Saturday, 14 January 2017
Bit Rate: 256
Found in DC++ World
Some Artwork Included
The first compilation of its kind to open up the late Sixties U.S. vaults of EMI labels Capitol, Tower, Imperial, Liberty, etc. Psychedelia is currently celebrating its 40th anniversary since the original Summer Of Love. Many of the tracks on this CD have never been reissued - more so than the previous volumes in this Series, Take My Tip and Insane Times.
Psychedelia was borne in the mid-60s on the West Coast and this CD includes several of the movement's pioneers from the San Francisco, Bay Area and LA scenes - namely Quicksilver Messenger Service, the Steve Miller Band and Mad River, plus the maverick talents of Captain Beefheart.
Plus the Beach Boys, of course! Kim Fowley was/is a charismatic svengali-likle producer who has recorded a plethora of different artists - but his classic track 'Bubblegum' was later covered by Sonic Youth. Hour Glass evolved into the Allman Brothers! The Balloon Farm's 'A Question Of Temperature' and the Third Bardo's 'I'm Five Years Ahead Of My Time' are two of the finest examples of psychedelic garage punk ever recorded.
This excellent compilation contains 24 tracks with a running time of nearly 80 minutes. Among Psych collections, this baby is most certainly amongst the very best. From the opening of the fuzz-drenched guitar by The Balloon Farm with "A Question Of Temperature", there is not a clunker in this entire collection.
Luckily for us, EMI utilized it's canon of various labels such as Capitol, Tower, Liberty, Roulette, Imperial, and Blue Thumb, to give us a delightful trippy collection of rare 45's, demos, and selected L.P. tracks. As I said, there is not a bad track here with all tracks being at least good, with most tracks being very good to excellent.
With the selections coming between the years of 1966 to 1969, and only 1 from 1970, this cd has truly hit the Mother Lode of 60's American Psychedelia. Some of my favorites are The Third Bardo with "Five Years Ahead Of My Time", Detroit's SRC with "Up All Night", Morning dew with "Crusader's Smile", The Fallen Angels with "Mother's Homesick Too", a totally fuzz-drenched, Psych instrumental by The Human Beinz titled ""April 15th", and even an early Steve Miller Band gem labeled "The Beauty Of Time Is That It's Snowing", which was from their 1968 debut, "Children Of The Future".
Captain Beefheart & His Magic Band, titled "Ah Feel Like Ahcid", is essentially the only track that is Not Psychedelic-flavored but more a Raw-Blues gumbo mix. I think the reason it was used was to complete the collection with the title.
Along with the excellent Psychedelic musical selections, we also get an excellent 16 page, very well annotated booklet written by Mr. John Reed that gives valuable info about each and every track on this collection. Also, each tune has either the picture of the L.P. it was taken from or the photo of the 45, is it was a single. I have over 20 Psychedelic compilations in my collection and this one certainly takes it's place at the top. You could call it "Psychedelic Nuggets"! As it says in the great liner notes, "Tune In, Turn On, Drop Out"! I give this baby my 100% SMRZ Guarantee! MOST HIGHLY RECOMMENDED!! (By SMRZ!!)
01. The Balloon Farm - A Question Of Temperature - 2.39
02. The Third Bardo - Five Years Ahead Of My Time - 2.14
03. The Book of Changes - I Stole The Goodyear Blimp - 2.22
04. First Crew To The Moon - The Sun Lights Up The Shadows Of Your Mind - 2.19
05. SRC - Up All Night - 3.06
06. Morning Dew - Crusader's Smile - 2.47
07. The Fallen Angels - Mother's Homesick Too - 2.22
08. The Human Beinz - April 15th - 6.55
09. Kim Fowley - Bubblegum - 2.28
10. T.I.M.E. - Tripping Into Sunshine - 3.06
11. The Steve Miller Band - The Beauty Of Time Is That It's Snowing - 5.18
12. The Beach Boys - Never Learn Not To Love - 2.31
13. Chris & Craig - Isha - 2.16
14. The Raik's Progress - Sewer Rat Love Chant - 2.38
15. Mother Tucker's Yellow Duck - One Ring Jane - 4.23
16. Mad River - Wind Chimes - 7.10
17. Gandalf - Can You Travel In The Dark Alone - 3.04
18. Hour Glass - Bells - 2.25
19. Food - Forever Is A Dream - 4.06
20. David Axelrod - Urizen - 4.00
21. The Common People - Soon There'll Be Thunder - 2.21
22. Fargo - Sunny Day Blue - 2.30
23. Quicksilver Messenger Service - Bears - 2.08
24. Captain Beefheart & His Magic Band - Ah Feel Like Ahcid - 3.04
25. Ant Trip Ceremony - Four In The Morning - 4.31
26. Bob Smith - Don´t Tell Lady tonight - 3.09
27. Bubble Puppy - Hot Smoke and Sasafrass - 2.33
28. Darius - Sweet Mama - 2.34
29. Euclid - It´s All Over Now - 3.23
30. Gold - Fried Neck Bones (Fillmore West) - 5.33
Part 1: Ahcid
Part 2: Ahcid
Part 1: Ahcid
Part 2: Ahcid
Part 1: Ahcid
Part 2: Ahcid
Thursday, 12 January 2017
Size: 77.5 MB
Bit Rate: 256
Found in OuterSpace
Some Artwork Included
Sleepy Hollow were a Philadelphia power-pop trio that on their only album followed the same trail that Badfinger or the Raspberries used to fill the void the Beatles had left. This album was reissued on 1977 as "Billay" by the scam label Tiger Lily.
The albums starts with Sincerely Yours, almost a retake of the Shangri-las Remember (Walking in the Sand) full of drama, strings and synthesizers as sung by an angry John Lennon.
Next is Lay it on the Line a mournful ballad accompanied by a guitar played through a flanger and catchy lines all over. Love Minus You with its McCartneysque piano it's a good track, albeit some strange drum rolls on the end of every chorus. Lady starts as an acoustic effort and develops into a baroque-pop tune which sounds more akin to the Left Banque for a change. Roller Coaster Man it's an up-tempo rocker not far from the Raspberries, with a sparkling piano line, a horn section, a sax solo and a final coda that without fail is going to bring the Beach Boys to the back of your mind. The album closes with Hades, a slow and spooky christmas tune lead by a grand piano and full orchestra arrangements.
All in all, a solid work primarily recommended to early 70s pop lovers. Does it stands to its reputation as a "hidden gem"? Well, it's up to you to decide that. I don't think it could be match with the best efforts of Badfinger or Big Star, but that's a hard mountain to climb for everyone else too.
Sleepy Hollow were a power pop trio who hailed from Philadelphia,USA and comprised of members, Richard Billay (vocals,guitar,piano), Richie Bremen (bass) and Joe Zucca (drums). The band released a single album on the Family record label in 1972. Family was an independent label that released a handful of records between 71 and 74 before going bust and is probably most known for releasing Billy Joel's debut solo LP.
The music on the album evokes late period Beatles with Billay doing a fine Lennon snarl on LP opener "Sincerely Yours". "Take Me Back" is a pure Raspberries-esque ballad with some fine George Harrison influenced slide guitar.
"Talking Out Of Turn" sounds like it came straight off Emitt Rhodes' Mirror album and the guitar solo sounds uncannily like the one on "Hotel California" by the Eagles, pre-dating it by a good five years! "Lady" is a gentle McCartney style acoustic ballad with string section added by co-producer Tom Sellers (known for his top 20 hit cover of the Who's "Overture From Tommy" as the Assembled Multitude in 1971). Closing track "Hades" is an epic, Christmas themed ballad with massive orchestration, clocking in at over 6 minutes and an unlikely choice for a single release.
The LP was re-released in 1977 under the name "Billay" on the infamous tax scam label, Tiger Lily. In true Tiger Lily style, it was released without the band's knowledge.
Not a lot of info can be found about what happened to the band after the album came out but a YouTube search brought up a great power popper by Billay/Sleepy Hollow called "I Surrender" and the artwork attached to the video shows Sleepy Hollow plus another new member and appears to be a collection of recordings dating from 1974-1998. If anyone knows of these recordings I would be grateful of any details.
01. Sincerely Yours 03:01
02. One Time 02:05
03. Take Me Back 03:53
04. Talking Out Of Turn 02:48
05. Lay It On The Line 02:43
06. Love Minus You 02:30
07. Lady 02:40
08. Roller Coaster Man 02:58
09. Hades 06:16
1. Sleepy Hollow
2. Sleepy Hollow
3. Sleepy Hollow
Friday, 6 January 2017
|Buddy Guy Himself|
Bit Rate: 320
Found at: [BBB]BluesLovers Hub
I have always found it fascinating that greatest Blues Guitarists who influenced Buddy, were actually influenced by him in great length.
Buddy Guy’s showmanship and at the same time modesty is worth its own story. Never dreaming of reaching any heights, he was beyond happy just being near his favorite Bluesmen.
|Buddy Guy on Stage|
Born in Louisiana’s countryside, without ever seeing running water until he was in his late teens. His first guitar experience was with a rubber band, then a two stringer which he made on his own (out of windscreen strings used to protect windows from mosquitoes) and taught himself how to play. This was after hearing a friend of the family come visit for Christmas and play John Lee Hooker’s “Boogie Chillin”.
Exposed to the great Delta Blues Musicians of that time, Buddy began performing in the area of Baton Rouge before moving to Chicago in late 1950’s. His showmanship was borrowed from Guitar Slim, a Bluesman known for his playing from outside the club with a 150-ft chord and entering the bars on top of another man’s shoulders all while playing a Strat.
In Chicago, Buddy Guy began visiting Blues Clubs on all sides of town and listening to Muddy Waters, Howlin’ Wolf, Little Walter, Junior Wells, Sonny Boy, Otis Spahn, Hubert Sumlin and many others in their prime. Being able to be used as session guitarist in Chess Records, Buddy managed two different Blues Guitar lives. One when he was performing – a wild side with or without clothes and being all over the place. Another – always being behind the star who was recording in the studio, just being there and doing what he is told. Buddy recalls those times as being on top of the world. It seemed as all his dreams came true while he was meeting more and more Blues Musicians.
Buddy Guy’s career continues to flourish now in his late 70’s. A Polka-Dot Strat, huge smile on his face and soul-burning licks either on stadiums or in his own Blues Club – Buddy Guy’s Legends in Chicago.
|Eddy "The Chief'" Clearwater|
Buddy is known for his signature Polka-Dot Fender Stratocaster. Passion for vintage tweed Fender amps and a rich choice of Ernie Ball .11 strings. His main axe is a cream-colored Strat, custom built Chicago workshop amps made after Fender Bassman and a 0.73 dunlop picks of unknown material.
I had the greatest blessing of seeing BG live a couple of times and both of them I could not stay still. The memories will remain forever and I will share them with the kids down the road.
Thank you Buddy Guy, for sincere, unhinged, passionate protection of what kept so many people from despair and gave so many others hope and strength to move on. Thank you for keeping the Blues alive.
Buddy Guy Legends:
ddy Guy’s Legends, the well of memories that will quench my thirst for a couple lives to come. If I reincarnate as a caterpillar, I’ll still tell the butterflies around, about the times I’ve been in this Chicago’s Blues club.
|Buddy Guy 2008|
I’ve called Legends at 2 pm the day of the show. Asked the kind lady on the phone what time should I get there to find a seat for Buddy Guy performance at 11.30 pm. The kind lady said “Now”. I was somewhat intimidated by the Legends “First-come-first-serve” rule but I urge all the first-comers to dismiss doubts. The comfort and intelligent design of the stage did not make it an issue. A gray-haired couple next to me were giving me a run for the money, dancing to the Damn Right Blues Band till 3 am.
When you anxiously locate 700 S. Wabash, you see the corner building with the walls covered in mosaic faces of Chicago Blues Legends: Little Walter, Stevie Ray Vaughan, John Lee Hooker, Howlin’ Wolf. Immediately you know that you will remember this visit.
The stage itself is a short pedestal in the middle of the back wall. It’s surrounded by a number of tables (that were all packed with people drinking since 2 pm) and on both sides of the hall, bar sections are serving guests. I was truly enjoying how efficient was the entire building as an organism. No lines, no waiting, no discomfort or loss in space.
The staff needs an article of their own for the welcoming, helpful assistance and thorough service provided while making you feel like you are at home. In front of my eyes, one of the security gentlemen took that gray-haired couple from behind a few tall men and moved them to a place where they could see the “Puma” shoes on Buddy Guy’s feet.
I don’t think that it’s something coming form instructions, to do among the avalanche of other duties and I choose to believe that it was a great gesture of human kindness. Special “thank you” to all the staff hard work, making our time there memorable. Special thanks to a beautiful girl, working there that I had a crush on.
Thought I might get bored if I come too early before the main show. The Blues was there throughout the day: Lunch Session, Dinner Jam, Warm-up & Buddy Guy himself. However, my thoughts were fast-dismissed when I came up to the second floor of the Blues club.
|Buddy Guy 1965|
There, hours went by as I was reading the priceless walls, meeting like-minded people, talking to the band members and playing dozens of pool games.
A word of caution: If you care for your beer, finish it before you go outside to smoke. When you will be back, your Buddy Brew won’t be waiting there, where you left it. Same goes for the food. I did not care, the Buddy Brew is a homemade beer of Buddy Guy’s Legends and is more than affordable compared to the bars of Chicago. More so, it was fantastic. I took one home with me and opened it 5048 miles later to relive the memories I’ve gathered one more time.
Buddy Guy had much of his stage act inspired by Guitar Slim. This includes beginning to play before he enters the room. He’d done it ever since playing in 1950s Baton Rouge. It hadn’t changed and when Buddy Guy stormed onto the stage from the backdoor, well into “Damn Right I Got The Blues”, the crowd exploded.
Buddy Guy and the Damn Right Blues Band gave a proper show. BG played with a pick, fingers, his tongue and even with his rear, while saying “I just wanted you to know that I can do that”. I considered describing it in detail but would much rather add to the pool of people who would say that a Buddy Guy show is a must-see. It really is, and it is full of exciting surprises. The man will soon turn 79 and he still jumps around the room, setting it ablaze better than most of the performers I’ve seen live and on record.
|Eddy The "Chief'" Clearwater|
People of all ages (21+) come to Buddy Guy’s Legends and they all share the same sweet aftertaste that lasts them for decades to come. I, in my twenties will say the same thing that a college professor well in his sixties told me when he learned that I was going to visit Legends. He said that it was a blast and that I should go. I am telling everyone who will have an opportunity to go – it is a blast and you should.
If there were a Lexicon of Chicago Working Musicians, Ric Jaz’s photo would be included right along side the entry: ‘Working Musician’. Born in the Windy City, he truly is a prime example of the best of Chicago musicians; possessing the talent and mastery over his instrument, the guitar as well as audience-pleasing performing capabilities expected of a seasoned professional musician.
Ric has played with Soul, R&B, Jazz and Blues bands in Chicago, nationally and internationally, serving as rhythm section leader for the The Dells – legendary band from Harvey, Illinos. In June 2004 Ric took on the duties of rhythm guitar player in the Buddy Guy Band, where he is gaining a quiet but loyal following and greater national exposure on tour with Mr. Guy.
Ric also operates a small independent recording studio, recording and producing local artists in addition to his own projects.To not include Ric Jaz in your listing would be a terrible omission – he serves as good will ambassador for the Chicago Music scene while away from his home city and as a local attraction when he is in town playing with Buddy Guy, Linsey Alexander, Joe Bar and Jimmy Tillman.
Otis Taylor (born July 30, 1948, Chicago, Illinois, United States) is an American blues musician. He is a multi-instrumentalist whose talents include the guitar, banjo, mandolin, harmonica, and vocals. In 2001, he was awarded a fellowship to the Sundance Film Composers Laboratory.
Taylor was born in Chicago and moved at a young age to Denver, Colorado, where he grew up. He originally grew up playing the banjo, but his father wanted him to be a jazz musician. Upon hearing that the banjo was originally an African instrument turned almost exclusively into a white bluegrass instrument in part through the derogatory black-face minstrel shows of the 19th century, Taylor dropped the banjo and began to focus solely on the guitar and harmonica. He played music professionally both in Europe and the United States in a variety of blues-oriented bands, including Zephyr, until 1977, when he left the music industry for other pursuits, including becoming an antique dealer.
Taylor returned to music in 1995, and as of 2015, has released fourteen blues albums. His music tends to focus on the hard realities of life, especially relating to the black community. Some common themes in his music are murder, racism, poverty and the need for redemption. To date, Taylor has twelve Blues Music Awards nominations while White African was named 'Best Artist Debut'.
Down Beat magazine critics' Poll named Taylor's Truth is Not Fiction as Blues CD of the Year for 2002.
Living Blues readers' poll awarded Taylor (along with Etta James) the "Best Blues Entertainer" title in 2004. Down Beat named Taylor's Double V as Blues CD of the Year for 2005. Down Beat named Definition of a Circle as Blues CD of the Year for 2007. They also then named Recapturing the Banjo as "Blues CD of the Year, 2008."
His 2008 effort, Recapturing the Banjo, was an attempt to reconnect himself and the world with the true African origins of the banjo. "There may not be," claimed Down Beat in a review, "a better roots album released this year or decade than Recapturing the Banjo."
Taylor was the support act on Gary Moore's 2007/8/9 European tours and played on his last album.
In May 2009, Taylor won a Blues Music Award for his banjo playing. He held the first Trance Blues Festival in Boulder, Colorado, in November 2010.
His 2015 release Hey Joe Opus Red Meat was editor's choice for album of the year in Blues Music Magazine and Premier Guitar Magazine. Album of the year by Blues411 and #2 by Twangville. Named to top 30 albums of the year by The Blues magazine (UK). It received 4 and half stars from Down Beat and was named to their top 100 albums.
|Buddy Guy on Stage|
Once dismissed by purists as a Chuck Berry imitator (and an accurate one at that), tall, lean, and lanky Chicago southpaw Eddy Clearwater is now recognized as a prime progenitor of West Side-style blues guitar. That's not to say he won't liven up a gig with a little duck-walking or a frat party rendition of "Shout"; after all, Clearwater brings a wide array of influences to the party. Gospel, country, '50s rock, and deep-down blues are all incorporated into his slashing guitar attack. But when he puts his mind to it, "The Chief" (a nickname accrued from his penchant for donning Native American headdresses on-stage) is one of the Windy City's finest bluesmen.
Eddy Harrington split Birmingham, AL, for Chicago in 1950, initially billing himself on the city's South and West sides as Guitar Eddy. His uncle, Rev. Houston H. Harrington, handed his nephew his initial recording opportunity; the good reverend operated a small label, Atomic-H. Eddy made the most of it, laying down a shimmering minor-key instrumental, "A-Minor Cha Cha," and the Berry-derived "Hillbilly Blues" (both on Delmark's Chicago Ain't Nothin' but a Blues Band anthology).
Drummer Jump Jackson invented Eddy's stage moniker as a takeoff on the name of Muddy Waters. As Clear Waters, he waxed another terrific Berry knock-off, "Cool Water," for Jackson's LaSalle logo. By the time he journeyed to Cincinnati in 1961 to cut the glorious auto rocker "I Was Gone," a joyous "A Real Good Time," and the timely "Twist Like This" for Federal Records producer Sonny Thompson, he was officially Eddy Clearwater. Things were sparse for quite a while after that; Clearwater occasionally secured a live gig dishing out rock and country ditties when blues jobs dried up.
But Rooster Blues' 1980 release of The Chief, an extraordinarily strong album by any standards, announced to the world that Eddy Clearwater's ascendancy to Chicago blues stardom was officially underway. The '90s found Clearwater waxing two encores for Rooster Blues, a set for Blind Pig (1992's Help Yourself), Mean Case of the Blues, in 1996 on his reactivated Cleartone Records, followed by Cool Blues Walk in 1998, Chicago Daily Blues in 1999, and Reservation Blues in mid-2000. With consistently exciting live performances, Clearwater cemented his reputation as a masterful showman whose principal goal is to provide his fans with a real good time. Keeping in that tradition, Clearwater teamed up with like minded showmen Los Straitjackets, releasing Rock n Roll City in 2003 on Rounder, followed five years later by his first session for the Alligator label, West Side Strut.
11th Annual'XRT Bluesbreakers Broadcast
Buddy Guy's Legends
Chicago, IL US
01. Announcer/Intro 1:56
02. Ran So Hard the Sun Went Down 3:36
03. Announcer/Interview 2:08
04. Absinthe 4:44
05. Announcer 1:44
06. You Don't Know Me w/Buddy Guy 6:41
Buddy Guy w/Rich Hall (Acoustic)
07. Announcer/Intro 0:16
08. Hootchie Cootchie Man 4:12
09. Announcer/Interview 2:09
10. Feels Like Rain 5:10
Eddie "The Chief" Clearwater Band
11. Announcer 1:07
12. I Hope You Don't Take It Wrong 5:15
13. Announcer/Interview 1:58
14. Blue Over You 7:05
15. Announcer/Interview 1:36
16. Walk Through the Park 5:40
17. Announcer/Band Intro 1:23
Eddie "The Chief" Clearwater w/Buddy Guy
18. Announcer 0:36
19. Got My Mojo Workin' 9:00
1. Buddy Guy Legends
2. Buddy Guy Legends
3. Buddy Guy Legends
Wednesday, 4 January 2017
Bit Rate: 320
Found at Outer Space
Some Artwork Included
One of the most colorful characters in the annals of rock & roll, Kim Fowley was, over the course of his decades-long career, a true jack-of-all-trades: singer, songwriter, producer, manager, disc jockey, promoter, and published poet. He was also the catalyst behind much of the pop music to emerge from the Los Angeles area during the 1960s and '70s, guiding several of his associates and protégés to fame and fortune, while remaining himself a shadowy cult figure well outside the margins of the mainstream.
The son of actor Douglas Fowley (who appeared in Singin' in the Rain), Kim Fowley was born July 27, 1942, in L.A., and made his first recordings with drummer Sandy Nelson during the late '50s. After working with a number of short-lived groups including the Paradons and the Innocents, Fowley found his first taste of success by producing the Top 20 hit "Cherry Pie" for schoolmates Gary S. Paxton and Skip Battin, who performed under the name Skip & Flip. With Battin, Fowley next created the group the Hollywood Argyles, who topped the charts in 1960 with the novelty smash "Alley Oop."
The duo subsequently masterminded Paul Revere & the Raiders' first hit, "Like Long Hair," and in 1962 helped launch the Rivingtons, scoring with the classic "Papa-Oom-Mow-Mow." Another novelty hit, B. Bumble & the Stingers' "Nut Rocker," reached number one in the U.K. (and would be covered by Emerson, Lake & Palmer), and in 1964 Fowley even began handling promotional chores for singer P.J. Proby; that same year, he also produced the girl group smash "Popsicles and Icicles" by the Murmaids.
In the mid-'60s, Fowley became immersed in the Los Angeles counterculture, befriending Frank Zappa and his band the Mothers of Invention, and later appearing on their Freak Out! LP. A prolific songwriter, he also composed material recorded by the Byrds, Cat Stevens, Them, and Kiss, and produced the likes of Gene Vincent, Warren Zevon, Soft Machine, and Helen Reddy.
Finally, in 1967 Fowley issued his own solo debut, Love Is Alive and Well, a record that found him closely aligned with the flower power movement. (Fowley also claimed to have staged the first "love-in" in Los Angeles.) A series of solo records followed, including 1968's suitably titled Outrageous, 1970's The Day the Earth Stood Still, and 1973's International Heroes, but none garnered the commercial success of so many of his other projects.
In 1975, after completing the LP Animal God of the Streets, Fowley returned to his Svengali role by assembling the notorious Runaways, a teenage hard rock girl group featuring a young Joan Jett, Lita Ford, and Cherie Currie. Designed as equal parts manufactured novelty and bid for female rock & roll domination, the group didn't sell many records in their original run but proved to be massively influential, and after the original group splintered,
Fowley even launched another Runaways in the '80s. (Another girl group, the Orchids, was his idea as well, as were the Hollywood Stars, conceived as the L.A. answer to the New York Dolls.)
Fowley's standing within the musical community faded over the course of the following decades, though he never truly went away, and in his later years, he worked with the likes of Ariel Pink and BMX Bandits.
He continued recording for his small but avid cult following, most notably with 1980's Hollywood Confidential, 1993's Hotel Insomnia, and 1995's Kings of Saturday Night (a collaboration with Ben Vaughn), as well as two albums with a rotating cast of Detroit-based musicians, Michigan Babylon and Detroit Invasion.
Fowley also partnered with Norton Records to release several collections of rarities from his catalog, and their affiliated publishing house Kicks Books issued a collection of his writings, Lord of Garbage. Fowley died on January 15, 2015 in West Hollywood, California after a battle with bladder cancer; he was 75 years old.
Kim Fowley - Love is Alive and Well (US 1967)
01. Love Is Alive and Well 1:34
02. Flower City 2:07
03. Flower Drum Drum 2:58
04. This Planet Love 2:10
05. War Game 3:07
06. Reincarnation 2:08
07. See How the Other Half Love 2:00
08. Flowers 1:45
09. Super Flower 1:59
10. Me 1:45
Bonus: Kim Fowley - Outrageous (US 1968)
01. Animal Man 2:44
02. Wildfire 4:09
03. Hide and Seek 2:08
04. Chinese Water Torture 0:45
05. Nightrider 2:22
06. Bubble Gum 2:27
07. Inner Space Mystery 4:01
08. Barefoot Country Boy 2:02
09. Up, Caught in the Middle, Down 14.30
01. One Man Band - 02.13
02. Kangaroo - 03.55
03. Kim Fowley Single - The Trip - 02.01
1. Kim Fowley 1967-68
2. Kim Fowley 1967-68
3. Kim Fowley 1967-68
Sunday, 1 January 2017
♫♪♪♫♪ Borderlinebooks ♫♪♪♫♪
is Back online. Look at my link section
"A must for all Record Collectors"
"The Tapestry Of Delights" - British Beat, R&B, Psychedelic and Progressive Rock 1963 - 1976
"Fuzz, Acid & Flowers" - American Garage, Psychedelic & Hippie Rock 1964-1975
"Adrift In The Ether" - The Current State Of The British Underground
From: ""Fuzz, Acid & Flowers" (US bands at "S")
Friday, 30 December 2016
Size: 182 MB
Bit Rate: 256 + 320
Found at RCA Studios
G.I. Blues is the eleventh album by Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2256, in October 1960. Recording sessions took place on April 27 and 28, and May 6, 1960, at RCA Studio C and Radio Recorders in Hollywood, California. The album topped the Billboard Top Pop Album chart and has been certified by the RIAA as a platinum album.
Due to copyright reasons, the European version of the soundtrack album and film substitutes the opening track "Tonight Is So Right for Love" with the song "Tonight's All Right for Love," adapted from a melody by 19th century waltz-king Johann Strauss II.
Interestingly, the melody for "Tonight Is So Right for Love" was taken directly from a barcarolle composed by Jacques Offenbach, one of Strauss's contemporaries.
An American release of "Tonight's All Right for Love" did not occur until it appeared on the compilation album Elvis: A Legendary Performer Volume 1 in 1974.
The version of "Blue Suede Shoes" used on the soundtrack is a new recording of the song Presley first recorded in 1956, and is one of only a few songs that Presley would re-record in a studio setting during his career, others being "Love Letters" and "A Little Less Conversation."
Soundtrack recordings for Paramount's "G.I. Blues" motion picture. Recorded April 27-28, 1960 at RCA Studios, Hollywood, CA & and on May 6, 1960 at Radio Recorders, Hollywood, CA
♣ Elvis Presley: vocals; guitar on "Shoppin' Around"
♣ Scotty Moore: guitar
♣ Tiny Timbrell: guitar
♣ Neal Matthews: guitar
♣ Dudley Brooks: piano
♣ Jimmie Haskell: accordion
♣ Ray Siegel: bass
♣ DJ Fontana: drums
♣ Frank Bode: drums
♣ Hoyt Hawkins: tambourine
♣ The Jordanaires: back-up vocals
♣ Joseph Lilley: producer/arranger
♣ Thorne Nogar: engineer (May 6th session)
♣ unknown(s): engineer (April 27-28th sessions)
Elvis Presley - "G.I. Blues 1960 at RCA Studios, Hollywood"
01. Shoppin' Around (Tk.4) 01:46
02. Tonight Is So Right For Love (Tk.3) 02:18
03. Shoppin' Around (Tk.6,7,9,10) 04:15
04. Pocketful Of Rainbows (Tk.15,16) 03:14
05. Tonight's All Right For Love (Tk.6) 01:23
06. What's She Really Like (Tk.9-11) 04:01
07. Frankfurt Special (Fast, Tk.3,4,7) 04:43
08. Big Boots (Fast, Tk.3) 01:23
09. Wooden Heart (Tk.1-3) 03:34
10. Frankfurt Special (Medium, Tk.6-8) 05:27
11. Big Boots (Fast, Tk.5) 01:20
12. Doin' The Best I Can (Tk.3) 03:22
13. What's She Really Like (Tk.12-13) 03:05
14. Shoppin' Around (Tk.3,5) 03:16
15. Big Boots (Slow, Tk.2,4,6) 03:17
16. Big Boots (Fast, Tk.6-7) 01:46
17. Tonight's All Right For Love (Tk.14-17) 04:33
18. Vienna Woods Rock And Roll (Tk.4) 02:06
On April 27, 2016, RCA remastered the album for compact disc, adding eight outtakes from the recording session as bonus tracks. Two songs were previously released, the acoustic version of "Big Boots" appearing on the posthumous 1978 album Elvis Sings for Children and Grown-Ups Too, and the substitute "Tonight's All Right For Love."
Elvis Presley - G.I. Blues (US 1960) The finished Original Album as Bonus:
01. 4/27/60 Tonight Is So Right for Love - Abner Silver and Sid Wayne 2:14
02. 4/28/60 What's She Really Like - Abner Silver and Sid Wayne 2:17
03. 5/6/60 Frankfort Special - Sid Wayne and Sherman Edwards 2:58
04. 4/28/60 Wooden Heart - Ben Weisman, Fred Wise, Kathleen Twomey, Bert Kaempfert 2:03
05. 4/27/60 G.I. Blues - Sid Tepper and Roy C. Bennett 2:36
06. 5/6/60 Pocketful of Rainbows - Ben Weisman and Fred Wise 2:35
07. 5/6/60 Shoppin' Around - Aaron Schroeder, Sid Tepper, Roy C. Bennett 2:24
08. 5/6/60 Big Boots - Sid Wayne and Sherman Edwards 1:31
09. 4/27/60 Didja' Ever - Sid Wayne and Sherman Edwards 2:36
10. 4/28/60 Blue Suede Shoes - Carl Perkins 2:07
11. 4/27/60 Doin' the Best I Can - Doc Pomus and Mort Shuman 3:10