prog epic.

A Quick One was followed by The Who Sell Out in 1967, a concept album which played like an offshore radio station, complete with humorous jingles and commercials, and which also included a mini rock opera, called "Rael" (whose closing theme ended up on "Tommy"), as well as The Who's biggest USA single, "I Can See for Miles". The Who famously destroyed their equipment onstage at the Monterey Pop Festival that year and subsequently repeated the routine on the Smothers Brothers Comedy Hour with literally explosive results as Keith Moon detonated his drum kit. In 1968 The Who were the headliner of the first Schaefer Music Festival in New York City's Central Park. Also that year, Pete Townshend became the subject of the first Rolling Stone interview. Townshend revealed in that interview that he was working on a full-length rock opera. This was Tommy, the first work billed as a rock opera and a major landmark in modern music.

UK singles (1964-68)

1964 - "I'm the Face" / "Zoot Suit" / (Released under the name The High Numbers. A & B sides flipped on later pressings.)
1965 - "I Can't Explain" / "Bald Headed Woman"
1965 - "Anyway, Anyhow, Anywhere" / "Daddy Rolling Stone" (UK B-Side) / "Anytime You Want Me" (US B-Side)
1965 - "My Generation" / "Shout and Shimmy"
1966 - "Circles" / "Instant Party" (Unreleased single)
1966 - "Substitute" / "Circles" (UK B-Side) / "Waltz for a Pig" (US B-Side)
1966 - "A Legal Matter" / "Instant Party"
1966 - "The Kids Are Alright" / "The Ox"
1966 - "I'm a Boy" / "In the City"
1966 - "La La La Lies" / "The Good's Gone"
1966 - "Happy Jack" / "I've Been Away" (UK B-Side) / "Whiskey Man" (US B-Side)
1967 - "Pictures of Lily" / "Doctor, Doctor"
1967 - "The Last Time" / "Under My Thumb"
1967 - "I Can See For Miles" / "Someone's Coming" (UK B-Side) / "Mary-Anne with Shakey Hands" (US B-Side)
1968 - "Dogs" / "Call Me Lightning"

01. "Bucket T"
02. "I'm a Boy"
03. "Pictures of Lily"
04. "Doctor Doctor"
05. "I Can See for Miles"
06. "Substitute"
07. "Happy Jack"
08. "Last Time"
09. "In the City"
10. "Call Me Lightning"
11. "Mary Anne With the Shaky Hand"
12. "Dogs"

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Flower Travellin' Band are an influential Japanese hard rock outfit that was first 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). As of January 12th, 2008 they have officially reunited and hired a new member, keyboardist Nobuhiko Shinohara.

The band was initially organized by Japanese entertainer and entrepreneur Yuya Uchida as "The Flowers," a cover band, and featured two vocalists - himself, 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 various solo albums.

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 combines the qualities of a solidbody electric guitar and the sitar.
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.

01. Introduction (0:27)
02. Unaware (5:51)
03. Aw Give Me Air (3:20)
04. Kamikaze (4:16)
05. Hiroshima (5:13)
06. Spasms (5:23)
07. Heaven And Hell (3:50)
08. That's All (6:39)

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The Searchers are a British rock band who emerged as part of the 1960s merseybeat scene along with The Beatles, The Swinging Blue Jeans, and Gerry and the Pacemakers.

The band's hits included a remake of the Drifters' 1961 hit, "Sweets for My Sweet"; remakes of Jackie DeShannon's "Needles and Pins" and "When You Walk In The Room"; "Sugar and Spice"; "Don't Throw Your Love Away"; and a remake of The Clovers' "Love Potion No. 9". They were the second group from Liverpool after the Beatles to have a hit in America when "Needles and Pins" charted during the first week of March 1964.

Originally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender, the band took their name from the classic 1956 John Wayne western The Searchers. Prendergast claims that the name was his idea, but McNally ascribes it to 'Big Ron' Woodbridge (born Ronald Woodbridge, 1938, in Liverpool, Lancashire), their first lead singer. The genesis remains unresolved.

The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). When the other two members lost interest McNally was joined by his guitarist neighbour Mike Prendergast. They soon recruited Tony Jackson (born Anthony Paul Jackson, 16 July 1938, The Dingle, Liverpool, Lancashire — died 18 August 2003, Nottingham, Nottinghamshire) with his home-made bass guitar and amplifier and styled themselves 'Tony and the Searchers' with Joe Kelly on drums. Kelly soon left to be replaced by Norman McGarry (born 1 March 1942, Liverpool, Lancashire), and it is this line-up — McNally, Pender (as he soon became known), Jackson and McGarry — that is usually cited as the original foursome.

McGarry did not stay long, however, and in 1960 his place was taken by Chris Crummey (who later changed his name to Curtis). Later that year Big Ron had a successful audition with Mecca and became a ballroom singer. He was replaced by Billy Beck, who changed his name to Johnny Sandon (born William Beck, in 1941, Liverpool died 23 December 1996). The band had regular bookings at Liverpool's Iron Door Club as 'Johnny Sandon and the Searchers'.

Sandon left the band in late 1961[1] to join The Remo Four in February 1962. The group settled into a quartet sharing the vocal lead and billed simply as 'The Searchers'. They continued to play at the Iron Door, The Cavern, and other Liverpool clubs. Like many similar acts they would do as many as three shows at different venues in one night. They negotiated a contract with the Star-Club in the St. Pauli district Hamburg for 128 days, with three one-hour performances a night, starting in July 1962.

The band returned to a residency at the Iron Door Club and it was there that they tape-recorded the sessions that led to a recording contract with Pye Records with Tony Hatch as producer. Their first single was issued in US on Mercury, the second on Liberty without success and then a deal was arranged with U.S. based Kapp Records to distribute their records in America.

Hatch played piano on some recordings and wrote "Sugar and Spice"—the band’s second number one record—under the pseudonym Fred Nightingale; a secret he kept from the band at the time.
After scoring with their hit "Needles and Pins", bassist Tony Jackson was fired from the band and was replaced by Hamburg pal Frank Allen (born Francis Renaud McNeice, 14 December 1943, Hayes, Middlesex) from Cliff Bennett and the Rebel Rousers.

Chris Curtis left the band in 1966 and was replaced by the Keith Moon-influenced John Blunt, who in turn was replaced by Billy Adamson in 1970. In 1967, Curtis formed a new band called Roundabout with keyboard player Jon Lord and guitarist Ritchie Blackmore. Although Curtis's involvement in the project was short-lived, Roundabout would eventually evolve into Deep Purple the following year.

01. Sweets For My Sweet (Mono)
02. Alright (Mono)
03. Love Potion Number Nine (Mono)
04. Farmer John (Mono)
05. Stand by Me (Mono)
06. Money (Thats What I Want) (Mono)
07. Da Doo Ron Ron (Mono)
08. Aint Gonna Kiss Ya (Mono)
09. Since You Broke My Heart (Mono)
10. Tricky Dicky (Mono)
11. Where Have All the Flowers Gone (Mono)
12. Twist and Shout (Mono)
13. Its All Been a Dream
14. Liebe (Money in German)
15. Farmer John (In German)
16. Mais Cetait un Reve (Its All Been a Dream in French)
17. Sweets For My Sweet (Stereo)
18. Love Potion Number Nine (Stereo)
19. Farmer John (Stereo)
20. Stand by Me (Stereo)
21. Money (Thats What I Want) (Stereo)
22. Da Doo Ron Ron (Stereo)
23. Aint Gonna Kiss Ya (Stereo)
24. Since You Broke My Heart (Stereo)
25. Tricky Dicky (Stereo)
26. Where Have All the Flowers Gone (Stereo)
27. Twist and Shout (Stereo)

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The Quarter Afters' Changes Near is an accomplished, finely-crafted record in the Neo-Folk Psychedelic space. The production is consistently strong and the mix and the sound quality somehow manage to be both old and new at the same time.

It's a big step forward in the evolution of The QA, as well as a big step back toward the roots of their family tree, The Byrds. To review The QA one feels compelled to address their relationship to The Byrds. They are direct off-spring, perhaps a grandchild. In the song, appropriately titled "This is How I Want to Know You", one can hear all of their signature elements--12 string Rickenbacker, layered, smooth harmonies, loose rockin solos going a little longer than you'd expect, shakers and tambourines and well crafted, tight lyrics. This is the language the Campenella brothers use to get to know us. So, if this is how you want to know them, you'll love it.

It's McGuinn's guitar and Clark's vocals influenced greatly by Petty, Parsons and maybe some early REM. That's the space. However, the band is able to bring something new to it by writing and producing the songs in a more loosely crafted, and modern way. It's on the edge of falling apart sometimes, which at moments reminds me of a live Replacements show circa 83. Or the White Stripes at The Bowery Ballroom a few years back. It's this looseness that gives the band it's distinctiveness--that which makes it an acorn falling not far from the tree, rather than just a branch on the Byrd's Tree. In lesser hands it might be derivative, but in their skilled hands it shines anew. The Quarter After are a band first, and throughout the record we are always aware this is a recording of a tight, touring rock band. That's not something one hears a great deal of anymore in these days of Pro-Tools and Auto-Tune.

When they own this space, in songs like "Sanctuary", "She Revolves", "Early Morning Rider" and "See How Good it Feels" they are able to transcend the genre and make you wanna get out the tie-dyed shirt, have a libation and just feel groovy. This record delivers when it comes to jangle and shake and I only wish I could listen to it late at night, on vinyl, with my old Pioneer headphones.

It tends to get a little unsure of itself in songs like "Counting the Score" and "Nothing Out of Something". Here Dominic Campenella gets vocally naked, without a lot of backing band while singing in the higher, non-Clark-like registers, and it feels a little thin and not as seasoned at times . But these are brief moments in the overall record. Mostly, we are on a slow, vibey, new-age sixties journey in wonderland, as experienced in the masterful "Winter Song". This one is a gem reminiscent of George Harrison at his best.

The lyrics throughout this record are strong and thoughtful and fit so well into the structure of the songs. At times they tend to be hopelessly buried in the mix, but that's also one of the techniques they use so effectively to drive the music forward. The lighter, more hopeful lyrics seem to be truer to their nature--when the lyrics turn dark they tend to come across as more self-conscious and affected. But one should be careful not to take some of the easy couplets for granted--like most good rock lyrics, they are deceptively simple. As in "She Revolves".

Tom Petty always described the Heartbreakers music as Rock and Roll, never just "Rock". And that is true for Changes Near, it's good time fun Rock AND Roll. [by: gregg hill, NY. Amazon.com]

01. Sanctuary
02. She Revolves
03. Counting the Score
04. See How Good It Feels
05. Early Morning Rider
06. Nothing Out of Something
07. Changes Near
08. Winter Song
09. Turning Away
10. This Is How I Want to Know You
11. Follow Your Own Way
12. Sempre Avanti

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