Monday, 26 September 2016

Andy Roberts - Nina and The Dream Tree (Great Folkrock UK 1971)

Size: 71.4 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

A beautiful album, full of atmosphere and haunting music. This album should have been massive. Tracks like 'Keep my Children Warm', 'I've seen the movie' and of course 'Nina', are timeless favourites and still sound wonderful 30 years on. Andrew "Andy" Roberts (born 12 June 1946) is an English musician.

Andy Roberts was born in Harrow, Middlesex, England and won a violin scholarship to Felsted School. He then attended Liverpool University. He has played with The Liverpool Scene, Plainsong, The Scaffold, Roy Harper, Chris Spedding, Pink Floyd, Hank Wangford, Kevin Ayers, Vivian Stanshall and Grimms. He has also done many sessions for artists such as Richard Thompson, Paul Korda, and Maddy Prior, and has been a musical partner to Iain Matthews for 30 years. He has also written film scores, themes for TV series, backed Billy Connolly, provided music and voice for Spitting Image and continues to create musical backdrops for the poetry of Roger McGough.

Andy Roberts' second album was similar to his worthy debut, Home Grown, in its agreeable brand of gentle British folk-rock, but also a departure in several notable respects. Most unusually, there were just five tracks this time around, although one of them ("25 Hours a Day/Breakdown/Welcome Home") was more a combination of songs than a completely separate entity. Also, there was more of a piano base that pushed the record a little away from standard British folk-rock and more toward the early-'70s singer/songwriter school. 

Some of the tunes, for instance, are reminiscent of Elton John's early work (though with a less strident, consciously pop air), parts of "Keep My Children Warm" and "Dream Tree Sequence" adding a muted gospel-soul feel in the backup vocals and arrangements. Sometimes the compositions do go on too long -- the closing "Dream Tree Sequence" lasts a good 15 minutes -- and "Good Time Charlie" is a fairly forgettable, you guessed it, good-time blues-folk-rocker. But at its best, as in the haunting "I've Seen the Movie," there's a delicate wistfulness that will spark unavoidable comparison to some of Iain Matthews' early work, particularly since Matthews and Roberts would soon team up in Plainsong. Roberts is perhaps too low-key to ever generate a wide cult following, but his early work deserves hearing by fans of the early-'70s British folk-rock/singer/songwriter crossover sound, this outing included.

b. 12 June 1946, Hatch End, Middlesex, England. Folk singer-songwriter and guitarist Roberts’ solo achievements have been overshadowed by his work on recordings by other artists. He first came to public attention after meeting BBC disc jockey John Peel in 1967. During this period Roberts accompanied the Scaffold before going on to join the Liverpool Scene in 1968. He recorded his highly acclaimed solo debut Home Grown while still a member of the Liverpool Scene. Initially released on RCA Records in 1970, the album was reissued in shortened form by B&C Records the following year. Roberts recorded two further albums in 1971; the beautiful solo album Nina And The Dream Tree continued the fine work begun on Home Grown, while Everyone was recorded with the ill-fated band of the same name, featuring Roberts, Bob Sargeant, Dave Richards and John Pearson.

In 1972 Roberts joined Plainsong with whom he recorded the highly regardedIn Search Of Amelia Earhart. He then joined former Liverpool Scene colleagues Roger McGough and Adrian Henri in the Grimms from 1973-76, during which time he appeared on their final two albums. During this period Roberts also released two further solo albums, Urban Cowboy and Andy Roberts And The Great Stampede. In 1974, he featured in his first stage musical, Mind Your Head, but thereafter concentrated on session work. He worked with Roy Harper, the Albion Band and Hank Wangford. He recorded and toured with the latter artist until 1984, but continued with other session commitments, including playing guitar on Pink Floyd’s The Wall in 1981. Roberts also provided a singing voice for UK television’s satirical puppet seriesSpitting Image from 1983-84.

From the mid-80s onwards, Roberts has been heavily involved in composing music for film, television and theatre. His flexibility is reflected in the diversity of the programmes he has composed for, ranging from television drama series such as The Men’s Room (excellent theme song sung by Sarah Jane Morris, ‘I Am A Woman’) to Madhur Jaffrey’s Far Eastern Cookery. In his capacity as composer, Roberts has been involved with Z Cars, Bergerac and the six-part television documentary series, Where On Earth Are We Going?, in addition to writing music for the movies Loose Connections, A Masculine Ending, Priest, Mad Love, Face, and Going Off Big Time. He also acted as musical director for the Royal Court in Sloane Square, London, during the early 80s. He has also played on countless sessions by a wealth of artists, and since the early 90s has toured and recorded with the reunited Plainsong.

01. Keep my children warm (Roberts) 05:00
02. I've seen the movie (Roberts) 05:45
03. 25 hours a day/Breakdown/Welcome Home (Roberts) 07:39
04. Good Time Charlie (Koerner) 02:55
05. Dream Tree Sequence (Roberts) 15:38


Wynder K. Frog - Out of the Frying Pan (Jazz/Blues/Soul UK 1968)

Size: 87.7 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included

Wynder K. Frog was a jazz/blues band organized in 1967 by keyboard player Mick Weaver. The membership of the group -- which was billed as Wynder K. Frogg in one of its earliest London gigs (opening for the then newly-formed Traffic) -- was somewhat fluid, especially in the early part of its history, and their recording history is even more confusing, owing to the nature of their very first album, Sunshine Super Frog. Apart from being one of the rarer long-players from the Island Records catalog of 1967, the latter record was essentially Mick Weaver playing with a group of uncredited session musicians (from New York, no less) under the overall guidance of producer Jimmy Miller. 

The group's most well-known incarnation came along a little later, coalescing around ex-Bluesology guitarist Neil Hubbard, Alan Spenner on bass, saxophonist Chris Mercer (formerly of John Mayall's Bluesbreakers), Anthony Reebop Kwaku Baah on percussion, and Bruce Rowland on the drums. Weaver's Hammond B-3 organ was central to their sound, however, and the leader credited himself with the personal alias "Wynder K. Frog."

Out of the Frying Pan This lineup impressed audiences and critics alike, and got to record an LP, Out of the Frying Pan (1968), co-produced by Miller and Gus Dudgeon. That record featured them covering established compositions ranging from "Alexander's Ragtime Band" to "Jumpin' Jack Flash," as well as a pair of Mick Weaver pieces. They got a fair amount of notice for their pounding rendition of "Green Door," and their instrumental version of "Jumpin' Jack Flash" also achieved considerable cult popularity as a single. And their single-only release of "I'm a Man" has proved enduringly popular as well. 

Like a lot of jazz/blues hybrid groups of the era, Wynder K. Frog were able to achieve serious recognition in London, but were running against a musical tide from America that was moving in the direction of arena rock and big-scale, high-volume sounds with which they could never compete, at least with their brand of music. 

The classic lineup started to split in late 1968, but not before Shawn Phillips came aboard on guitar and vocals for a time. Spenner went on to become part of Joe Cocker's Grease Band along with Rowland, the two in that capacity playing an extended tour of the United States, culminating with the Woodstock festival in August of 1969, and they and Neil Hubbard were subsequently the core of the reorganized, free-standing Grease Band. 

Meanwhile, following the dissolution of Wynder K. Frog, Weaver and his record label issued the posthumous album Into the Fire (1969). The group's reputation was mostly confined to the London music community, though the fact that they kept turning up in accounts of the Grease Band's and Joe Cocker's history probably gave them more international exposure, at least as an object of curiosity, than their music ever did at the time. Among their three LPs, Out of the Frying Pan has been re-released on CD.

01. Jumping Jack Flash 04:05
02. Gasoline Alley 03:05
03. Willie And The Hand Jive 02:24
04. Harpsichord Shuffle 03:58
05. Baby I Love You 02:47
06. This Here 06:24
07. Green Door 02:27
08. Bad Eye 02:37
09. Alexander's Ragtime Band 03:37
10. Tequila 01:58
11. The House That Jack Built 02:33
12. Hymn To Freedom 04:19
13. High Heel Sneakers 03:34

1. Wynder
2. Wynder
3. Wynder

Saturday, 24 September 2016

Andy Roberts - Home Grown (Great Folkrock UK 1970)

Size: 106 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The album, on which Andy Roberts was backed on some tracks by Mighty Baby, had been recorded under a production deal with folk-rock svengali Sandy Roberton. Initially, Sandy's productions appeared under license to RCA, but somewhere between 1970-71 his allegiance switched to B&C/Pegasus. Consequently, in June 1971, Andy found himself in a slightly embarrassing position of talking it up all over again:

'For some reason I don't fully understand B&C have decided to re-release Home Grown,' he explained to Sounds. 'At least, I couldn't have understood it at all if they'd just re-released the album as it was, but we've remixed some and re-recorded some of it, and changed some of the tracks which didn't quite work the first time. 

So in effect this is an almost different album. It's certainly better than the original one and bears more relation to me as I am now - but it's still 18 months old, vintage Roberts. To confuse the issue still further, there's an album going to be released in the States which will also be called Home Grown because apparently they like the title, but that one will only have three tracks from the original album, and four or five totally new ones which haven't been released here yet…'

In between the two UK Home Grown releases, Andy - who had fingers in all sorts of overlapping artistic pies at that time (recording and performing with The Scaffold, Grimms, and Ian Matthews - with whom he would form Plainsong in 1972) - has endured a brief, ill-fated experience as a member of a band called Everyone. The band's van had crashed with one fatality and financial ruin, although an eponymous album - half of it written and fronted by Roberts - subsequently trickled out, to little fanfare, on Charisma. Having briefly considered quitting music altogether, his interest was revived by working on what would be released later in 1971, on Pegasus, as Nina and the Dreamtree - like Home Grown, a work with an atmosphere all its own though much more luxuriantly produced and yet still, today, an under-appreciated classic. 

01. Home Grown (Roberts)
02. Just for the Record (Roberts)
03. Applecross (Roberts)
04. The Praties are Dug (Trad Arr-Roberts)
05. John the Revelator (Trad Arr - Roberts)
06. Autumn to May (Yarrow, Stookey)
07. Moths and Lizards in Detroit (Roberts) 
08. Creepy John (Koerner)
09. Jello (Darlington)
10. Gig Song (Roberts)
11. Queen of the Moonlight World (Roberts)
12. Where the Soul of Man Never Dies 
(Trad Arr - Roberts)
13. The One-Armed Boatman 
and the Giant Squid (Roberts)
14. Boris at the Organ (Roberts) 

1. Andy
2. Andy
3. Andy

Saturday, 17 September 2016

Elvis Presley - Las Vegas (Just Pretend) 1975-12-13

Size: 169 MB
Bitrate: @320
Artwork Included

Gravel Road will release the CD, 'Good To Be Back', a fantastic release that is every bit as good as their highly acclaimed 'Return of the Prodigy'. The December 13th, 1975 Midnight Show is widely accepted as one of the finest later-period Presley shows available on soundboard. Yes, the punk lounge rock feel of the '69 shows was now gone, but in its place were a warmth and an intimacy that were just as captivating in their own way.

Elvis was in top form vocally in late '75 (just listen to his sensational vocals on 'How Great Thou Art'), and the December 13th, '75 Midnight Show stands out as one of the finest from this engagement. This show was the first soundboard to be released on bootleg back in '91, causing quite a sensation at the time. The technology used for working on vintage recordings has improved greatly in the years since then, and Gravel Road has used the latest version of the renowned Oxford / ProTools technology to work on this show.

The results are it's an obvious sound upgrade that makes this remarkable show shine that much more -- Just like you've come to expect from us with 'Prodigy'. It's also interesting to point out that this release is more complete than the aforementioned '91 release (which had several edits). 

'Good To Be Back' is a title that really captures the sentiment of the show, since Elvis clearly enjoyed being back on stage again following his August '75 hospital stay and subsequent three months of rest. 

He's relaxed and in a great mood, and he delivers several fantastic performances, with one of the highlights being a beautifully sung 'Just Pretend'.

ELVIS PRESLEY - "Just Pretend" 
The Elvis Pre-Holiday Jubilee recorded live at the Hilton Showroom,
Las Vegas December 13, 1975  10:15pm Show

01.  C.C. Rider
02.  I Got A Woman
03.  Love Me
04.  Trying To Get To You
05.  And I Love You So
06.  All Shook Up > Teddy Bear > Don't Be Cruel
07.  You Gave Me A Mountain
08.  Help Me Make It Through The Night
09.  Polk Salad Annie
10.  Introductions - Johnny B. Goode
11.  Just Pretend
12.  How Great Thou Art
13.  Burning Love
14.  Hound Dog
15.  Welcome To My World
16.  Softly As I Leave You
17.  America
18.  It's Now Or Never
19.  Little Darling
20.  Little Sister
21.  Can't Help Falling In Love

1. Elis Presley Dec.1975
2. Elvis Presley Dec.1975
3. Elvis Presley Dec.1975

Tuesday, 6 September 2016

Traffic - Westwood One FM Broadcast 1970 + Bonus Concerts

Size: 410 MB
Bit Rate: 320
Found in a Can
Some Artwork Included

Traffic was an English rock band, formed in Birmingham in 1967. The group formed in April 1967 by Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason. They began as a psychedelic rock group and diversified their sound through the use of instruments such as keyboards like the Mellotron and harpsichord, sitar, and various reed instruments, and by incorporating jazz and improvisational techniques in their music. Their first three singles were "Paper Sun", "Hole in My Shoe", and "Here We Go Round the Mulberry Bush".

After disbanding in 1969, during which time Winwood joined Blind Faith, Traffic reunited in 1970 to release the critically acclaimed album John Barleycorn Must Die. The band's line-up varied from this point until they disbanded again in 1975.

Traffic's singer, keyboardist, and sometimes guitarist Steve Winwood was the lead singer for the Spencer Davis Group at age 15. The Spencer Davis Group released four Top Ten singles and three Top Ten albums in the United Kingdom, as well as two Top Ten singles in the United States. Drummer/vocalist/lyricist Jim Capaldi and guitarist Dave Mason had both been in the Hellions and Deep Feeling, while woodwinds player Chris Wood came out of Locomotive.

Winwood, Capaldi, Mason, and Wood met when they jammed together at The Elbow Room, a club in Aston, Birmingham. After Winwood left the Spencer Davis Group in April 1967, the quartet formed Traffic. Capaldi came up with the name of the group while the four of them were waiting to cross the street in Dorchester. Soon thereafter, they rented a cottage near the rural village of Aston Tirrold, Berkshire to write and rehearse new music. The use of this cottage would prove to be important in the development of the band.

Traffic signed to Chris Blackwell's Island Records label (where Winwood's elder brother Muff, also a member of the Spencer Davis Group, later became a record producer and executive), and their debut single "Paper Sun" became a UK hit in mid-1967 (#4 Canada). Their second single, Mason's psych-pop "Hole in My Shoe", was an even bigger hit (#4 Canada), and it became one of their best-known tracks. The band's third single, "Here We Go Round the Mulberry Bush", was made for the soundtrack of the 1967 British feature film of the same name. 

Their debut album was Mr. Fantasy, produced by Jimmy Miller, and like the singles, was a hit in the UK but not as big elsewhere, although it did reach number 88 in the US.

Mason left the group due to artistic differences by the time Mr. Fantasy was released, but rejoined for a few months of 1968, long enough to contribute to a slim majority of the songs on their second album, Traffic. Released in 1968, it included the original version of Mason's "Feelin' Alright", which was later recorded with great success by Joe Cocker and Three Dog Night. Winwood, Wood, and Capaldi wanted to take the group in a different direction, opting for a folk/blues style rather than their earlier psychedelic/eclectic rock sound, while Mason was oriented towards psychedelic pop. Mason also cited discomfort with the Traffic lifestyle. The band toured the US as a trio in late 1968, which led to the following year's release of Traffic's next album, Last Exit, one side of which was recorded live. During 1968 Winwood and Wood often played with Jimi Hendrix, and they both appear on The Jimi Hendrix Experience's 1968 double album Electric Ladyland, as did an uncredited Mason.

The band was dissolved by Winwood's leaving in early 1969. His departure went unexplained at the time, even to Capaldi and Wood, but he later said "Because of the way I ended the Spencer Davis Group, I saw no reason why I shouldn't leave Traffic and move on. It seemed to me a normal thing to do."

Winwood then formed the supergroup Blind Faith, which lasted less than a year, recording one album and undertaking one US tour. The remaining members of Traffic began a project with Mick Weaver (a.k.a. Wynder K. Frog), the short-lived Mason, Capaldi, Wood and Frog (later shortened to Wooden Frog), which played a few live dates and recorded some BBC sessions, but broke up before releasing any formal recordings.

After the break-up of Blind Faith in 1969, Winwood began working on a solo recording, bringing in Wood and Capaldi to contribute, and the project eventually turned into a new Traffic album, John Barleycorn Must Die, their most successful album yet. Traffic went on to expand its lineup late in 1970, adding Winwood's former Blind Faith bandmate Ric Grech on bass. The group further expanded in 1971 with drummer Jim Gordon of Derek and the Dominos and Ghanaian percussionist Rebop Kwaku Baah. 

The live album Welcome to the Canteen was released in September and marked the band's break with United Artists Records. It did not bear the "Traffic" name on the cover, and instead was credited to the band's individual members including Mason, who returned for his third and final spell with the band. The album ended with a version of The Spencer Davis Group song "Gimme Some Loving", which became a minor hit.

Following the departure of Mason, Traffic released The Low Spark of High Heeled Boys (1971), which was a Top 10 American album but did not chart in the UK; the LP is also notable for its die-cut cover. It sold over half a million copies in 1972 when it received a gold disc, and was awarded a R.I.A.A. platinum disc in March 1976 for over a million total sales. Once again, however, personnel problems wracked the band as Grech and Gordon left the band in December 1971, and the month after, Winwood's struggles with peritonitis brought Traffic to a standstill. Jim Capaldi used this hiatus to record a solo album, Oh How We Danced, which would prove to be the beginning of a long and successful solo career. The album included a surplus recording from The Low Spark of High-Heeled Boys, "Open Your Heart", and the new tracks featured drummer Roger Hawkins and bassist David Hood, from the Muscle Shoals Sound Studio house band. Capaldi soon brought them on board to replace Grech and Gordon.

The new lineup (Winwood, Capaldi, Wood, Kwaku Baah, Hawkins, Hood) toured America in early 1972 to promote the LP, and their concert at the Santa Monica Civic Auditorium on 21 February was recorded in multitrack audio and captured on colour videotape with multiple cameras. The 64-minute performance is thought to be the only extended live footage of the group. It was evidently not broadcast on television at the time, but was later released on home video and DVD.

Following Winwood's recovery from peritonitis, Traffic's sixth studio album, Shoot Out at the Fantasy Factory, released in 1973, met with a cold critical reception but in sales, it was another major hit. It was shortly followed by a major world tour, from which the double live album, On the Road, was drawn. It broke the band's string of British flops by reaching number 40 in the UK Albums Chart. However, these successes were soured by the departure of Hawkins, Hood, and Kwaku Baah at the end of the world tour, and by Chris Wood's increasing problems with drug use and depression.

Bassist Rosko Gee replaced David Hood, while Capaldi switched back to drums. When the Eagle Flies, released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales, was emotionally exhausting for the band. Capaldi later recalled "Rosko Gee and I were the only ones in anything like normal shape. 

Steve was having recurrent problems with the peritonitis, and Chris's body was suffering from chemical warfare." Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band's final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night's scheduled performance. Feeling Winwood had been integral to Traffic's music, the remaining members opted not to continue the band without him.

Traffic's break-up was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.

Steve Winwood embarked on a solo career, while Rosko Gee and Rebop Kwaku Baah joined German band Can. Kwaku Baah died in 1983, and Capaldi dedicated his solo album Fierce Heart to his memory. Chris Wood also died that year from pneumonia.

Winwood and Capaldi, 1994
All the still living members of Traffic's most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir's (of the Grateful Dead) hotel in Chicago during the 1992 "Scaring the Children" tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for the Grateful Dead during their summer tour. The flute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes, Jr. played drums and percussion. Winwood and Capaldi recorded and released a new Traffic album, Far from Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great Traffic Jam, a double live album and DVD released in 2005, documents the band's 1994 reunion tour.

Traffic - Westwood One In Concert BBC 1970
01. Who Knows What Tomorrow May Bring
02. No Time To Live
03. Every Mother's Son
04. Medicated Goo
05. John Barleycorn Must Die
06. Pearly Queen
07. Empty Pages
08. Glad
09. Freedom Rider

Traffic - Live at Santa Monica US 1972
01. Low spark of the High Heeled Boys
02. Light Up or Leave Me Alone
03. John Barleycorn 
04. Rainmaker
05. Glad / Freedom Rider
06. Forty Thousand Headmen
07. Dear Mr. Fantasy

Traffic - Live at Fillmore East 1970-11-18
01. Introduction by Bill Graham
02. Medicated Goo
03. Pearly Queen
04. Empty Pages
05. Heaven Is In Your Mind
06. Forty Thousand Headmen
07. John Barleycorn Must Die
08. Who Knows What Tomorrow May Bring
09. Every Mother's Son
10. Glad/>Freedom Rider
11. Means To The End
12. Dear Mr. Fantasy

Part 1: Traffic
Part 2: Traffic
Part 3: Traffic
Part 1: Traffic
Part 2: Traffic
Part 3: Traffic
Part 1: Traffic
Part 2: Traffic
Part 3: Traffic

Sunday, 28 August 2016

Superb RetroRock: Wucan - Rockpalast FM Broadcast 27th June 2016 (Bootleg) Quality A+

Size: 372 MB
Bitrate: 320
Superb Sound Quality
Ripped by ChrisGoesRock
Some Artwork Included

Wucan are a young heavy retro rock band from Dresden, Germany with deep roots in the late 60s and early seventies with a dash of blues, folk, progressive and Kraut rock. This sort of time-warp music is covering the gamut from the Woodstock generation to the modern rock sound, starting with acoustic guitar, traverse flute and Hammond organ and ending at the modern rock sound of the heavy kind.

WUCAN made the right choice of partners with producer and owner of the Big Snuff Studios in Berlin Richard Behrens and with Andreas “Lupo “ Lubich of Calyx Mastering for a successful debut in the retro rock scene. 

Richard Behrens, who is bassist of the 70s band HEAT and live toning of the genre heroes KADAVAR additionally to his producing duties, created an authentic 70s sound by using analogue machinery. Combined with the modern heavy surround of the band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

By taking their chances through their extraordinary, energetic live presence, the band quickly gained an audience at their numerable concerts. Some of their biggest moments include playing the prestigious Hammer of Doom Festival and a tour as support for Siena Root. 

Heavy metal veteran Karl Walterbach recognized these qualities and soon after took on the role as the band's manager. A record deal with Manfred Schütz' MIG Music sublabel Hänsel & Gretel followed. Lastly the band became part of Berlin-based booking agency Magnificent Music's roster, who agreed to support the band's live success. With all of this praise WUCAN entered the studio to record their debut album "Sow the Wind." 

The band worked at Big Snuff Studio in Berlin, a well-known studio in the retro scene, with pioneer Richard Behrens. He is infamous for producing quite a number of retro bands, working with Kadavar as their live sound engineer and is the bassist of the Berliner band Heat. Sow the Wind"'s striking sound was primarily achieved through analog techniques and fits perfectly with the late 60s and 70s vibe. 

The band also worked with new instruments such as a Moog synthesizer and a Moog Etherwave Theremin. Behrens was able to capture on tape the essence and dynamic of a WUCAN live show, which carries a hippy attitude with a modern rock sound. 

Andreas Lupo Lubich von Calyx added the final touches with his mastering skills. The result is six extremely diverse tracks, whose sound and composition could have more than likely originated in the 70s. 

However WUCAN does not imitate any artist but has developed its own individuality fitting somewhere between then and now. The band has always been able to create their own style despite their influences such as Jethro Tull, Renft, Lucifer's Friend, Birth Control and Krautrock in general. 

WUCAN presents changing hymns, from jamming passages to metal riffs with flutes doubled and the complete range of 70s folk rock to classical hard rock. andersmann' is a 16-minute song filled with psychedelic splashes of color and the just named influences. 

It is also the only song on the album sung in German. Even the powerful opener ather Storm,' the reefy and hard wl Eyes' and the melodicing Korea' bring a bright bouquet of 70s flashbacks. 

The key element is vocalist Francis Tobolsky's characteristic, energetic and emotional voice. The charismatic singer grasps her audience with her voice and catchy flute melodies. Rounding out this successful debut release is the eye-catching packaging. "Sow the Wind"'s artwork was inspired by a Rufus Segar art piece, an artist who is particularly known for his work in anarchist publications in the 70s. 

Divided in a seeing and screaming head in a stylistic representation, the cover and back perfectly fit the mood of the album. The storm which will be seeded with "Sow the Wind" figuratively hisses at the beholder before even playing the album. This CD is strictly limited to 500 copies.

Wucan - Crossroads Festival Harmonie
Bonn, Germany, 10th March 2016

Band Members:
♦ Francis Tobolsky - vocals, guitar, flute, theremin
♦ Tim George - guitar
♦ Patrik Dröge - bass
♦ hil Knöfel - drums

Disc 01
01. King Korea 06:03
02. Owl Eyes 02:55
03. Franis Vikarma 03:18
04. Wizard Of Concrete Jungle 05:03
05. Dopetrotter 40:53

Disc 02
06. Looking In The Past 33.02
07. Face In The Kraut 26.50

Disc 03
08. Father Storm 20:42
09. Wandersmann 16:58
10. Crash Course In Brain Surgery 05:27

Part 1: Wucan Live 2016
Part 2: Wucan Live 2016
Part 1: Wucan Live 2016
Part 2: Wucan Live 2016
Part 1: Wucan Live 2016
Part 2: Wucan Live 2016

More Info: Wucan 2016
More Info: Wucan
More Info: More of Wucan

Thursday, 11 August 2016

Various Artist - 'Guitar Legends' Concert FM Broadcast 1991 (Bootleg)

Size: 626MB
Bitrate: 320
Found in my Computer
Some Artwork Included

Guitar Legends was a five-night global broadcast event that took place in the Spanish city of Seville in October 1991, shown on worldwide television and starring perhaps the biggest array of top guitarists ever assembled.

The 26 featured guitarists included BB King, Brian May, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins and Steve Vai.  The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived and produced by top British impresario and producer Tony Hollingsworth.  It was held to promote the idea of Seville as a entertainment destination and thereby help draw support for the world fair, Expo ’92, due to be held in the city the following April.

Tony Hollingsworthconceived the idea for the event, which also included a televised documentary, with no specific occasion in mind.  He then approached Spanish state television RTVE, with the suggestion that it should be the major co-producer, and it agreed.

“We got all the way through the negotiations, the contracts were drawn up and both sets of lawyers agreed the terms.  Then we all went to the RTVE boardroom for the signing ceremony.  We waited for RTVE’s director-general [Pilar Miro Romero] to come for the signing, which would take place in front of the press and photographers.  She didn’t turn up.  Her officials made several phone calls and finally learned she’d been called to the prime minister’s office.  We waited for two hours and then learned she’d been sacked.  So there was no deal.”

Over the following weeks Tony Hollingsworth wondered whether he could find another organisation to take on the idea, particularly in Spain, a natural home for a guitar event, and one that had already shown interest, albeit aborted.  Fortune was with him.

Several people who had worked at RTVE had started work for the government organisation set up to run Expo ’92, including the former head of finance whom he had dealt with at the television station.  Hollingsworth wrote to him suggesting that Guitar Legends should take part in Expo ’92 and got a letter back from Chris Fisher, who had been seconded from the Burson-Marsteller public-relations company to run their campaigning team.

All the public talk about the fair had been about the planned buildings and a new transport network, and this had created an image of the city as a civil engineering project rather than a place to go for entertainment.  As a result, very few people had shown any interesting in going to the fair.  “Guitar Legends could solve our problem,” Fisher told Hollingsworth.  “But we need you to put on the show six months before we open our doors.  If you could run a commercial campaign into it – encouraging people to buy tickets – it could do the trick for us.”

Tony Hollingsworthaccepted – but wanted to know whether the stadium for the event would be ready in time.  Fisher came back the next day: “Not exactly finished but good enough for you.”

The organisers put up half the $7.2 million cost of the event, leaving Hollingsworth to get the rest, which he did from selling the television rights.  In Spain, he sold the rights to RTVE, but not for cash.  The television station told him that it had run out of money – though, as a state television company, it would not go bankrupt.  He suggested they provide broadcasting facilities, but the organisation couldn’t do that either.  “So, what can you give me?” he asked.  It offered airtime – television and advertising spots that he could sell on to other companies.  The value covered the rest of the costs.

Hollingsworth agreed – the first time he had become involved in a television bartering deal, a common-enough practice in the USA and in some other countries.  Bartering is not allowed in the UK, though there are probably ways round the regulations.  As Hollingsworth puts it, “you go in one door at a British channel and ‘sell’ them the programme.  Then you go in another door and book advertising spots to the value of the money you’ve, in theory, just been given.  In effect, it’s barter.”

Though he was new to the practice, Tony Hollingsworth decided to do much more with the airtime than simply sell it on.  He built up an “integrated sponsorship package” to offer Coca-Cola.  This consisted of RTVE’s television and radio advertising spots, but also corporate hospitality, a supply of tickets to give away and a series of promotions.  Coca-Cola accepted, offering him good money.  “I realised that if you package all these things together you can get four times as much as you can get for just selling each of the rights seperately.”  In the UK, the event was broadcast by BBC2.

The show:Each of the five concerts, from October 15 to 19, was devoted to a different musical style – Blues, jazz/fusion, Conceptual, Rock and Heavy Rock.  Hollingsworth appointed a music director for four of the nights – Brian May, George Duke, Dave Edmonds and Phil Manzanera, giving each an understanding of the featured guitarists he would approach.

All the concerts were sold out, with 6,000 people attending each night. Spanish newspaper El Mundo said that the five concerts “converted Seville into the world capital of music”.  Entertainment Weekly described them as “unlike anything the world has ever seen or heard.”  The shows “gave the stage to virtually every six-string virtuoso extant”.  Some moments “approached the legendary”.

Each night’s concert was greeted with huge enthusiasm by the audience – and the artists appeared to have enjoyed the concerts just as much.  After each of the first four nights, says Hollingsworth, several asked for their flights home to be changed so they could stay to watch the following night’s performances.

Hollingsworth said that the guitarist who was paid the most “respect” was Les Paul, a pioneer in the development of the solid-body electric guitar, which is regarded as having made the sounds of rock and roll possible.  He was 76 when he appeared at Seville on one of his rare performances outside New York, where he still played in a club every Tuesday.  According to Hollingsworth, “his hands were already severely affected by arthritis but he played beautifully, but slowly”.

“In rehearsals he had had one request.  He wanted to have a really long lead on his guitar so he could walk on stage already plugged in ‘like the heavy metal rock stars’.  When he came off stage he was crying and said to me ‘I didn’t know anyone outside of the US even remembered me.’”  Hollingsworth’s parents, who remembered Les Paul’s early hits with his wife Mary Ford, were backstage.  “Les was the only guitarist my mother wanted to be introduced to.”

One of the highlights of the concerts for Hollingsworth was a duet between Paco de Lucia and John McLaughlin.  Entertainment Weekly magazine thought the most moving moments were during the tributes – “Keith Richards, in skintight jeans and leather jacket, whiskey in hand, dedicating Going Down to Freddy King, or John McLaughlin performing In a Silent Way in memory of Miles Davis…In these moments of eulogy rather than in the celebratory jams onstage, the event approached the legendary.”

There was praise elsewhere for Brian May, lead guitarist of Queen, who hosted the last night and played a number of Queen hits with several top guests.  During the evening, he loosely formed an early version of what was to become The Brian May Band a year later.

There was little praise for the black-clad Bob Dylan, described by Entertainment Weekly as “the week’s biggest disappointment…scowling and wandering the stage in a fog.”   According to Hollingsworth, Dylan was too stoned to perform well.  He arrived later than we asked and was able only to do a short rehearsal with Keith Richards and Richard Thompson.  “Keith was strong enough to lead and let Bob follow.  But Richard Thompson tried to follow Bob, who meandered hopelessly through his songs.”

Joe Walsh, the former Eagles front man, came on stage in an equally bad state, but managed much better.  “It was the most surprising moment of the five nights,” says Hollingsworth.  “He was stoned and drunk backstage and I was in two minds whether to try to get him onstage or cut his part.  In the end, we propped him up at the side of the stage and pushed him on.  As soon as he got into the lights he was transformed.  He took control of the audience and the other musicians and led.  It was a wonderful performance.  As soon as he got offstage he fell down.”

As another commentator put it, “no whiskey in the world can stop Joe from singing Amazing Grace… and not many in the world could sing it and play it that well.  His adrenaline starts flowing strong again and Rocky Mountain Way comes out so spontaneously.”

Guitar Legends took place at the La Cartuja Auditorium just outside Seville.  Five 90-minute shows and a one-hour documentary were broadcast, with 45 countries showing live shows.  Thirty countries showed a second broadcast.  Four hours of the event were broadcast on radio in 105 countries.

Guitar Legends was a concert held over five nights, from October 15 to October 19, 1991, in Seville, Spain, with the aim of positioning the city as an entertainment destination to draw support for Expo '92 beginning the following April.

The event featured 27 top guitarists, including Brian May, BB King, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins, Steve Vai and Joe Satriani. The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived by British impresario and producer Tony Hollingsworth who originally agreed to stage the concert as a co-production deal with Spanish state television RTVE. But RTVE dropped out on the day the contract was due to be signed when the director-general (and film director) Pilar Miro Romero left the company.

Later, the organisers of Expo '92 took on the project to help overcome the problem that Seville was being seen merely as a civil engineering project. They provided half the $7.2 million budget, with Hollingsworth raising the rest from television pre-sales. RTVE bought the Spanish rights, but paid by providing television and radio airtime for advertising slots. These were then sold to Coca-Cola.

Five 90-minute shows and a one-hour documentary were broadcast. Forty-five countries showed at least one live show. Later, broadcasters in 105 countries broadcast one or more programmes.

Guitar Legends - Auditorio de la Cartuja, Seville, Spain, October 1991
FM Broadcast by BBC Radio 1 

The Cast Includes:
Dave Edmonds/Steve Cropper/Robert Cray/Albert Collins/Bo Diddley/BB King/George Benson/John McLaughlin/Larry Corryell/Stanley Clarke/Paco De Lucia/Jack Bruce/Vicente Amigo/Phil Manzanera/Keith Richards/Bob Dylan/Richard Thompson/Robbie Robertson/Roger Waters/Joe Satriani/Brian May/Steve Vai/Joe Walsh/Paul Rogers/Joe Cocker/Simon Phillips and on and on......

Disc 1 - "Blues Night" (October 15, 1991):
01. The Sabre Dance (Dave Edmunds)
02. Standing At The Crossroads (Dave Edmunds & Steve Cropper)
03. Phone Booth (Robert Cray)
04. The Dream (Robert Cray & Albert Collins)
05. Ice Man (Albert Collins, Dave Edmunds & Steve Cropper)
06. Put The Shoe On The Other Foot (Albert Collins, Dave Edmunds & Steve Cropper)
07. Bo Diddley (Bo Diddley & Steve Cropper)
08. Who Do You Love (Bo Diddley, Dave Edmunds & Steve Cropper)
09. Movin' On (B.B. King, Dave Edmunds & Steve Cropper)
10. The Thrill Is Gone > Jam (B.B. King, Dave Edmunds & Steve Cropper) 

(Chuck Leavell - keyboards; Terry Williams - drums; Debby Hastings - vocals; John David - bass; Richard Cousins - bass)

Disc 2 - "Tribute To Miles Davis" (October 16, 1991):
01. All Blues (George Benson)
02. In A Silent Way (John McLaughlin)
03. So What (Larry Corryell)
04. Concierto de Aranjuez (Paco de Lucia)
05. Tutu (Stanley Clarke)
06. School Days (Stanley Clarke)
07. El Panuelo (Paco de Lucia)
08. Que Alegria (John McLaughlin)
09. Valdez In The Country (George Benson)
10. Eighty-One (everyone)

(George Duke - keyboards; Stanley Clarke - bass; Rickie Lee Jones - vocals; Dennis Chambers - drums; Ray Cooper - percussion; Ray Brown - bass)

Disc 3 - "Experimental Concert" (October 17, 1991):
01. Sunshine Of Your Love (cuts in) (Jack Bruce)
02. ? (Vincente Amigo)
03. Leyenda (Phil Manzanera & Vincent Amigo)
04. Night Calls (Joe Cocker)
05. White Room (Jack Bruce)
06. Shake, Rattle & Roll (Keith Richards)
07. Going Down (Keith Richards)
08. Something Else (Keith Richards)
09. Connections (Keith Richards)

(Bob Dylan - guitar & vocals; Robert Cray - guitar & vocals; Steve Cropper - guitar; Dave Edmunds - guitar; Richard Thompson - guitar & vocals; Chuck Leavell- keyboards; Pino Palladino - bass; Steve Jordan - drums; Simon Phillips - drums; Ray Cooper - percussion; Ivan Neville - organ; Miguel Bosé - vocals)

"Folk Rock" (October 18, 1991)
10. Keep Your Distance (Richard Thompson)
11. 1952 Vincent Black Lightning (Richard Thompson)
12. Go Back To Your Woods (Robbie Robertson)
13. The Weight (Robbie Robertson)
14. What God Wants (Roger Waters)
15. Comfortably Numb (Roger Waters)

(Bruce Hornsby - keyboards; Manu Katche - drums; Tony Levin - bass; Snowie White - guitar; Les Paul - guitar; Andy Fairweather Low - guitar; Graham Broad - drums; Patrick Leonard - keyboards; Peter Wood - keyboards; Katie Kissoon - vocals; Doreen Chanter - vocals)

Disc 4 - "Hard Rock Concert" (October 19, 1991):
01. Satch Boogie (Joe Satriani)
02. Surfing With The Alien (Joe Satriani)
03. Always With Me, Always With You (Joe Satriani)
04. Big Bad Moon (Joe Satriani & Brian May)
05. Liberty (Steve Vai & Brian May)
06. Greasy Kids Stuff (Steve Vai)
07. For The Love Of God (Steve Vai)
08. More Than Words (Nuno Betancourt & Gary Cherone)
09. Driven By You (Brian May & Steve Vai)
10. Tie Your Mother Down (Brian May, Steve Vai & Joe Satriani)
11. Now I'm Here (Brian May, Gary Cherone, Steve Vai & Joe Satriani)
12. Funk #49 (Joe Walsh)
13. Rocky Mountain Way (Joe Walsh, Brian May, Steve Vai & Joe Satriani)
14. All Right Now (Paul Rodgers, Brian May, Steve Vai & Joe Satriani)

Part 1: Guitar Legends
Part 2: Guitar Legends
Part 3: Guitar Legends
Part 4: Guitar Legends
Part 1: Guitar Legends
Part 2: Guitar Legends
Part 3: Guitar Legends
Part 4: Guitar Legends
Part 1: Guitar Legends
Part 2: Guitar Legends
Part 3: Guitar Legends
Part 4: Guitar Legends