Monday, 20 March 2017

Chuck Berry - After School Session (Classic 1st Album US 1957) & Chuck Berry - One Dozen Berrys (Classic 2nd Album US 1958)

Size: 291 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Chuck Berry - After School Session US 1957

Chuck Berry's first album boasts a picture of him lifted from his appearance in the 1956-vintage rock & roll movie Rock, Rock, Rock — it's a daring pose if you look closely, the singer/guitarist/songwriter captured at his most animated, in what was a pretty bold pose for a black artist in an interracial movie, strutting and duck-walking across the screen with his guitar at full...exposure. That said, bold as the movie appearance was and the pose that was reflected in its cover, After School Session came out fairly late, given that his first hit, "Maybellene," dated from the summer of 1955. 

This was partly owing to the sheer novelty of rock & roll LPs — during that period, only a relative handful reached the public, and a significant portion of those were the work of Elvis Presley or Bill Haley, whose associations with the gigantic RCA Victor and Decca labels, respectively, put them in virtually a separate universe from everyone else in the field, especially Berry, recording for the tiny independent Chess label. Chess Records hadn't even issued its first LP until the end of 1956, and that album, the soundtrack LP Rock, Rock, Rock, had included "Maybellene." 

After School Session was only the label's second-ever long-player, and its timing was predicated on the fact that, after "Maybellene," the rock & roll legend hadn't charted another major pop hit in almost two years (though he had generated some serious R&B hits, which are included here, among them the blues "Wee Wee Hours" — which was what Berry originally purported to represent as his sound — and the more rhythm-oriented "No Money Down" and "Brown Eyed Handsome Man").

It was the release and hit status of "School Day" in the early spring of 1957 that yielded this album, which is a brilliant compendium of the range, depth, and breadth of Berry's music across his first two years as a recording artist. The sounds ranged from the pounding, jargon-laden teen-oriented beat of "School Day" through those R&B and blues classics to the moody instrumental "Deep Feeling"; the Latin-flavored, Calypso-influenced "Havana Moon"; the slow, romantic ballad "Together (We'll Always Be)," which 
showed Berry working in a '40s R&B-pop mode similar to the music of the Ink

Spots, and attempting a Nat King Cole style of soft singing; his more successful effort in that ballad vein, "Drifting Heart"; and the mysterious, ominous, darkly shimmering "Down Bound Train," which could almost have been Berry's (and black music's) answer to "Ghost Riders in the Sky." 

The 2004 reissue of After School Session includes three bonus tracks that greatly extend the range of the original album — the driving rocker "You Can't Catch Me" (whose lyrics would greatly complicate John Lennon's life when he cribbed them for the opening of "Come Together" late in the Beatles' history); the even more pounding "Thirty Days"; and his debut hit, "Maybellene." 

All of it (including the rest of the original album's contents) shows off a glorious remastered sound that lets you hear the room ambience at Chess Studios and make out the exact spatial relationship between Berry and his backup singers on "Thirty Days." It puts the original CD to shame sonically, and boasts superior historical notes as well.

01. School Days, Berry  02:56
02. Deep Feeling, Berry  03:04
03. Too Much Monkey Business, Berry  02:51
04. Wee Wee Hours, Berry  02:20
05. Roly Poly, Berry  02:42
06. No Money Down, Berry  02:59
07. Brown Eyed Handsome Man, Berry  02:18
08. Berry Pickin', Berry  03:09
09. Together (We'll Always Be), Berry  02:32
10. Havana Moon, Berry 02:47
11. Down Bound Train  02:50
12. Drifting Heart  02:49

Bonus Tracks:
13. You Can't Catch Me  02:44
14. I've Changed  03:06
15. Untitled Instrumental  02:23
16. Maybellene (Live)  02:05
17. Roll Over Beethoven (Live)  02:44
18. Rock And Roll Music (Demo)  02:40
19. Thirteen Question Method (Early Version)  02:40
20. Sweet Little Sixteen (Demo)  03:09
21. Sweet Little Sixteen (Take 3)  03:14
22. Night Beat (Take 3) (Instrumental)  02:55
23. Time Was (Slow Version) (Take 4)  02:37
24. Time Was (Slow Version)  02:02
25. Reelin' And Rockin' (Take 1)  03:38
26. Merry Christmas Baby  03:13

Chuck Berry - One Dozen Berrys US 1958

Chuck Berry's second album is ever so slightly more sophisticated than its predecessor. Although One Dozen Berrys is hooked around a pair of hit singles, "Sweet Little Sixteen" and "Rock & Roll Music," most of what's here doesn't really sound too much like either of those songs — rather, the other ten tracks each constitute a close-up look at some individual component of the types of music that goes into brewing up the Chuck Berry sound. 

Thus, the slow instrumental "Blue Feeling" is a look at the blues sound that Berry initially proposed to bring to Chess Records; "How You've Changed" presents him in a slow ballad, singing in a manner closer to Nat "King" Cole than to any rock & roller of the era; and "Lajaunda" shows off his love of Latin music. "Rocking at the Philharmonic" is a rippling guitar/piano workout, a compendium of the sounds that lay beneath those hit singles, and a killer showcase not only for Berry, but also for Lafayette Leake at the ivories, and also a decent showcase for Willie Dixon's bass playing. 

"Oh Baby Doll" is a return to the beat of "Maybellene," this time carrying a lyric that's more sensual (in a bluesy sense) than rollicking fun, though it comes out that way amid the pounding beat and Berry's crunchy, angular guitar solo. "Guitar Boogie" is yet another guitar instrumental, one of four on this album, leading one to wonder if he was running short of first-rate lyrics in mid-1957, amid his frantic pace of recording and touring — no matter, for the piece is a killer track, a pumping, soaring working out for Berry's guitar that had some of the most impressive pyrotechnics that one was likely to hear in 1957; what's more, the track was good enough to form the template for Jeff Beck's more ornate adaptation, "Jeff's Boogie," from the 1966 album Roger the Engineer (aka The Yardbirds aka Over Under Sideways Down). 

The best of the album's tracks is easily "Reelin' & Rockin'," which is also just about the dirtiest song that Berry released in all of the 1950s (and for many years after that), essentially a blues-boogie recasting, on a more overt level, of the extended feats of sexual intercourse alluded to in Bill Haley's "Rock Around the Clock." 

The one totally weird track here is "Low Feeling," which is nothing but "Blue Feeling" doctored in the studio by Leonard and Phil Chess, slowed down to half speed and edited to create a 12th track — doing that to the original was bad enough, but sticking it on the same LP with the original was downright bizarre. And the album's closer, "It Don't Take But a Few Minutes," is a reminder of just how much Berry owed to country music for his sound, and explains, to anyone coming in late, how he could have been mistaken for a white hillbilly in those early days, based on the sound of this song and "Maybelline."

01. Sweet Little Sixteen  03:01
02. Blue Feeling  02:58
03. La Jaunda (Espanol)  03:08
04. Rock At The Philarmonic  03:21
05. Oh, Baby Doll  02:35
06. Guitar Boogie  02:20
07. Reelin' And Rockin  03:15
08. In-Go  02:28
09. Rock & Roll Music  02:30
10. How You'Ve Changed  02:47
11. Low Feeling  03:04
12. It Don't Take But A Few Minutes  02:30

Bonus Tracks: 
13. Rock and Roll Music (alternate)  02:26
14. Sweet Little Sixteen (Take 11)  03:09
15. Sweet Little Sixteen (Original Master)  03:46
16. Reelin And Rockin (Take 7/8)  03:46
17. Johnny - · B. Goode (Alternate Take 2/3)  03:21
18. Around And Around (Take 2 Overdub) 02:49
19. Around And Around (Take 3 Overdub) 02:43
20. Ingoe (Take 3 Overdub)  02:57
21. Lila de Beautiful (Alternate Take 15/16)  02:32
22. Lila de Beautiful (Take 6) 02:10
23. 21 Blues  02:11
24. 21  02:27
25. 21 (Take 14)  02:38
26. Vacation Time  02:53

Part 01: Chuck Berry 01
Part 02: Chuck Berry 02
Part 01: Chuck Berry 01
Part 02: Chuck Berry 02
Part 01: Chuck Berry 01
Part 02: Chuck Berry 02

Wednesday, 15 March 2017

Black Sabbath - Live at Montreux Casino, August 1970 and in Brussels 1970

Size: 115 MB
Bitrate: 320
Found in OuterSpace
Artwork Included

“No questions asked of ultra-name board”. The end.
…… No, no, I will explain properly. This work, latest remastered of “MONTREUX 1970,” which caused a whirlwind in 2010. Is this “remastered” is or was a point, but first from the basic description. If you know the existing airport, … a while now wait.

LED ZEPPELIN, DEEP PURPLE and sequence, BLACK SABBATH to represent the ’70s UK HR. However, when compared to both bands that identify and organize the live sound source progresses, it is not said that blessed unfortunately. Among such, Speaking of record who are recognized as “no questions asked great” from, “1970 Brussels (video, which has been referred to as the conventional” Paris 70 “),” “1975 Asbury Park”, and of this work “Montreux 1970” Big 3. The three, not official “LIVE AT LAST” “NEVER SAY DIE” even a problem, I just top in top.

※ Note: top version of the 1970 Brussels “THE ULTIMATE OZZY OSBOOURNE YEARS”, the top version of the 1975 Asbury Park is already in stock as “LIVE LONGEST … DIE AT LAST”. If those of non-experience (although I think …… not Irasshara), it all means.

Well, responsible for the corner of the sound source Big 3 “MONTREUX 1970” is, in 2010 to suddenly to transcendence sound board recording that has been excavated. Its contents, is the last day, Montreux performances August 31, 1970 debut album “BLACK SABBATH” tour, which celebrated its 45th anniversary this year. Its appearance and the other was a fuss. After all, five years ago did not know even that there was a live in “August 31, 1970”. And yet, because I’ve been jumped suddenly ultra-ultra-high quality sound board. The Ya its sound serving, well by far among the sound source Big 3, mono “Brussels 1970 (formerly Paris 1970)” What stage do you also referred to as the above …… than the video, even beyond the level of the live recording, studio album Beams Sound of. Moreover, initial BLACK SABBATH that has been recorded in the super sound quality, was “just now, in repainting the history”. Since recording of ultra-name board “PARANOID” is June 16 to 21, 1970, that two months later. It anymore, best of … (snip) in superb in superb in superb’s a British rock of …

Only tremendous so far, but the storm also compressed file on the net from the moment of appearance was raging, that was released as “original master itself” in such circumstances was a press album “MONTREUX 1970”. First press, sold out to it what “between say was with”. Unabated momentum in shades of Jacquet is different only in the second edition, it was I have also sold out.

This impact was also beyond the sea. According to the officials, how to obtain a press board of Tony Iommi and Giza? Butler himself “MONTREUX 1970” (the “LIVE LONGEST … DIE AT LAST”). It is said that much to Ai聴 (By the way, Ozzy Osbourne is so it was the end in “Hmm”: laughs). Question your identity our hearts even it’s a shock operation of shock Sakuchu that had to eagle Zukami!

5 years from the appearance was so of the incident, this time super-name board of “this I say with BLACK SABBATH” is, is why was revived in the latest remastered this time! Although I have become to long long prelude, finally main issue. Identity What is the of this work Meiutsu “DEFINITIVE”. It is “official sense remastered”. In fact, even when appeared incident five years ago, “it has been officially recorded, discovered during research for the bonus sound source of Deluxe Edition, eventually became the unpublished” it had been said. In fact, it also has is why it was clear of convincing, “Well, I had been really official release, kana?” Remains raw “far” and was also the a sound that seems also. Perhaps by performing a digital remastered, it …… or not it was to listen alongside the original album.

This time, to deliver “DEFINITIVE MONTREUX 1970”, has been remastered the “really I had been the official release?” Motif. Intact original ultra-clear sound, modern force, the dynamism has been dusted plenty. When you be honest, sound source with the In “meaning the weight of the” original as it is of “MONTREUX 1970” is by far great. Well another, Metchakucha great (So, please do not let go of the person who you have absolutely!). Did on affirmed up there, if you Ai聴 from the usual, I recommend this work. After all, it is familiar way of also excellent when I heard sprinkled with studio albums remastered CD. Sharpness sharp edges Standing, thundering bass of plump sounds comfortably. Is irresistible, really.

Also Iommi also always “debut album, was only live album of there are no spectators” Ozzy but says, Sashizume this work What “the stage version”. Was created a super-name board “BLACK SABBATH” “PARANOID”, “1970”. To special year in special just two, had even joined one.

Although it is your embarrassing story, Ever since then to hand this work, the recording order “because tour last day 1st album → this work → 2nd and Kana will listen in the order of the album” “Today in 1st album → 2nd album → this work as such will kana “try to repeat every day settlement. Subsequently you listened to as the “Iron Man and though why that after recording War Pigs is provisional lyrics that do wonder? … No way, do not remember yet!?”, etc., etc., as jumped almost 70 years. This fun, the real thrill to warp to ’45 before. Come, please experience you also in the press album.

Live at Montreux Casino, Montreux, Switzerland 31st August 1970

01. Intro - 01.22 
02. Paranoid - 02.59
03. N.I.B. - 05.45
04. Behind The Wall Of Sleep - 06.03
05. Iron Man - 06.23
06. War Pigs - 07.43
07. Fairies Wear Boots - 08.42
08. Hand Of Doom - 08.30


Size: 127MB
Bitrate: 320
Found in OuterSpace
Artwork Included

Along with their 1974 performance at the California Jam and the glorious 1975 Asbury Park show, Black Sabbath‘s December, 1970, performance in Paris, France is among the group’s most famous bootlegs. Various snippets have made the rounds over the years — mostly video — but the soundboard audio from the show, coupled with the fact that it’s the original lineup in their Paranoid-era, was too good for me to pass up on eBay recently. Maybe it was posting the “N.I.B.” video last week that did it. Maybe it was the wine. Could go either way.

Whatever the case, it was one of those shows I had downloaded forever ago, but definitely of a quality worth owning physically. Even as Ozzy butchers the lyrics to nearly every song — “War Pigs” and “Hand of Doom” are especially brutal — the energy with which he does so practically punches you in the face through the speakers, and Bill Ward holds down “Black Sabbath” like I haven’t heard in any other era of the band. All the material was fresh, immediate, and fortunately, the sound on the War Pigs bootleg is good enough to capture that.

I’m pretty sure it’s a home-print job, inkjet, burner, whatnot, but it’s a silver-backed disc and I paid less than $20 for it, and in this age of sabboots, each of those is rare enough on its own that to have them both at the same time feels like getting away with something. If you’re into Sabbath bootlegs, you probably already have this show one way or another — I’ve never had much interest in collecting bootleg videos, but I know plenty of people who do — but if you don’t, it’s an essential piece to the catalog.

Interestingly (or maybe not), the track list on the back of the CD is wrong, and “Black Sabbath” is not the closer of the show, “Fairies Wear Boots” is. “Black Sabbath” comes after “Iron Man” — written as one word on the CD — though it kicks enough ass it could have just as easily ended the set. “Behind the Wall of Sleep” is another highlight, for Tony Iommi‘s hypnotic solo if not Geezer Butler‘s running bass, which is low on “War Pigs” to the point of needing to be adjusted on the EQ, but well worth the minimal effort of doing so.

There are plenty of other copies out there, and even if it’s a cheap inkjet knockoff that you’re getting, the War Pigs bootleg captures young Sabbath at their most vital and as they never would be again. If you see it, get it.

Live in Brussels 1970

01. Paranoid
02. Hand Of Doom
03. Rat Salad
04. Iron Man
05. Black Sabbath
06. N.I.B.
07. Behind The Wall Of Sleep
08. War Pigs
09. Fairies Wear Boots 

Part 1: Sabbath 1
Part 2: Sabbath 2
Part 1: Sabbath 1
Part 2: Sabbath 2
Part 1: Sabbath 1
Part 2: Sabbath 2

Sunday, 12 March 2017

Various Artist - Some Good Bands to Listen at on a boring Sunday...

Size: 313 MB
Bitrate: 320
Found in my Share
Some Artwork Included

The 1970 Isle of Wight Festival was held between 26 and 31 August 1970 at Afton Down, an area on the western side of the Isle of Wight. It was the last of three consecutive music festivals to take place on the island between 1968 and 1970 and widely acknowledged as the largest musical event of its time, greater than the attendance of Woodstock. Although estimates vary, the Guinness Book of Records estimated 600,000, possibly 700,000 people attended. It was organised and promoted by local brothers, Ron and Ray Foulk through their company Fiery Creations Ltd and their brother Bill Foulk. Ron Smith was site manager and Rikki Farr acted as compere.

The preceding Isle of Wight Festivals, also promoted by the Foulks, had already gained a good reputation in 1968 and 1969 by featuring acts such as Jefferson Airplane, T. Rex, The Move, The Pretty Things, Joe Cocker, The Moody Blues (performed at the 1969 festival), The Who, and Bob Dylan in his first performance since his 1966 motorcycle accident.

The 1970 version, following Woodstock in the previous year, set out to move one step forward and enlisted Jimi Hendrix. With Hendrix confirmed, artists such as Cactus, Chicago, The Doors, Lighthouse, The Moody Blues, The Who, Miles Davis, Joan Baez, Joni Mitchell, Jethro Tull, Sly and the Family Stone, Ten Years After, Emerson, Lake & Palmer and Free willingly took up the chance to play there. The event had a magnificent but impractical site, since the prevailing wind blew the sound sideways across the venue, and the sound system had to be augmented by The Who's PA. There was a strong, but inconsistent line up, and the logistical nightmare of transporting some 600,000 people onto an island with a population of fewer than 100,000.

Political and logistical difficulties resulted in the organisers eventually realising that the festival would not make a profit and declaring it to be "a free festival", although the majority of the audience had paid for tickets in advance, and the event was filmed contemporaneously. The commercial failings of the festival ensured it was the last event of its kind on the Isle of Wight for thirty-two years.

Upon the release of their first album in the late '70s, Tom Petty & the Heartbreakers were shoehorned into the punk/new wave movement by some observers who picked up on the tough, vibrant energy of the group's blend of Byrds riffs and Stonesy swagger. In a way, the categorization made sense. Compared to the heavy metal and art rock that dominated mid-'70s guitar rock, the Heartbreakers' bracing return to roots was nearly as unexpected as the crashing chords of the Clash. As time progressed, it became clear that the band didn't break from tradition like their punk contemporaries. Instead, they celebrated it, culling the best parts of the British Invasion, American garage rock, and Dylanesque singer/songwriters to create a distinctively American hybrid that recalled the past without being indebted to it.

The Heartbreakers were a tight, muscular, and versatile backing band that provided the proper support for Petty's songs, which cataloged a series of middle-class losers and dreamers. While his slurred, nasal voice may have recalled Dylan and Roger McGuinn, Petty's songwriting was lean and direct, recalling the simple, unadorned style of Neil Young. Throughout his career, Petty & the Heartbreakers never departed from their signature rootsy sound, but they were able to expand it, bringing in psychedelic, Southern rock, and new wave influences; they were also one of the few of the traditionalist rock & rollers who embraced music videos, filming some of the most inventive and popular videos in MTV history. His willingness to experiment with the boundaries of classic rock & roll helped Petty sustain his popularity well into the '90s.

The group spent much of 1968 seeing the singles "Call Me Lightning," "Magic Bus," and "Dogs" -- inspired by Townshend's interest in dog racing -- fail to meet expectations. Track Records, squeezed for cash even with Hendrix's burgeoning sales, assembled Direct Hits, which compiled the band's recent singles (minus the Shel Talmy-produced Brunswick sides). In the United States, Decca Records -- with only two actual "hits" by the group to work with, plus "Magic Bus" (which did unexpectedly well on that side of the Atlantic) -- released Magic Bus, an unacknowledged compilation album built around the hit and drawn from U.K. singles, EPs and recent album tracks. It was misleadingly subtitled "The Who on Tour," and that's a lot of what they did in 1968, especially in the United States, but not the way they did in 1967; this time, they were playing places like the Fillmore East, where they recorded one show for a possible live album. This plan went awry when the show wasn't quite good enough to represent the group, and was abandoned entirely with the vast changes in their songbook in 1969. While making their first serious long-term headway in the U.S., the band -- mostly Townshend, in collaboration with Lambert on the early libretto -- were devising and recording a large-scale work.

Tommy arrived in May of 1969, more than a year and a half after The Who Sell Out. However, it was still unfinished -- the band wanted to add more instruments on certain songs, and Entwistle was particularly upset at the bass sound on the released recording. But they were out of money and options, so Tommy was released as a work-in-progress. And for the first time, the stars lined up in the Who's favor, especially in the United States. 

The serious rock press seized on the album as a masterpiece, while the mainstream press started to take rock music seriously. The Who were new and fresh enough, and Tommy ambitious enough, that it became one of the most widely reviewed and written-about albums in history. Tommy climbed into the American Top 10 as the group supported the album with an extensive tour where they played the complete opera. In some respects, Tommy became too successful. Audiences expected it to be done in its entirety at every show, and suddenly the Who were routinely playing for two hours at a clip. The work soon overshadowed the Who; it was performed as a play, redone as an orchestrated all-star extravaganza (starring Daltrey and featuring Townshend's guitar), and would eventually be filmed by Ken Russell in 1975 (the movie starred Daltrey). In 1993, Townshend turned it into a Broadway musical with director Des McAnuff.

Live at Leeds While Tommy kept the band busy touring for almost two years, how to follow it stumped Townshend. As he worked on new material, the group released Live at Leeds in 1970 (which yielded the hit single "Summertime Blues"), as well as the single "The Seeker," giving them some breathing room Eventually, he settled on Lifehouse, a sci-fi rock opera strongly influenced by the teachings of his guru, Meher Baba, that pushed the group into new sonic territory with electronics and synthesizers. The rest of the Who wasn't particularly enthralled with Lifehouse, claiming not to understand its plot, and their reluctance contributed to Townshend suffering a nervous breakdown. Once he recovered, the group picked up the pieces of the abandoned project and recorded Who's Next with producer Glyn Johns. Boasting a harder sound, Who's Next was a major hit, and many of its tracks -- including "Baba O'Riley," "Bargain," "Behind Blue Eyes," and "Won't Get Fooled Again" (which were both issued as singles), and Entwistle's "My Wife" -- became cornerstones of '70s album-oriented FM radio. The Who's Next tour solidified the band as one of the two top live rock attractions in the world along with the Rolling Stones. Suddenly their history was of interest to millions of fans; Meaty Beaty Big and Bouncy, a 14-song retrospective of their singles, also sold in massive numbers.

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Recorded over three nights in August 1972, Deep Purple's Made in Japan was the record that brought the band to headliner status in the U.S. and elsewhere, and it remains a landmark in the history of heavy metal music. Since reorganizing with singer Ian Gillan and bassist Roger Glover in 1969, Deep Purple had recorded three important albums -- Deep Purple in Rock, Fireball, and Machine Head -- and used the material to build a fierce live show. Made in Japan, its selections drawn from those albums, documented that show, in which songs were drawn out to ten and even nearly 20 minutes with no less intensity, as guitarist Ritchie Blackmore and organist Jon Lord soloed extensively and Gillan sang in a screech that became the envy of all metal bands to follow. 

The signature song, of course, was "Smoke on the Water," with its memorable riff, which went on to become an American hit single. But those extended workouts, particularly the moody "Child in Time," with Gillan's haunting falsetto wail and Blackmore's amazingly fast playing, and "Space Truckin'," with Lord's organ effects, maintained the onslaught, making this a definitive treatment of the band's catalog and its most impressive album. By stretching out and going to extremes, Deep Purple pushed its music into the kind of deliberate excess that made heavy metal what it became, and their audience recognized the breakthrough, propelling the original double LP into the U.S. Top Ten and sales over a million copies.

01. The Doors - Isle of Wight 1970-08-30 - The End  18:18
02. The Doors - Isle of Wight 1970-08-30 - When The Music's Over  13:31
03. The Doors - Stockholm '68 Tapes - Money  03:18
04. The Doors - Stockholm '68 Tapes - Back Door Man  04:29
05. Tom Petty - Unreleased  Petty - Mr Tambourine Man  04:02
06. Tom Petty - Unreleased  Petty - Worried Guy  03:21
07. Tom Petty - Unreleased  Petty - Drivin' Down To Georgia  06:34
08. Tom Petty - My Fathers Place - Route 66  04:00
09. The Who - Complete Amsterdam 69' - Summertime Blues  03:54
10. The Who - Complete Amsterdam 69' - My Generation  14:41
11. The Who - Complete Amsterdam 69' - Young Man Blues  08:28
12. The Who - Complete Amsterdam 69' - Tattoo  04:24
13. Deep Purple - Made in Japan August 17 - Highway Star  07:12 (Another Version)
14. Deep Purple - Made in Japan August 17 - Strange Kind of Woman  08:28 (Another Version)
15. Deep Purple - Made in Japan August 17 - Black Night  06:58 (Another Version)
16. Deep Purple - Made in Japan August 15 - Lazy  10:59 (Another Version)

Part 1: Boring 1
Part 2: Boring 2
Part 3: Boring 3
Part 1: Boring 1
Part 2: Boring 2
Part 3: Boring 3
Part 1: Boring 1
Part 2: Boring 2
Part 3: Boring 3

Sunday, 5 March 2017

Various Artist - Psychedelic Artist From the US 60's

Size: 415 MB
Bitrate: 320
Found in DC++ World
Some Artwork Included

A.B. Skhy was a blues-rock quartet from San Francisco consisting of guitarist Dennis Geyer, keyboard player Howard Wales, bass player Jim Marcotte, and drummer Terry Andersen. This lineup made the group's debut album, A.B. Skhy, in 1969, with a seven-piece horn section. 

The album failed to chart, but the instrumental "Camel Back" hit number 100 on the Hot 100 for one week in December. Andersen and Wales then left and were replaced by guitarist James "Curley" Cooke and drummer Rick Jaeger for the group's second album, Ramblin' On (1970), which was produced by Kim Fowley. They broke up during the recording of their third album.

A little history here. A.B. Skhy were a great psychedelic/blues band originally from milwaukee, wisconsin, and soonrelocated in san francisco. They included in their line-up howard wales, well known for his work with jerry garcia, russell dashell later in the crowfoot, band that was also including don francisco, well known for his work with damon in a band called highway robbery, and terry andersen, later with harvey mandel, plus other musicians that ended to play with fellows like steve miller and elvin bishop. AB Skhy recorded 2 really fine lp's for MGM, the first just called AB SKHY and the second RAMBLIN' ON.

Led by singer/multi-instrumentalist Wayne Ceballos, the little know Aum stand as also-rans in the lexicon of sixties San Francisco bands. With drummer Larry Martin and bassist Ken Newell rounding out the trio, the group's initial reputation stemmed from their jam-oriented concerts. 

Initially signed by the London-affiliated Sire label, as one would expect from the title, the group's 1969's Bluesvibes found them working in a distinctively blues-vein. Reflecting the band's live act, the Richard Gotthrer produced debut featured a series of seven extended jams, (the shortest song clocking in at four minutes). With Ceballos writing the majority of the material, in spite of period excesses (e.g. aimless soloing), originals such as Mississippi Mud and Chilli Woman weren't half bad. Moreover, Ceballos proved a decent singer, injecting considerable energy into his performances. Among the few short-comings, the band's ponderous cover of John Loudermilk's Tobacco Road would've been suitable for Vanilla Fudge. 

One of the first acts to be signed to Bill Graham's Fillmore label, 1969's Resurrection teamed the band with producer David Rubinson. As one might have guessed from the album title (let alone the back cover which showed three crosses), their sophomore effort found the band pursuing a pseudo-religious agenda. In spite of occasionally clunky lyrics and an irritating degree of echo, Ceballos-penned material such as God Is Back In Town, the ballad Only I Know and Today And Tomorrow wasn't too bad. Boasting a nifty Ceballos guitar solo, the stately title track is the stand-out cut. Elsewhere, the driving Bye Bye Baby and Little Brown Hen recall Quicksilver Messenger Service. Certainly not likely to get top-40 airplay, but San Francisco certainly turned out worse sounding bands. Commercially the band did nothing; the trio calling it quits shortly thereafter. In 1975, Larry Martin would play with Charlie Musselwhite.

The Blues Project was a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world's first jam bands, along with the Grateful Dead.

In 1964, Elektra Records produced a compilation album of various artists entitled, The Blues Project, which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album's release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles' arrival in the United States earlier in the year signified the end of the folk and acoustic blues movement that had swept the U.S. in the early 1960s. The ensuing British Invasion was the nail in the coffin.

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Kalb's first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on the Blues Project moniker as an allusion to Kalb's first foray on record. After a brief hiatus in the summer of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals.

The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he sneaked into the "Like a Rolling Stone" recording session for Bob Dylan's album, Highway 61 Revisited. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately. Soon thereafter, the Blues Project gained a recording contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965. While the band was known for their lengthy interpretations of blues and traditional rock and roll songs, their first album saw them rein in these tendencies because of record label wariness as well as time restrictions.

Entitled Live at The Cafe Au Go Go the album was finished with another week of recordings in January 1966. By that time, Flanders had left the band and, as a result, he appeared on only a few of the songs on this album.

The album was a moderate success and the band toured the U.S. to promote it. While in San Francisco, California in April 1966, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York's answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities.(Source: Rock Family Trees - television program)

Returning to New York, the band recorded their second album in the fall of 1966, and it was released in November. Projections contained an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock. The centerpiece of the album was an 11-and-a-half minute version of "Two Trains Running," which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental "Flute Thing", written by Kooper and featuring Kulberg on flute.

Soon after the album was completed, though, the band began to fall apart. Kooper quit the band in the spring of 1967, and the band without him completed a third album, Live At Town Hall. Despite the name, only one song was recorded live at Town Hall, while the rest was made up of live recordings from other venues, or of studio outtakes with overdubbed applause to feign a live sound. One song in the latter category, Kooper's "No Time Like the Right Time," would be the band's only charting single.

The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone. Kooper had formed his own band and played at the festival as well. Katz left soon thereafter, followed by Kalb. A fourth album, 1968's Planned Obsolescence, featured only Blumenfeld and Kulberg from the original lineup, but was released under the Blues Project name at Verve's insistence. Future recordings by this lineup would be released under a new band name, Seatrain.

In 1968, Kooper and Katz joined forces to fulfill a desire of Kooper's to form a rock band with a horn section. The result was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not take part in any subsequent releases. Katz, on the other hand, remained with the band into the 1970s. Track 11-14: The Blues Project, Matrix, S.F. September 7-15, 1966

It's a Beautiful Day was a band formed in San Francisco, California in 1967, the brainchild of violinist and vocalist LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members were his wife Linda (keyboards), Pattie Santos (vocals), Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from the Summer of Love, It’s a Beautiful Day never quite achieved the success of their contemporaries such as The Grateful Dead and Santana, with whom they had connections. It’s A Beautiful Day created a unique blend of rock, jazz, folk, classical and world beat styles during the seven years the band was officially together.

The band's debut album, It's a Beautiful Day, released in 1969, featured the tracks "White Bird", "Hot Summer Day", "Time Is" and "Bombay Calling". The intro of the last was used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its In Rock album. 

The vocals and violin playing of David LaFlamme plus Pattie Santos' singing attracted attention including FM radio play, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at #118.

By 1970 the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb. 

The following album, Marrying Maiden, released in 1970, included memorable tracks and was also a chart hit. In that year, the group also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, The Netherlands and at the UK Bath Festival.
It's A Beautiful Day, track 15-18: Fillmore West-San Francisco, California, May 23-25 1968

Quicksilver Messenger Service (sometimes credited as simply Quicksilver) is an American psychedelic rock band formed in 1965 in San Francisco. They were most famous for their biggest hit, the single "Fresh Air" (from the album Just for Love), which reached #49 in 1970.

Quicksilver Messenger Service gained wide popularity in the San Francisco Bay Area and through their recordings, with psychedelic rock enthusiasts around the globe, and several of their albums ranked in the Top 30 of the Billboard Pop charts. Though not as commercially successful as contemporaries Jefferson Airplane and The Grateful Dead, Quicksilver was integral to the beginnings of their genre. With their jazz and classical influences and a strong folk background, the band attempted to create an individual, innovative sound.  Member Dino Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swung rhythms and twanging guitar sounds.

After many years, the band has attempted to reform despite the deaths of several members. Recently, original members Gary Duncan and David Freiberg have been touring as the Quicksilver Messenger Service, using various backing musicians.

im Murray left the group not long after they performed at the Monterey International Pop Festival in June 1967. The band began a period of heavy touring on the West Coast of the United States where they built up a solid following and featured on many star-studded bills at the Avalon Ballroom and the Fillmore West. Sound engineer (and infamous LSD chemist) Owsley Stanley regularly recorded concerts at major San Francisco venues during this period, and his archive includes many QMS live performances from 1966–67, which were released on his Bear Recordings label in 2008-2009.

QMS initially held back from signing a record deal at the time but eventually signed to Capitol Records in late 1967, becoming the last of the top-ranked San Francisco bands to sign with a major label. Capitol was the only company that had missed out on signing a San Francisco “hippie” band during the first flurry of record company interest and, consequently, Quicksilver Messenger Service was able to negotiate a better deal than many of their peers. At the same time, Capitol signed the Steve Miller Band, with whom Quicksilver Messenger Service had appeared on the movie and soundtrack album Revolution, together with the group Mother Earth.

Quicksilver Messenger Service released their eponymous debut album in 1968. It was followed by Happy Trails, released in early 1969 and largely recorded live at the Fillmore East and the Fillmore West. "Happy Trails" has a few additions to the original live performances: a studio comment at the beginning of side 2 and a completely different version of "Calvary," which was recorded in the studio just before Gary Duncan left the band; otherwise it reflects Quicksilver's live sound faithfully. Happy Trails was awarded a gold album in the United States. 

These albums, which have been hailed as "...two of the best examples of the San Francisco sound at its purest," define the classic period in the group's career and showcase their distinctive sound, emphasizing extended arrangements and fluid twin-guitar improvisation. Cipollina's highly melodic, individualistic lead guitar style, combined with Gary Duncan's driving minor scale, jazzy sound guitar style, feature a clear, notable contrast to the heavily amplified and overdriven sound of contemporaries like Cream and Jimi Hendrix. In 2003 Happy Trails was rated at No. 189 in the Rolling Stone Top 500 albums survey, where it was described as "...the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience..." Archetypal QMS songs include the elongated, continually re-titled suite based on Bo Diddley's Who Do You Love??, featured on Happy Trails.

Duncan left the group not long after the recording of Happy Trails; according to David Freiberg, this was largely because of his escalating problems with opiates and amphetamines.[6] His 'farewell' performances were the studio recordings that ended up on Happy Trails and a final live performance with the band on New Year's Eve 1969. Duncan recalled 18 years later:

"Well, let's put it this way, at the end of 1968, I was pretty burned out. We'd been on the road for, really, the first time in our lives. I just left for a year. I didn't want to have anything to do with music at all. And I left for a year and rode motorcycles and lived in New York and L.A. and just kind of went crazy for about a year."
Freiberg later recalled that Duncan's departure shook the core of the band: "Duncan was the 'engine' man, it just didn’t WORK without him ... for me. I was really ... I was devastated...

For their 1969 album Shady Grove, Duncan did not participate, replaced by renowned English session keyboardist Nicky Hopkins, who had played on scores of hit albums and singles by acts like The Kinks, The Rolling Stones, The Beatles, The Who and Steve Miller, among many others. Hopkins' virtuoso piano boogie dominates the album, giving it a unique sound within the Quicksilver catalog.

The band that became Quicksilver Messenger Service originally was conceived as a rock vehicle for folk singer/songwriter Dino Valente (b. Nov. 7, 1943, d. Nov 16, 1994), author of "Get Together." Living in San Francisco, Valente had found guitarist John Cipollina (b. Aug. 24, 1943, d. May 29, 1989) and singer Jim Murray. Valente's friend David Freiberg (b. Aug. 24, 1938) joined on bass, and the group was completed by the addition of drummer Greg Elmore (b. Sep. 4, 1946) and guitarist Gary Duncan (b. Sep 4, 1946). As the band was being put together, Valente was imprisoned on a drug charge and he didn't rejoin Quicksilver until later.

Happy Trails They debuted at the end of 1965 and played around the Bay Area and then the West Coast for the next two years, building up a large following but resisting offers to record that had been taken up by such San Francisco acid rock colleagues as Jefferson Airplane and the Grateful Dead. Quicksilver finally signed to Capitol toward the end of 1967 and recorded their self-titled debut album in 1968 (by this time, Murray had left). Happy Trails, the 1969 follow-up, was recorded live. After its release, Duncan left the band and was replaced for Shady Grove (1970) by British session pianist Nicky Hopkins. By the time of its release, however, Duncan had returned, along with Valente, making the group a sextet.

Just for Love This version of Quicksilver, prominently featuring Valente's songs and lead vocals, lasted only a year, during which two albums, Just for Love and What About Me, were recorded. Cipollina, Freiberg, and Hopkins then left, and the remaining trio of Valente, Duncan, and Elmore hired replacements and cut another couple of albums before disbanding. There was a reunion in 1975, resulting in a new album and a tour, and in 1986 Duncan revived the Quicksilver name for an album that also featured Freiberg on background vocals.BILL GRAHAM ARCHIVES 1966-67 FILLMORE AUDITORIUM SAN FRANCISCO,CA.,USA

01. A.B. Skhy - The World Needs Love  11:04
02. A.B. Skhy - Thinking It Over  08:25
03. A.B. Skhy - Sweet Little Angel  08:42
04. A.B. Skhy - Just What I Needed  04:16
05. A.B. Skhy - St. James Infirmary  08:46
06. A.B. Skhy - Everyday I have The Blues  08:48
07. Aum - I Need You  05:30
08. Aum - Little Brown Hen  03:33
09. Aum - A Little Help From You  13:39
10. Aum - Bye-Bye Baby  10:40
11. Blues Project - I Can't Keep From Crying  06:04
12. Blues Project - Caress My Baby  08:08
13. Blues Project - Wake Me Shake Me  08:04
14. Blues Project - You Can't Catch Me  05:22
15. It's A Beautiful Day - Wasted Union Blues  12:19
16. It's A Beautiful Day - White Bird  06:48
17. It's A Beautiful Day - Hot Summer Wind  11:02
18. It's A Beautiful Day - Jam, Bombay Calling  10:08
19. Quicksilver Messenger Service - Hoochie Coochie Man  06:26 (February 4,1967)
20. Quicksilver Messenger Service - Hair Like Sunshine  05:37 (November 5,1966)
21. Quicksilver Messenger Service - Duncan & Brady  03:40 (February 4,1967)
22. Quicksilver Messenger Service - Walkin' Blues  03:37 (February 4,1967)

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