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Arthur 'Big Boy' Crudup - Mean Ol' Frisco (Classic Blues Album US 1962)
Size: 90.8 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
or
2. http://rapidshare.com/files/193663905/Arthur.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
or
2. http://rapidshare.com/files/193663905/Arthur.rar
Fuzzy Duck - S/T (Good UK Hardrock 1971)
Size: 101 MB
Bitrade: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
or
2. http://rapidshare.com/files/193660933/Fuzzy_Duck.rar
Bitrade: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
or
2. http://rapidshare.com/files/193660933/Fuzzy_Duck.rar
The Rolling Stones - Beggars Banquet (Classic Album UK 1968)
Size: 77.3 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan SHM-CD Remaster
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
or
2. http://rapidshare.com/files/193425212/Beggars_Banquet.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan SHM-CD Remaster
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
or
2. http://rapidshare.com/files/193425212/Beggars_Banquet.rar
by request: Flower Travellin' Band - Satori (Superb Japanese Hardrock 1971)
Size: 83.1 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
or
2. http://rapidshare.com/files/193216423/Flower.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
or
2. http://rapidshare.com/files/193216423/Flower.rar
Janis Joplin - I Got Dem Ol' Kozmic Blues Again Mama (US 1969)
Size: 99.3 MB
Bitrate: 256
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Artwork Included
Japan 24-Bit Remaster
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
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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
Rick Derringer - Whisky-A-Go-Go 1977 (FM Broadcast)
Size: 114 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
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
1. http://www.megaupload.com/?d=4C8Z2Q5Y
or
2. http://rapidshare.com/files/192957964/Rick_Derringer.rar
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
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
1. http://www.megaupload.com/?d=4C8Z2Q5Y
or
2. http://rapidshare.com/files/192957964/Rick_Derringer.rar
The Velvet Underground & Nico - S/T (1st Album US 1967)
Size: 257 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Japan SHM-CD Remaster
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
Part 1: http://www.megaupload.com/?d=3AXPP0QQ
Part 2: http://www.megaupload.com/?d=Z77G44RE
or
Part 1: http://rapidshare.com/files/192938647/Velvet_Underground.part1.rar
Part 2: http://rapidshare.com/files/192938478/Velvet_Underground.part2.rar
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Japan SHM-CD Remaster
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
Part 1: http://www.megaupload.com/?d=3AXPP0QQ
Part 2: http://www.megaupload.com/?d=Z77G44RE
or
Part 1: http://rapidshare.com/files/192938647/Velvet_Underground.part1.rar
Part 2: http://rapidshare.com/files/192938478/Velvet_Underground.part2.rar
Led Zeppelin - Another White Summer BBC 1969-06-27
Size: 132 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
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)
1. http://www.megaupload.com/?d=YQMHU8CI
or
2. http://rapidshare.com/files/192773020/Led_Zeppelin.rar
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included
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)
1. http://www.megaupload.com/?d=YQMHU8CI
or
2. http://rapidshare.com/files/192773020/Led_Zeppelin.rar
The Who - Direct Hits (Great UK Release 1968)
Size: 65.1 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Incuded
Japan 24-Bit Remaster
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"
1. http://www.megaupload.com/?d=5E259LSY
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2. http://rapidshare.com/files/192769379/The_Who.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Incuded
Japan 24-Bit Remaster
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"
1. http://www.megaupload.com/?d=5E259LSY
or
2. http://rapidshare.com/files/192769379/The_Who.rar
Flower Travellin' Band - Made in Japan (Japanese Psychedelic Rock 1972)
Size: 77.5 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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)
1. http://www.megaupload.com/?d=Z8OORE0N
or
2. http://rapidshare.com/files/192568724/Flower_Travellin.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
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)
1. http://www.megaupload.com/?d=Z8OORE0N
or
2. http://rapidshare.com/files/192568724/Flower_Travellin.rar
The Searchers - Meet The Searchers (1st Album UK Beat 1963)
Size: 120 MB
Bitrate: 256
mp3
Artwork Included
Japan 24-Bit Remaster
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)
1. http://www.megaupload.com/?d=GD33FDCV
or
2. http://rapidshare.com/files/192527027/The_Searchers.rar
Bitrate: 256
mp3
Artwork Included
Japan 24-Bit Remaster
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)
1. http://www.megaupload.com/?d=GD33FDCV
or
2. http://rapidshare.com/files/192527027/The_Searchers.rar
The Quarter After - Changes Near (Great Byrds Influenced Rock US 2007)
Size: 100 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
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
1. http://www.megaupload.com/?d=IG2FMH4F
or
2. http://rapidshare.com/files/192489635/Quarter_After.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
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
1. http://www.megaupload.com/?d=IG2FMH4F
or
2. http://rapidshare.com/files/192489635/Quarter_After.rar
The Search Party - Montgomery Chapel (Psychedelic Folk US 1969)
Size: 77.6 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
A rare religious rock album by a from Wisconsin band who relocated to Sacramento, California. Many of the tracks feature lovely female vocals, although part of Side Two is more acoustic and folky with male vocals.
At its best the album is superb. A mystical atmosphere is created by the floating, melodic psychedelia of songs like When He Calls, So Many Things Have Got Me Down and The News Is You. Just listen and drift away.
A primitive Christian folkrock LP which hits some truly unique moods and sounds on about 2/3rds of the tracks. Obviously inspired by the westcoast "psychedelic" sounds of the era, the Search Party take compositions by their spiritual mentor, a Catholic middle-aged priest, and turn them into primitive California garage folkrock and psych with fuzz leads and raw vocals! Most Christian "folkrock" LPs suffer from still having one foot left in Sunday School, but these young seminarians have definitely broken through to the other side. Side 1 ends with an unparalleled 9-minute downer folkrock excursion with heavy soul-searching lyrics that alone makes "Montgomery Chapel" worth checking out, but beware -- it's crude, even the female vocalist has a strange edge. Unrehearsed confessions from a basement Music Emporium.
01. Speak To Me
02. Renee Child
03. Melanya
04. When He Calls
05. So Many Things
06. You And I
07. All But This
08. Poem By George
09. The Decidedly
1. http://www.megaupload.com/?d=BB7Q0NLE
or
2. http://rapidshare.com/files/192383565/Search_Party.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
A rare religious rock album by a from Wisconsin band who relocated to Sacramento, California. Many of the tracks feature lovely female vocals, although part of Side Two is more acoustic and folky with male vocals.
At its best the album is superb. A mystical atmosphere is created by the floating, melodic psychedelia of songs like When He Calls, So Many Things Have Got Me Down and The News Is You. Just listen and drift away.
A primitive Christian folkrock LP which hits some truly unique moods and sounds on about 2/3rds of the tracks. Obviously inspired by the westcoast "psychedelic" sounds of the era, the Search Party take compositions by their spiritual mentor, a Catholic middle-aged priest, and turn them into primitive California garage folkrock and psych with fuzz leads and raw vocals! Most Christian "folkrock" LPs suffer from still having one foot left in Sunday School, but these young seminarians have definitely broken through to the other side. Side 1 ends with an unparalleled 9-minute downer folkrock excursion with heavy soul-searching lyrics that alone makes "Montgomery Chapel" worth checking out, but beware -- it's crude, even the female vocalist has a strange edge. Unrehearsed confessions from a basement Music Emporium.
01. Speak To Me
02. Renee Child
03. Melanya
04. When He Calls
05. So Many Things
06. You And I
07. All But This
08. Poem By George
09. The Decidedly
1. http://www.megaupload.com/?d=BB7Q0NLE
or
2. http://rapidshare.com/files/192383565/Search_Party.rar
James Brown & His Famous Flames - Think (3rd Album R&B US 1960)
Size: 58.6 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
James Joseph Brown (May 3, 1933 – December 25, 2006), commonly referred to as "The Godfather of Soul" and "The Hardest Working Man in Show Business," was an American entertainer recognized as one of the most influential figures in 20th century popular music. He was renowned for his shouting vocals, feverish dancing and unique rhythmic style.
As a prolific singer, songwriter, bandleader, and record producer, Brown was a pivotal force in the evolution of gospel and rhythm and blues into soul and funk. He left his mark on numerous other musical genres, including rock, jazz, disco, dance and electronic music, reggae and hip hop. Brown's music also left its mark on the rhythms of African popular music, such as afrobeat, jùjú and mbalax, and provided a template for go-go music.
Brown began his professional music career in 1953 and skyrocketed to fame during the late 1950s and early 1960s on the strength of his thrilling live performances and string of smash hits. In spite of various personal problems and setbacks, he continued to score hits in every decade through to the 1980s. In addition to his acclaim in music, Brown was a presence in American political affairs during the 1960s and 1970s, noted especially for his activism on behalf of fellow African Americans and the poor. During the early 1980s, Brown's music helped to shape the rhythms of early hip hop music, with many groups looping or sampling his funk grooves and turning them into what became hip hop classics and the foundations of this music genre.
Brown was recognized by a plethora of (mostly self-bestowed) titles, including Soul Brother Number One, Mr. Dynamite, The Hardest Working Man in Show Business, Minister of The New New Super Heavy Funk, Mr. Please Please Please, The Boss, and the best-known, the Godfather of Soul.
In 1955, Brown and Bobby Byrd's sister Sarah performed in a group called "The Gospel Starlighters." Eventually, Brown joined Bobby Byrd's vocal group, the Avons, and Byrd turned the group's sound towards secular rhythm and blues. After the group's name was changed to The Flames, Brown and Byrd's group toured the Southern "chitlin' circuit," and the group eventually signed a deal with the Cincinnati, Ohio-based label Federal Records, a sister label of King Records.
The group's first recording was the single "Please, Please, Please" (1956). The single was a #5 R&B hit, selling over a million copies. Nine subsequent singles released by The Flames failed to live up to the success of their debut, and group was in danger of being dropped by King Records until the group returned to the charts in 1958 with the #1 R&B hit "Try Me." This hit record was the best-selling R&B single of the year, becoming the first of 17 chart-topping R&B singles by Brown over the next two decades. By the time "Try Me" was released on record, the group's billing was changed to James Brown and The Famous Flames. "The Famous Flames" was a vocal group, rather than a backing band contrary to popular belief.
Cover of the landmark Live at the Apollo LP from 1963 Brown's early recordings were fairly straightforward gospel-inspired R&B compositions, heavily influenced by the work of contemporary musicians such as Ray Charles and Little Richard. Richard's relations with Brown were particularly significant in Brown's development as a musician and showman. Brown once called Richard his idol, and credited Richard's saxophone-studded mid-1950s road band, The Upsetters, with being the first group to put the funk in the rock and roll beat. When Richard bolted from pop music in 1957 to become a preacher, Brown filled out Richard's remaining tour dates in his place. Several former members of Little Richard's backup band joined Brown's group as a consequence of Richard's exit from the pop music scene.
In 1959, Brown and The Famous Flames moved from Federal Records to King Records. Brown began to have recurring conflicts with King Records president Syd Nathan over repertoire and other matters. In one notable instance, Brown recorded the 1960 Top Ten R&B hit "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, under the pseudonym Nat Kendrick & The Swans (Kendrick was Brown's drummer at that time). Brown recorded the record under a pseudonym for the Dade Records label because Nathan refused to allow him to record it for King Records.
Brown scored on the charts in the early 1960s with recordings such as his 1962 cover of "Night Train." While Brown's early singles were major hits across the southern United States and then regular R&B Top Ten hits, he and the Famous Flames were not successful nationally until his self-financed live show was captured on the 1963 LP Live at the Apollo. Brown financed the recording of the album himself, and it was released on King Records over the objections of label owner Syd Nathan, who saw no commercial potential in a live album containing no new songs. Defying Nathan's expectations, the album stayed on the pop charts for fourteen months, peaking at #2. In addition, Brown recorded a hit version of the ballad "Prisoner of Love" in 1963 and founded (under King auspices) the fledgling Try Me Records, Brown's first attempt at running a record label.
Brown followed the success of Live at the Apollo with a string of singles that, along with the work of Allen Toussaint in New Orleans, essentially defined the foundation of funk music. Driven by the success of Live at the Apollo and the failure of King Records to expand record promotion beyond the "black" market, James Brown and Bobby Byrd formed a production company, Fair Deal, to promote sales of Brown's record releases to white audiences. In this arrangement, Smash Records, a subsidiary of Mercury Records, was used as a vehicle to distribute Brown's music. Smash released his 1964 hit "Out of Sight," which reached #24 on the pop charts and pointed the way to his later funk hits. Its release also triggered a legal battle between Smash and King that resulted in a one year ban on the release of Brown's vocal recordings.
01. Think
02. Good Good Lovin'
03. Wonder When You're Coming Home
04. I'll Go Crazy
05. This Old Heart
06. I Know It's True
07. Bewildered
08. I'll Never, Never Let You Go
09. You've Got the Power
10. If You Want Me
11. Baby, You're Right
12. So Long
1. http://www.megaupload.com/?d=TBG7L0WA
or
2. http://rapidshare.com/files/192366702/James_Brown_3.rar
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
James Joseph Brown (May 3, 1933 – December 25, 2006), commonly referred to as "The Godfather of Soul" and "The Hardest Working Man in Show Business," was an American entertainer recognized as one of the most influential figures in 20th century popular music. He was renowned for his shouting vocals, feverish dancing and unique rhythmic style.
As a prolific singer, songwriter, bandleader, and record producer, Brown was a pivotal force in the evolution of gospel and rhythm and blues into soul and funk. He left his mark on numerous other musical genres, including rock, jazz, disco, dance and electronic music, reggae and hip hop. Brown's music also left its mark on the rhythms of African popular music, such as afrobeat, jùjú and mbalax, and provided a template for go-go music.
Brown began his professional music career in 1953 and skyrocketed to fame during the late 1950s and early 1960s on the strength of his thrilling live performances and string of smash hits. In spite of various personal problems and setbacks, he continued to score hits in every decade through to the 1980s. In addition to his acclaim in music, Brown was a presence in American political affairs during the 1960s and 1970s, noted especially for his activism on behalf of fellow African Americans and the poor. During the early 1980s, Brown's music helped to shape the rhythms of early hip hop music, with many groups looping or sampling his funk grooves and turning them into what became hip hop classics and the foundations of this music genre.
Brown was recognized by a plethora of (mostly self-bestowed) titles, including Soul Brother Number One, Mr. Dynamite, The Hardest Working Man in Show Business, Minister of The New New Super Heavy Funk, Mr. Please Please Please, The Boss, and the best-known, the Godfather of Soul.
In 1955, Brown and Bobby Byrd's sister Sarah performed in a group called "The Gospel Starlighters." Eventually, Brown joined Bobby Byrd's vocal group, the Avons, and Byrd turned the group's sound towards secular rhythm and blues. After the group's name was changed to The Flames, Brown and Byrd's group toured the Southern "chitlin' circuit," and the group eventually signed a deal with the Cincinnati, Ohio-based label Federal Records, a sister label of King Records.
The group's first recording was the single "Please, Please, Please" (1956). The single was a #5 R&B hit, selling over a million copies. Nine subsequent singles released by The Flames failed to live up to the success of their debut, and group was in danger of being dropped by King Records until the group returned to the charts in 1958 with the #1 R&B hit "Try Me." This hit record was the best-selling R&B single of the year, becoming the first of 17 chart-topping R&B singles by Brown over the next two decades. By the time "Try Me" was released on record, the group's billing was changed to James Brown and The Famous Flames. "The Famous Flames" was a vocal group, rather than a backing band contrary to popular belief.
Cover of the landmark Live at the Apollo LP from 1963 Brown's early recordings were fairly straightforward gospel-inspired R&B compositions, heavily influenced by the work of contemporary musicians such as Ray Charles and Little Richard. Richard's relations with Brown were particularly significant in Brown's development as a musician and showman. Brown once called Richard his idol, and credited Richard's saxophone-studded mid-1950s road band, The Upsetters, with being the first group to put the funk in the rock and roll beat. When Richard bolted from pop music in 1957 to become a preacher, Brown filled out Richard's remaining tour dates in his place. Several former members of Little Richard's backup band joined Brown's group as a consequence of Richard's exit from the pop music scene.
In 1959, Brown and The Famous Flames moved from Federal Records to King Records. Brown began to have recurring conflicts with King Records president Syd Nathan over repertoire and other matters. In one notable instance, Brown recorded the 1960 Top Ten R&B hit "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, under the pseudonym Nat Kendrick & The Swans (Kendrick was Brown's drummer at that time). Brown recorded the record under a pseudonym for the Dade Records label because Nathan refused to allow him to record it for King Records.
Brown scored on the charts in the early 1960s with recordings such as his 1962 cover of "Night Train." While Brown's early singles were major hits across the southern United States and then regular R&B Top Ten hits, he and the Famous Flames were not successful nationally until his self-financed live show was captured on the 1963 LP Live at the Apollo. Brown financed the recording of the album himself, and it was released on King Records over the objections of label owner Syd Nathan, who saw no commercial potential in a live album containing no new songs. Defying Nathan's expectations, the album stayed on the pop charts for fourteen months, peaking at #2. In addition, Brown recorded a hit version of the ballad "Prisoner of Love" in 1963 and founded (under King auspices) the fledgling Try Me Records, Brown's first attempt at running a record label.
Brown followed the success of Live at the Apollo with a string of singles that, along with the work of Allen Toussaint in New Orleans, essentially defined the foundation of funk music. Driven by the success of Live at the Apollo and the failure of King Records to expand record promotion beyond the "black" market, James Brown and Bobby Byrd formed a production company, Fair Deal, to promote sales of Brown's record releases to white audiences. In this arrangement, Smash Records, a subsidiary of Mercury Records, was used as a vehicle to distribute Brown's music. Smash released his 1964 hit "Out of Sight," which reached #24 on the pop charts and pointed the way to his later funk hits. Its release also triggered a legal battle between Smash and King that resulted in a one year ban on the release of Brown's vocal recordings.
01. Think
02. Good Good Lovin'
03. Wonder When You're Coming Home
04. I'll Go Crazy
05. This Old Heart
06. I Know It's True
07. Bewildered
08. I'll Never, Never Let You Go
09. You've Got the Power
10. If You Want Me
11. Baby, You're Right
12. So Long
1. http://www.megaupload.com/?d=TBG7L0WA
or
2. http://rapidshare.com/files/192366702/James_Brown_3.rar
James Brown & His Famous Flames - Try Me (Rare 2nd R&B Album 1959)
Size: 59.9 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
When James Brown and His Famous Flames finally scored a second hit with their 11th single, "Try Me," King Records constructed this 16-track LP, including the hit along with both sides of three of its follow-ups, "I Want You So Bad"/"There Must Be a Reason," "I've Got to Change"/"It Hurts to Tell You," and "Got to Cry"/"It Was You"; the B-side of a fourth follow-up, "Don't Let It Happen to Me"; the 1957 single "Can't Be the Same"/"Gonna Try"; the 1957 B-sides "I Won't Plead No More" and "Messing With the Blues"; the B-side of Brown's first hit ("Please Please Please"), "Why Do You Do Me"; and three other stray tracks. The earliest work especially sounded more like that of a doo wop group rather than that of a gritty R&B solo singer.
None of it measured up to "Try Me," but you could see what Brown had been aiming at, and if the set list comprised what were in effect James Brown's greatest flops, circa 1959, it demonstrated that he possessed as much promise as fervor. (Try Me! was reissued in 1964 under the title The Unbeatable James Brown: 16 Hits.)
01. Try Me
02. (You Made Me Love You) I Want You So Bad
03. I Wont Plead No More
04. There Must Be A Reason
05. Why Do You Do Me
06. Ive Got To Cry
07. Fine Old Foxy Self
08. Strange Things Happen
09. Messing With The Birds
10. It Was You
11. Ive Got To Change
12. Cant Be The Same
13. It Hurts To Tell You
14. Youre Mine Youre Mine
15. Gonna Try
16. Dont Let It Happen To Me
1. http://www.megaupload.com/?d=V2H0K3W6
or
2. http://rapidshare.com/files/192362190/James_Brown_2.rar
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
When James Brown and His Famous Flames finally scored a second hit with their 11th single, "Try Me," King Records constructed this 16-track LP, including the hit along with both sides of three of its follow-ups, "I Want You So Bad"/"There Must Be a Reason," "I've Got to Change"/"It Hurts to Tell You," and "Got to Cry"/"It Was You"; the B-side of a fourth follow-up, "Don't Let It Happen to Me"; the 1957 single "Can't Be the Same"/"Gonna Try"; the 1957 B-sides "I Won't Plead No More" and "Messing With the Blues"; the B-side of Brown's first hit ("Please Please Please"), "Why Do You Do Me"; and three other stray tracks. The earliest work especially sounded more like that of a doo wop group rather than that of a gritty R&B solo singer.
None of it measured up to "Try Me," but you could see what Brown had been aiming at, and if the set list comprised what were in effect James Brown's greatest flops, circa 1959, it demonstrated that he possessed as much promise as fervor. (Try Me! was reissued in 1964 under the title The Unbeatable James Brown: 16 Hits.)
01. Try Me
02. (You Made Me Love You) I Want You So Bad
03. I Wont Plead No More
04. There Must Be A Reason
05. Why Do You Do Me
06. Ive Got To Cry
07. Fine Old Foxy Self
08. Strange Things Happen
09. Messing With The Birds
10. It Was You
11. Ive Got To Change
12. Cant Be The Same
13. It Hurts To Tell You
14. Youre Mine Youre Mine
15. Gonna Try
16. Dont Let It Happen To Me
1. http://www.megaupload.com/?d=V2H0K3W6
or
2. http://rapidshare.com/files/192362190/James_Brown_2.rar
James Brown & His Famous Flames - Please, Please, Please (US 1959)
Size: 77.9 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
Though James Brown and His Famous Flames had scored an R&B Top Ten hit in 1956 with "Please, Please, Please," and Brown's next nine singles for Federal Records flopped but the next, "Try Me," his third single of 1958, scored. That was when King Records (Federal's parent label) assembled this, Brown's debut album, out of some of those singles sessions.
You can hear the sound of a group and its enthusiastic singer looking for a hit, sometimes in the rock & roll of "Chonnie-On-Chon" (1957) or the 1956 B-side "I Feel That Old Feeling Coming On," sometimes by remaking "Please, Please, Please" under another name, such as "I Don't Know" (1956), sometimes by tackling Coasters-like novelty material such as "That Dood It" (1958), sometimes by aping the smooth Sam Cooke, as on the 1958 B-side "That's When I Lost My Heart," and once by rewriting "My Bonnie (Lies over the Ocean)" as the 1958 B-side "Baby Cries over the Ocean." Only the two hits were really memorable, but the album presented the sound of a major star-to-be in search of his sound.
01. Please, Please, Please
02. Chonnie-On-Chon
03. Hold My Baby's Hand
04. I Feel That Old Feeling Coming On
05. Just Won't Do Right
06. Baby Cries Over The Ocean
07. I Don't Know
08. Tell Me What I Did Wrong
09. Try Me
10. That Dood It
11. Begging, Begging
12. I Walked Alone
13. No, No, No, No
14. That's When I Lost My Heart
15. Let's Make It
16. Love Or A Game
1. http://www.megaupload.com/?d=DLXVHUG0
or
2. http://rapidshare.com/files/192358095/James_Brown.rar
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
Though James Brown and His Famous Flames had scored an R&B Top Ten hit in 1956 with "Please, Please, Please," and Brown's next nine singles for Federal Records flopped but the next, "Try Me," his third single of 1958, scored. That was when King Records (Federal's parent label) assembled this, Brown's debut album, out of some of those singles sessions.
You can hear the sound of a group and its enthusiastic singer looking for a hit, sometimes in the rock & roll of "Chonnie-On-Chon" (1957) or the 1956 B-side "I Feel That Old Feeling Coming On," sometimes by remaking "Please, Please, Please" under another name, such as "I Don't Know" (1956), sometimes by tackling Coasters-like novelty material such as "That Dood It" (1958), sometimes by aping the smooth Sam Cooke, as on the 1958 B-side "That's When I Lost My Heart," and once by rewriting "My Bonnie (Lies over the Ocean)" as the 1958 B-side "Baby Cries over the Ocean." Only the two hits were really memorable, but the album presented the sound of a major star-to-be in search of his sound.
01. Please, Please, Please
02. Chonnie-On-Chon
03. Hold My Baby's Hand
04. I Feel That Old Feeling Coming On
05. Just Won't Do Right
06. Baby Cries Over The Ocean
07. I Don't Know
08. Tell Me What I Did Wrong
09. Try Me
10. That Dood It
11. Begging, Begging
12. I Walked Alone
13. No, No, No, No
14. That's When I Lost My Heart
15. Let's Make It
16. Love Or A Game
1. http://www.megaupload.com/?d=DLXVHUG0
or
2. http://rapidshare.com/files/192358095/James_Brown.rar
Greer - Between Two Worlds (US Hardrock 1973)
Size: 65.8 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Obscure artifact out of a local scene that produced cult music for a 15-year period; this is a powerful trip in a song-oriented 1970s British rock/hardrock style, with psych moves on the two long epics. Plenty of raw guitar, some piano and synth, heartfelt vocals, all wrapped in a consistent package that displays talent and self-confidence. May be too much of a '70s mainstream sound for some, and indeed it would have deserved to come out on a major label. Should appeal to fans of Felt on Nasco.
One of the more remarkable music scenes of the early 1970s sprang up around the tobacco fields of Winston-Salem, NC. Evolving out of two ground zero bands, Sacred Irony and Arrogance, a rundown of the names involved is almost like a who's who of future power-pop and indie cult icons: Don Dixon, Chris Stamey, Peter Holsapple, Alex Chilton, Mitch Easter, et al. Oddly, the earliest and perhaps most promising album from this smoking hotbed came from an ex-Arrogance member who would not go on to any kind of fame, one Michael Greer. Partly recorded with Arrogance in 1971 and with session musicians in 1973, "Between Two Worlds" was released locally without much fanfare and remains obscure to this day; certainly more so than the Easter/Holsapple/Stamey "Rittenhouse Square" demo LP from the preceding year.
Greer's album is clearly the better, with a fully developed "major" sound, ambitious songwriting, and a wide variety of atmospheres, from dreamy late 60s psychedelia to powerful 70s hardrock. Anyone familiar with the excellent Felt LP on Nasco will find himself on familiar ground. "Between Two Worlds" is one of those LPs where the lack of recognition seems a complete mystery, but success in the music biz is perhaps more about the right time and place than anything else, and it would be several years and a mass exodus to NYC before the sharp Winston-Salem kids caught people's ears, and by then Michael Greer was no longer part of the picture.
01. All I Need (Mike Greer) 4:04
02. Nights of Dreams (Mike Greer) 6:46
03. Send Me Back (Mike Greer) 5:14
04. Limey Ladies (Mike Greer) 3:10 People
05. Between Two Worlds (Mike Greer) 9:43
06. Long Ago, And Not So Far Away (Mike Greer) 5:12
1. http://www.megaupload.com/?d=OXJL19TK
or
2. http://rapidshare.com/files/192038433/Greer.rar
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Obscure artifact out of a local scene that produced cult music for a 15-year period; this is a powerful trip in a song-oriented 1970s British rock/hardrock style, with psych moves on the two long epics. Plenty of raw guitar, some piano and synth, heartfelt vocals, all wrapped in a consistent package that displays talent and self-confidence. May be too much of a '70s mainstream sound for some, and indeed it would have deserved to come out on a major label. Should appeal to fans of Felt on Nasco.
One of the more remarkable music scenes of the early 1970s sprang up around the tobacco fields of Winston-Salem, NC. Evolving out of two ground zero bands, Sacred Irony and Arrogance, a rundown of the names involved is almost like a who's who of future power-pop and indie cult icons: Don Dixon, Chris Stamey, Peter Holsapple, Alex Chilton, Mitch Easter, et al. Oddly, the earliest and perhaps most promising album from this smoking hotbed came from an ex-Arrogance member who would not go on to any kind of fame, one Michael Greer. Partly recorded with Arrogance in 1971 and with session musicians in 1973, "Between Two Worlds" was released locally without much fanfare and remains obscure to this day; certainly more so than the Easter/Holsapple/Stamey "Rittenhouse Square" demo LP from the preceding year.
Greer's album is clearly the better, with a fully developed "major" sound, ambitious songwriting, and a wide variety of atmospheres, from dreamy late 60s psychedelia to powerful 70s hardrock. Anyone familiar with the excellent Felt LP on Nasco will find himself on familiar ground. "Between Two Worlds" is one of those LPs where the lack of recognition seems a complete mystery, but success in the music biz is perhaps more about the right time and place than anything else, and it would be several years and a mass exodus to NYC before the sharp Winston-Salem kids caught people's ears, and by then Michael Greer was no longer part of the picture.
01. All I Need (Mike Greer) 4:04
02. Nights of Dreams (Mike Greer) 6:46
03. Send Me Back (Mike Greer) 5:14
04. Limey Ladies (Mike Greer) 3:10 People
05. Between Two Worlds (Mike Greer) 9:43
06. Long Ago, And Not So Far Away (Mike Greer) 5:12
1. http://www.megaupload.com/?d=OXJL19TK
or
2. http://rapidshare.com/files/192038433/Greer.rar
Earth & Fire - Selftitled (Great Progrock From Holland 1970)
Size: 135 MB
Bitrade: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
Here in America, Earth & Fire is completely unknown, and if you ask most Americans, they'll either give you a blank stare or say something like "You don't mean Earth, Wind & Fire?" (which is obviously a completely different group, an American R&B/soul/funk band). In Holland, they were able to rack up a bunch of hit singles (many of them not available on any non-compilation albums) and release great prog rock albums in the process. I first got exposed to Earth & Fire as a kid when my dad bought the LP of To the World of the Future (1975), since none of my family ever been to Holland, my dad bought that album either mistaking them for Earth, Wind & Fire, or simply liked the futuristic '70s artwork (he wasn't exactly the most musically informed person out there). Of course by that point, the band was starting to explore disco, but still hadn't quite abandoned prog.
In 1970, the band released their self-entitled debut. And just to let everyone know, the one with the Roger Dean cover is not the original pressing, that was a 1971 UK pressing on the Nepentha label, and of course that's the cover used for the German Repertoire label CD reissue, as well as the newer Japanese reissue. The original Dutch LP was released on Polydor/Medium (has the same familiar red Polydor label, with the "Medium" logo under the "Polydor" logo) and featured a gimmick matchbox cover, which shows a picture of the band, and when you fold open the cover, you see matches, and a list of the songs. This album is less polished than their following (ie. Song of the Marching Children, Atlantis) and there's plenty of that late '60s psych elements still left. The band consisted of female vocalist Jerney Kaagman, with twin brothers Chris Koerts on guitar and Gerard Koerts on organ and flute, with drummer Ton van der Kleij and bassist Hans Ziech. This album managed three hits, "Seasons", "Ruby is the One", and "Wild and Exciting". "Seasons" and "Ruby is the One" featured original drummer Cees Kalis (Ton v.d. Kleij hopped on board once they started recording their debut LP), since both of those were released as a single prior to the album's release, "Seasons" being their first ever release, released at the end of 1969 ("Hazy Paradise" was the B-side, and "Mechanical Lover" was the flip side of "Ruby is the One"). "Love Quiver" is the one cut that bears a striking resemblance to Jefferson Airplane, but unlike the Airplane, you get treated with a great organ solo. "What's Your Name" is a laid-back acoustic piece with flute. And there's lots of times that "21st Century Show" is called "21st Century Land", because of the previous cut entitled "Vivid Shady Land", but it's actually entitled "21st Century Show". "Seasons", as mentioned, dates from 1969, and wasn't written by either of the Koerts brothers or E&F members, but George Kooysman of Golden Earring (who supported E&F, and helped them get a deal with Polydor, in which Golden Earring recorded for). "Twilight Dreamer" sounds like a precursor to "Carnival of the Animals" (from Song of the Marching Children) and near the end what sounds like the band's first ever use of a synthesizer (sounds like a Moog). "Vivid Shady Land" is a perfect example of the band still sticking to that late '60s psychedelic sound.
On the Repertoire CD reissue, you have the complete album, which ends with "What's Your Name" (track 9), and then you have a whole bunch of bonus cuts, all non-album singles, all the way up to 1976, where the band decided to go disco. You get "Hazy Paradise", "Mechanical Lover", the ever wonderful "Invitation" (one of my favorite non-album singles the band released) and the equally wonderful Mellotron-oriented "Memories". You also get the original single version of "Song of the Marching Children", which was released several months before the album's release, and what separates this version from the album version is Jerney Kaagman's singing sounds different. "Lost Forever" (flip side of "Storm and Thunder") and "From the End 'till the Beginning" (flip side of "Memories") are also featured. Missing here is "Tuffy the Cat" (flip side of "Love of Life"), but I guess they couldn't include that because of lack of space, thanks to all the other bonus cuts. Then they included two songs from where the band went disco, "Thanks For the Love" (1975) and "What Difference Does it Make" (1976), complete with strings, horns and hi-hats. Unfortunately Earth & Fire fell victim in the late '70s by recording increasingly commercial material, and you know it's time to run when comparisons to ABBA start surfacing (but it didn't hurt the band in terms of success, although it's understood that most prog rock fans don't usually bother with much anything they released after 1975). Regardless, this CD is a wonderful historical document, not just for the debut, a great album that shows even better things to come, but you get lots of non-album singles as well. (BENJAMIN MILER (Lakeview, OR United States)
01. Wild and Exciting
02. Twilight Dreamer
03. Ruby Is the One
04. You Know the Way
05. Vivid Shady Land
06. 21th Century Land
07. Seasons
08. Love Quiver
09. What's Your Name
10. Mechanical Lover
11. Hazy Paradise
12. Memories
13. Invitation
14. From the End Till the Beginning
15. Lost Forever
16. Song of the Marching Children [Single]
17. Thanks for the Love
18. What Difference Does It Make
1. http://www.megaupload.com/?d=LDZR6ESS
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2. http://rapidshare.com/files/191926597/Earth___Fire.rar
Bitrade: 256
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Artwork Included
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Here in America, Earth & Fire is completely unknown, and if you ask most Americans, they'll either give you a blank stare or say something like "You don't mean Earth, Wind & Fire?" (which is obviously a completely different group, an American R&B/soul/funk band). In Holland, they were able to rack up a bunch of hit singles (many of them not available on any non-compilation albums) and release great prog rock albums in the process. I first got exposed to Earth & Fire as a kid when my dad bought the LP of To the World of the Future (1975), since none of my family ever been to Holland, my dad bought that album either mistaking them for Earth, Wind & Fire, or simply liked the futuristic '70s artwork (he wasn't exactly the most musically informed person out there). Of course by that point, the band was starting to explore disco, but still hadn't quite abandoned prog.
In 1970, the band released their self-entitled debut. And just to let everyone know, the one with the Roger Dean cover is not the original pressing, that was a 1971 UK pressing on the Nepentha label, and of course that's the cover used for the German Repertoire label CD reissue, as well as the newer Japanese reissue. The original Dutch LP was released on Polydor/Medium (has the same familiar red Polydor label, with the "Medium" logo under the "Polydor" logo) and featured a gimmick matchbox cover, which shows a picture of the band, and when you fold open the cover, you see matches, and a list of the songs. This album is less polished than their following (ie. Song of the Marching Children, Atlantis) and there's plenty of that late '60s psych elements still left. The band consisted of female vocalist Jerney Kaagman, with twin brothers Chris Koerts on guitar and Gerard Koerts on organ and flute, with drummer Ton van der Kleij and bassist Hans Ziech. This album managed three hits, "Seasons", "Ruby is the One", and "Wild and Exciting". "Seasons" and "Ruby is the One" featured original drummer Cees Kalis (Ton v.d. Kleij hopped on board once they started recording their debut LP), since both of those were released as a single prior to the album's release, "Seasons" being their first ever release, released at the end of 1969 ("Hazy Paradise" was the B-side, and "Mechanical Lover" was the flip side of "Ruby is the One"). "Love Quiver" is the one cut that bears a striking resemblance to Jefferson Airplane, but unlike the Airplane, you get treated with a great organ solo. "What's Your Name" is a laid-back acoustic piece with flute. And there's lots of times that "21st Century Show" is called "21st Century Land", because of the previous cut entitled "Vivid Shady Land", but it's actually entitled "21st Century Show". "Seasons", as mentioned, dates from 1969, and wasn't written by either of the Koerts brothers or E&F members, but George Kooysman of Golden Earring (who supported E&F, and helped them get a deal with Polydor, in which Golden Earring recorded for). "Twilight Dreamer" sounds like a precursor to "Carnival of the Animals" (from Song of the Marching Children) and near the end what sounds like the band's first ever use of a synthesizer (sounds like a Moog). "Vivid Shady Land" is a perfect example of the band still sticking to that late '60s psychedelic sound.
On the Repertoire CD reissue, you have the complete album, which ends with "What's Your Name" (track 9), and then you have a whole bunch of bonus cuts, all non-album singles, all the way up to 1976, where the band decided to go disco. You get "Hazy Paradise", "Mechanical Lover", the ever wonderful "Invitation" (one of my favorite non-album singles the band released) and the equally wonderful Mellotron-oriented "Memories". You also get the original single version of "Song of the Marching Children", which was released several months before the album's release, and what separates this version from the album version is Jerney Kaagman's singing sounds different. "Lost Forever" (flip side of "Storm and Thunder") and "From the End 'till the Beginning" (flip side of "Memories") are also featured. Missing here is "Tuffy the Cat" (flip side of "Love of Life"), but I guess they couldn't include that because of lack of space, thanks to all the other bonus cuts. Then they included two songs from where the band went disco, "Thanks For the Love" (1975) and "What Difference Does it Make" (1976), complete with strings, horns and hi-hats. Unfortunately Earth & Fire fell victim in the late '70s by recording increasingly commercial material, and you know it's time to run when comparisons to ABBA start surfacing (but it didn't hurt the band in terms of success, although it's understood that most prog rock fans don't usually bother with much anything they released after 1975). Regardless, this CD is a wonderful historical document, not just for the debut, a great album that shows even better things to come, but you get lots of non-album singles as well. (BENJAMIN MILER (Lakeview, OR United States)
01. Wild and Exciting
02. Twilight Dreamer
03. Ruby Is the One
04. You Know the Way
05. Vivid Shady Land
06. 21th Century Land
07. Seasons
08. Love Quiver
09. What's Your Name
10. Mechanical Lover
11. Hazy Paradise
12. Memories
13. Invitation
14. From the End Till the Beginning
15. Lost Forever
16. Song of the Marching Children [Single]
17. Thanks for the Love
18. What Difference Does It Make
1. http://www.megaupload.com/?d=LDZR6ESS
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2. http://rapidshare.com/files/191926597/Earth___Fire.rar
Deep Purple - Machine Head (Classic Hardrock UK 1972)
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Machine Head is the third Mk II (sixth overall) Deep Purple studio album. It was recorded at the Grand Hotel Montreux, Switzerland in December 1971 with the Rolling Stones Mobile Studio and released in March 1972. The album is often cited as being very influential in the development of the heavy metal music genre. It is Deep Purple's most successful recording, topping the charts in several countries following its release.
(1964–1968) Pre-Deep Purple years:
In 1967, former Searchers drummer Chris Curtis contacted London businessman Tony Edwards in the hope that he would manage a new group he was putting together, to be called Roundabout: so-called because the members would get on and off the band, like a musical roundabout. Impressed with the plan, Edwards agreed to finance the venture with two business partners: John Coletta and Ron Hire (Hire-Edwards-Coletta – HEC Enterprises).
The first recruit was the classically-trained Hammond organ player Jon Lord, who had most notably played with The Artwoods (led by Art Wood, brother of future Rolling Stones guitarist Ronnie, and featuring Keef Hartley). He was followed by session guitarist Ritchie Blackmore who was persuaded to return from Hamburg to audition for the new group. Curtis soon dropped out, but HEC Enterprises, as well as Lord and Blackmore, were keen to carry on.
For the bass guitar, Lord suggested his old friend Nick Simper, with whom he had played in a band called The Flower Pot Men and their Garden (formerly known as The Ivy League) back in 1967. Simper's claims to fame (apart from Purple) were that he had been in Johnny Kidd & The Pirates and had been in the car crash that killed Kidd. He was also in Screaming Lord Sutch's The Savages, where he played with Blackmore.
The line-up was completed by singer Rod Evans and drummer Ian Paice from The Maze. After a brief tour of Denmark in the spring of 1968, Blackmore suggested a new name: Deep Purple, which was his grandmother's favourite song.
(1968–1970) Breakthrough:
In October 1968, the group had success in the US (but not the UK) with a cover of Joe South's "Hush", which reached #4. The song was taken from their debut album Shades of Deep Purple, and they were booked to support Cream on their Goodbye tour.
The band's second album, The Book of Taliesyn, was released in the United States to coincide with this tour, although it would not be released in their home country until the following year. 1969 saw the release of their third album, Deep Purple, which contained strings and woodwind on one track (April). Several influences were in evidence, notably Vanilla Fudge and Lord's classical antecedants such as Bach and Rimsky-Korsakov.
After these three albums and extensive touring in the States, their American record company, Tetragrammaton, went out of business, leaving the band with no money and an uncertain future. (Tetragrammaton's assets were assumed by Warner Bros. Records, who would release Deep Purple's records in the U.S. throughout the 1970's.) Returning to England in early 1969, they recorded a single called "Emmaretta", named for a cast member of the musical Hair, whom Rod Evans was trying to seduce, before Evans and Simper were fired.
The band hunted down singer Ian Gillan from Episode Six, a band that had released several singles in the UK without achieving their big break for commercial success. Six's drummer Mick Underwood - an old comrade of Blackmore's from his Savages days - made the introductions, and bassist Roger Glover tagged along for the initial sessions. Purple persuaded Glover to join full-time; an act that effectively killed Episode Six and gave Underwood a guilt complex that lasted nearly a decade - until Gillan recruited him for his new post-Purple band in the late 1970s.
This created the quintessential Deep Purple "Mark 2" lineup, whose first, inauspicious release was a Greenaway-Cook tune titled "Hallelujah", which flopped.
The band gained some much-needed publicity with the Concerto for Group and Orchestra, a three-movement epic composed by Lord as a solo project and performed by the band at the Royal Albert Hall with the Royal Philharmonic Orchestra, conducted by Malcolm Arnold. Together with Five Bridges by The Nice, it was one of the first collaborations between a rock band and an orchestra, although at the time, certain members of Purple (Blackmore and Gillan especially) were less than happy at the group being tagged as "a group who played with orchestras" when actually what they had in mind was to develop the band into a much tighter, hard-rocking style.
1970–1976) Popularity and breakup:
Shortly after the orchestral release, the band began a hectic touring and recording schedule that was to see little respite for the next three years. Their first studio album of this period, released in mid-1970, was Deep Purple in Rock (a name deliberately chosen to distance the rock album from the concerto) and contained the then-concert staples "Speed King", "Into The Fire", and "Child in Time". The band also issued the UK Top Ten single "Black Night". Blackmore's and Lord's guitar-keyboard interplay coupled with Ian Gillan's howling vocals and the rhythm section of Glover and Paice now started to take on a unique identity and become instantly recognisable to rock fans throughout Europe.
A second album, the more mellow and creatively progressive Fireball (a favourite of Gillan but not of the rest of the band ), was issued in the summer of 1971. The title track "Fireball" was released as a single, as was "Strange Kind of Woman" - not from the album but recorded during the same sessions.
Within weeks of Fireball's release, the band was already performing songs planned for the next album. One song (which later became "Highway Star") was performed at the first gig of the Fireball tour, having been written on the bus to a show in Portsmouth, in answer to a journalist's question: "How do you go about writing songs?" Three months later, in December 1971, the band traveled to Switzerland to record Machine Head. The album was due to be recorded at a casino in Montreux, using the Rolling Stones Mobile Studio, but a fire during a Frank Zappa and the Mothers of Invention gig burned down the casino. The album was actually recorded at the nearby empty Grand Hotel. This incident famously inspired the song "Smoke on the Water". Gillan believes that he witnessed a man fire a flare gun into the ceiling during the concert, prompting Zappa to comment: "Arthur Brown in person!"
Continuing from where both previous albums left off, Machine Head has since become one of the band's most famous albums, including tracks that became live classics such as "Highway Star", "Space Truckin'", "Lazy", and "Smoke on the Water". Deep Purple continued to tour and record at a rate that would be rare thirty years on: when Machine Head was recorded, the group had only been together three and a half years, yet it was their seventh LP. Meanwhile the band undertook four US tours in 1972 and the August tour of Japan that led to a double-vinyl live release, Made in Japan. Originally intended as a Japan-only record, its world-wide release saw the double become an instant hit. It remains one of rock music's most popular and highest selling live-concert recordings (although at the time it was perhaps seen as less important, as only Glover and Paice turned up to mix it).
The classic Purple Mk 2 line-up continued to work and released the album Who Do We Think We Are (1973), featuring the hit single "Woman from Tokyo", but internal tensions and exhaustion were more noticeable than ever. The bad feelings culminated in Ian Gillan quitting the band after their second tour of Japan in the summer of 1973, and Roger Glover being pushed out with him. Their replacements were an unknown singer from Saltburn in North East England, David Coverdale, and Midlands bassist/vocalist Glenn Hughes, formerly of Trapeze. This new line-up continued into 1974 with the heavier blues-rock album Burn, another highly successful release and world tour. Hughes and Coverdale added both vocal harmonies and a more funky element to the band's music, a sound that was even more apparent on the late 1974 release Stormbringer. Besides the title track, the album had a number of songs that received much radio play, such as "Lady Double Dealer", "The Gypsy", and "Soldier Of Fortune". Yet Blackmore voiced unhappiness with the album, and as a result left the band in the spring of 1975 to form his own band with Ronnie James Dio and Elf, called Rainbow.
With Blackmore's departure, Deep Purple was left to fill one of the biggest bandmember vacancies in rock music. In spite of this, the rest of the band refused to stop, and to the surprise of many long-time fans, actually announced a replacement for the "irreplaceable" Man in Black; American Tommy Bolin.
It was Coverdale who had suggested auditioning Bolin. "He walked in, thin as a rake, his hair coloured green, yellow, and blue with feathers in it. Slinking along beside him was this stunning Hawaiian girl in a crochet dress with nothing on underneath. He plugged into four Marshall 100-watt stacks and . . ."[citation needed] The job was his. Bolin had been a member of many now-forgotten mid-60s bands - Denny & The Triumphs, American Standard, and Zephyr, which released three albums from '69-72. Before Purple, Bolin's best-known recordings were made as a session musician on Billy Cobham's 1973 jazz fusion album, Spectrum, and on The James Gang's "Bang" (1973) and "Miami" (1974). He had also jammed with such luminaries as Dr. John, Albert King, and Alphonse Mouzon and was busy working on his first solo album, Teaser, when he accepted the invitation to join Deep Purple.
The resulting album, Come Taste the Band, was released in the US in October 1975. Despite mixed reviews, the collection revitalised the band once again, bringing a new, extreme funk edge to their hard rock sound. Bolin's influence was crucial, and with encouragement from Glenn Hughes and David Coverdale, the guitarist developed much of the material. Later, Bolin's personal problems with drugs began to manifest themselves, and after cancelled shows and below-par concert performances, the band was in danger.
01. "Highway Star" – 6:05
02. "Maybe I'm a Leo" – 4:51
03. "Pictures of Home" – 5:03
04. "Never Before" – 3:56
05. "Smoke on the Water" – 5:40
06. "Lazy" – 7:19
07. "Space Truckin'" – 4:31
1. http://www.megaupload.com/?d=1XXNJWT7
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2. http://rapidshare.com/files/191919055/Deep_Purple.rar
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Japan 24-Bit Remaster
Machine Head is the third Mk II (sixth overall) Deep Purple studio album. It was recorded at the Grand Hotel Montreux, Switzerland in December 1971 with the Rolling Stones Mobile Studio and released in March 1972. The album is often cited as being very influential in the development of the heavy metal music genre. It is Deep Purple's most successful recording, topping the charts in several countries following its release.
(1964–1968) Pre-Deep Purple years:
In 1967, former Searchers drummer Chris Curtis contacted London businessman Tony Edwards in the hope that he would manage a new group he was putting together, to be called Roundabout: so-called because the members would get on and off the band, like a musical roundabout. Impressed with the plan, Edwards agreed to finance the venture with two business partners: John Coletta and Ron Hire (Hire-Edwards-Coletta – HEC Enterprises).
The first recruit was the classically-trained Hammond organ player Jon Lord, who had most notably played with The Artwoods (led by Art Wood, brother of future Rolling Stones guitarist Ronnie, and featuring Keef Hartley). He was followed by session guitarist Ritchie Blackmore who was persuaded to return from Hamburg to audition for the new group. Curtis soon dropped out, but HEC Enterprises, as well as Lord and Blackmore, were keen to carry on.
For the bass guitar, Lord suggested his old friend Nick Simper, with whom he had played in a band called The Flower Pot Men and their Garden (formerly known as The Ivy League) back in 1967. Simper's claims to fame (apart from Purple) were that he had been in Johnny Kidd & The Pirates and had been in the car crash that killed Kidd. He was also in Screaming Lord Sutch's The Savages, where he played with Blackmore.
The line-up was completed by singer Rod Evans and drummer Ian Paice from The Maze. After a brief tour of Denmark in the spring of 1968, Blackmore suggested a new name: Deep Purple, which was his grandmother's favourite song.
(1968–1970) Breakthrough:
In October 1968, the group had success in the US (but not the UK) with a cover of Joe South's "Hush", which reached #4. The song was taken from their debut album Shades of Deep Purple, and they were booked to support Cream on their Goodbye tour.
The band's second album, The Book of Taliesyn, was released in the United States to coincide with this tour, although it would not be released in their home country until the following year. 1969 saw the release of their third album, Deep Purple, which contained strings and woodwind on one track (April). Several influences were in evidence, notably Vanilla Fudge and Lord's classical antecedants such as Bach and Rimsky-Korsakov.
After these three albums and extensive touring in the States, their American record company, Tetragrammaton, went out of business, leaving the band with no money and an uncertain future. (Tetragrammaton's assets were assumed by Warner Bros. Records, who would release Deep Purple's records in the U.S. throughout the 1970's.) Returning to England in early 1969, they recorded a single called "Emmaretta", named for a cast member of the musical Hair, whom Rod Evans was trying to seduce, before Evans and Simper were fired.
The band hunted down singer Ian Gillan from Episode Six, a band that had released several singles in the UK without achieving their big break for commercial success. Six's drummer Mick Underwood - an old comrade of Blackmore's from his Savages days - made the introductions, and bassist Roger Glover tagged along for the initial sessions. Purple persuaded Glover to join full-time; an act that effectively killed Episode Six and gave Underwood a guilt complex that lasted nearly a decade - until Gillan recruited him for his new post-Purple band in the late 1970s.
This created the quintessential Deep Purple "Mark 2" lineup, whose first, inauspicious release was a Greenaway-Cook tune titled "Hallelujah", which flopped.
The band gained some much-needed publicity with the Concerto for Group and Orchestra, a three-movement epic composed by Lord as a solo project and performed by the band at the Royal Albert Hall with the Royal Philharmonic Orchestra, conducted by Malcolm Arnold. Together with Five Bridges by The Nice, it was one of the first collaborations between a rock band and an orchestra, although at the time, certain members of Purple (Blackmore and Gillan especially) were less than happy at the group being tagged as "a group who played with orchestras" when actually what they had in mind was to develop the band into a much tighter, hard-rocking style.
1970–1976) Popularity and breakup:
Shortly after the orchestral release, the band began a hectic touring and recording schedule that was to see little respite for the next three years. Their first studio album of this period, released in mid-1970, was Deep Purple in Rock (a name deliberately chosen to distance the rock album from the concerto) and contained the then-concert staples "Speed King", "Into The Fire", and "Child in Time". The band also issued the UK Top Ten single "Black Night". Blackmore's and Lord's guitar-keyboard interplay coupled with Ian Gillan's howling vocals and the rhythm section of Glover and Paice now started to take on a unique identity and become instantly recognisable to rock fans throughout Europe.
A second album, the more mellow and creatively progressive Fireball (a favourite of Gillan but not of the rest of the band ), was issued in the summer of 1971. The title track "Fireball" was released as a single, as was "Strange Kind of Woman" - not from the album but recorded during the same sessions.
Within weeks of Fireball's release, the band was already performing songs planned for the next album. One song (which later became "Highway Star") was performed at the first gig of the Fireball tour, having been written on the bus to a show in Portsmouth, in answer to a journalist's question: "How do you go about writing songs?" Three months later, in December 1971, the band traveled to Switzerland to record Machine Head. The album was due to be recorded at a casino in Montreux, using the Rolling Stones Mobile Studio, but a fire during a Frank Zappa and the Mothers of Invention gig burned down the casino. The album was actually recorded at the nearby empty Grand Hotel. This incident famously inspired the song "Smoke on the Water". Gillan believes that he witnessed a man fire a flare gun into the ceiling during the concert, prompting Zappa to comment: "Arthur Brown in person!"
Continuing from where both previous albums left off, Machine Head has since become one of the band's most famous albums, including tracks that became live classics such as "Highway Star", "Space Truckin'", "Lazy", and "Smoke on the Water". Deep Purple continued to tour and record at a rate that would be rare thirty years on: when Machine Head was recorded, the group had only been together three and a half years, yet it was their seventh LP. Meanwhile the band undertook four US tours in 1972 and the August tour of Japan that led to a double-vinyl live release, Made in Japan. Originally intended as a Japan-only record, its world-wide release saw the double become an instant hit. It remains one of rock music's most popular and highest selling live-concert recordings (although at the time it was perhaps seen as less important, as only Glover and Paice turned up to mix it).
The classic Purple Mk 2 line-up continued to work and released the album Who Do We Think We Are (1973), featuring the hit single "Woman from Tokyo", but internal tensions and exhaustion were more noticeable than ever. The bad feelings culminated in Ian Gillan quitting the band after their second tour of Japan in the summer of 1973, and Roger Glover being pushed out with him. Their replacements were an unknown singer from Saltburn in North East England, David Coverdale, and Midlands bassist/vocalist Glenn Hughes, formerly of Trapeze. This new line-up continued into 1974 with the heavier blues-rock album Burn, another highly successful release and world tour. Hughes and Coverdale added both vocal harmonies and a more funky element to the band's music, a sound that was even more apparent on the late 1974 release Stormbringer. Besides the title track, the album had a number of songs that received much radio play, such as "Lady Double Dealer", "The Gypsy", and "Soldier Of Fortune". Yet Blackmore voiced unhappiness with the album, and as a result left the band in the spring of 1975 to form his own band with Ronnie James Dio and Elf, called Rainbow.
With Blackmore's departure, Deep Purple was left to fill one of the biggest bandmember vacancies in rock music. In spite of this, the rest of the band refused to stop, and to the surprise of many long-time fans, actually announced a replacement for the "irreplaceable" Man in Black; American Tommy Bolin.
It was Coverdale who had suggested auditioning Bolin. "He walked in, thin as a rake, his hair coloured green, yellow, and blue with feathers in it. Slinking along beside him was this stunning Hawaiian girl in a crochet dress with nothing on underneath. He plugged into four Marshall 100-watt stacks and . . ."[citation needed] The job was his. Bolin had been a member of many now-forgotten mid-60s bands - Denny & The Triumphs, American Standard, and Zephyr, which released three albums from '69-72. Before Purple, Bolin's best-known recordings were made as a session musician on Billy Cobham's 1973 jazz fusion album, Spectrum, and on The James Gang's "Bang" (1973) and "Miami" (1974). He had also jammed with such luminaries as Dr. John, Albert King, and Alphonse Mouzon and was busy working on his first solo album, Teaser, when he accepted the invitation to join Deep Purple.
The resulting album, Come Taste the Band, was released in the US in October 1975. Despite mixed reviews, the collection revitalised the band once again, bringing a new, extreme funk edge to their hard rock sound. Bolin's influence was crucial, and with encouragement from Glenn Hughes and David Coverdale, the guitarist developed much of the material. Later, Bolin's personal problems with drugs began to manifest themselves, and after cancelled shows and below-par concert performances, the band was in danger.
01. "Highway Star" – 6:05
02. "Maybe I'm a Leo" – 4:51
03. "Pictures of Home" – 5:03
04. "Never Before" – 3:56
05. "Smoke on the Water" – 5:40
06. "Lazy" – 7:19
07. "Space Truckin'" – 4:31
1. http://www.megaupload.com/?d=1XXNJWT7
or
2. http://rapidshare.com/files/191919055/Deep_Purple.rar
Nazz - S/T (1st Album US 1968)
Size: 142 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artrock Included
Japan 24-Bit Remaster
Nazz was an early psychedelic garage rock band from the 1960s. Though sometimes mistakenly called "The Nazz", the group's official name on all records and press materials is simply, "Nazz", without the definite article. The band was formed in Philadelphia, Pennsylvania in 1967 by Todd Rundgren (lead guitar) and Carson Van Osten (bass guitar). Thom Mooney (drums, formerly of the Munchkins) and Robert "Stewkey" Antoni (vocals, keyboard) joined before their first concert, opening for the Doors in 1967.
Marketed by their manager, Michael Friedman, as a teenybopper boy band, Nazz signed with SGC Records, releasing Nazz in 1968. The album was not commercially successful and neither was the first single, "Hello It's Me". After a brief trip to England cut short due to visa problems, Nazz recorded their second album, originally entitled Fungo Bat. (A fungo bat is a baseball bat used only for practice; it is not intended to hit pitched balls.) The album was originally a double album but was shortened to a single LP before being released as Nazz Nazz. Much of what was cut was Rundgren's material, and he departed the group, along with Van Osten, soon after.
With Stewkey in charge, Rundgren's vocals in the old tapes were replaced by his own; the band released the unsuccessful Nazz III in 1970. Mooney soon left, eventually playing with a variety of groups including the Curtis Brothers, Tattoo, Fuse and Paris. Stewkey played with Fuse alongside Mooney for a brief period, but then left. Rundgren went on to have a successful solo career. Ironically, Rundgren's biggest solo hit was an up-tempo version of Nazz' first unsuccessful single, "Hello It's Me".
Nazz took their name from the song "The Nazz are Blue" by The Yardbirds from their album Roger the Engineer. That song, in turn, took its title from Lord Buckley's comic monologue, "The Nazz," which is a re-telling of the tale of Jesus of Nazareth. [1] It is also often erroneously said that the band took its name from a line in the David Bowie song "Ziggy Stardust" which goes: "He was the nazz, with god-given ass..." but that song appeared in 1972, long after the first Nazz album, which appeared in 1968.
Nazz is the 1968 debut album by American psychedelic rockers Nazz. Though sometimes mistakenly called "The Nazz", the group's official name on all records and press materials is simply, "Nazz", without the definite article. Nazz never became mainstream rock stars, but they did achieve a measure of cult popularity among some listeners, especially future glam rockers and power pop bands like David Bowie and Big Star, in whom Nazz's hard psychedelic influences can be heard.
Nazz peaked at #118 on Billboard's Pop Albums chart, while single "Hello It's Me" peaked at #66 on the Pop Singles chart.
01. Open My Eyes
02. Back of Your Mind
03. See What You Can Be
04. Hello It's Me
05. Wildwood Blues
06. If That's the Way You Feel
07. When I Get My Plane
08. Lemming Song
09. Crowded
10. She's Goin' Down
11. Nazz Radio Commercials [Bonus]
12. Train Kept a Rollin' [Outtake - Bonus]
13. Magic Me [Pre-LP Bonus]
14. See What You Can Be [Pre-LP Bonus]
15. Hello It's Me [Demo]
16. Crowded [1967 Demo]
17. Open My Eyes [Bonus]
18. Lemming Song [Demo]
19. The Nazz Are Blue [Unreleased Live]
20. Why Is It Me [Early Version 1966]
21. Hello It's Me [Mono Mix]
1. http://www.megaupload.com/?d=QXX681XJ
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2. http://rapidshare.com/files/191428249/Nazz.rar
Bitrate: 256
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Ripped by: ChrisGoesRock
Artrock Included
Japan 24-Bit Remaster
Nazz was an early psychedelic garage rock band from the 1960s. Though sometimes mistakenly called "The Nazz", the group's official name on all records and press materials is simply, "Nazz", without the definite article. The band was formed in Philadelphia, Pennsylvania in 1967 by Todd Rundgren (lead guitar) and Carson Van Osten (bass guitar). Thom Mooney (drums, formerly of the Munchkins) and Robert "Stewkey" Antoni (vocals, keyboard) joined before their first concert, opening for the Doors in 1967.
Marketed by their manager, Michael Friedman, as a teenybopper boy band, Nazz signed with SGC Records, releasing Nazz in 1968. The album was not commercially successful and neither was the first single, "Hello It's Me". After a brief trip to England cut short due to visa problems, Nazz recorded their second album, originally entitled Fungo Bat. (A fungo bat is a baseball bat used only for practice; it is not intended to hit pitched balls.) The album was originally a double album but was shortened to a single LP before being released as Nazz Nazz. Much of what was cut was Rundgren's material, and he departed the group, along with Van Osten, soon after.
With Stewkey in charge, Rundgren's vocals in the old tapes were replaced by his own; the band released the unsuccessful Nazz III in 1970. Mooney soon left, eventually playing with a variety of groups including the Curtis Brothers, Tattoo, Fuse and Paris. Stewkey played with Fuse alongside Mooney for a brief period, but then left. Rundgren went on to have a successful solo career. Ironically, Rundgren's biggest solo hit was an up-tempo version of Nazz' first unsuccessful single, "Hello It's Me".
Nazz took their name from the song "The Nazz are Blue" by The Yardbirds from their album Roger the Engineer. That song, in turn, took its title from Lord Buckley's comic monologue, "The Nazz," which is a re-telling of the tale of Jesus of Nazareth. [1] It is also often erroneously said that the band took its name from a line in the David Bowie song "Ziggy Stardust" which goes: "He was the nazz, with god-given ass..." but that song appeared in 1972, long after the first Nazz album, which appeared in 1968.
Nazz is the 1968 debut album by American psychedelic rockers Nazz. Though sometimes mistakenly called "The Nazz", the group's official name on all records and press materials is simply, "Nazz", without the definite article. Nazz never became mainstream rock stars, but they did achieve a measure of cult popularity among some listeners, especially future glam rockers and power pop bands like David Bowie and Big Star, in whom Nazz's hard psychedelic influences can be heard.
Nazz peaked at #118 on Billboard's Pop Albums chart, while single "Hello It's Me" peaked at #66 on the Pop Singles chart.
01. Open My Eyes
02. Back of Your Mind
03. See What You Can Be
04. Hello It's Me
05. Wildwood Blues
06. If That's the Way You Feel
07. When I Get My Plane
08. Lemming Song
09. Crowded
10. She's Goin' Down
11. Nazz Radio Commercials [Bonus]
12. Train Kept a Rollin' [Outtake - Bonus]
13. Magic Me [Pre-LP Bonus]
14. See What You Can Be [Pre-LP Bonus]
15. Hello It's Me [Demo]
16. Crowded [1967 Demo]
17. Open My Eyes [Bonus]
18. Lemming Song [Demo]
19. The Nazz Are Blue [Unreleased Live]
20. Why Is It Me [Early Version 1966]
21. Hello It's Me [Mono Mix]
1. http://www.megaupload.com/?d=QXX681XJ
or
2. http://rapidshare.com/files/191428249/Nazz.rar
