|Collecting vinyl, a day at some record shops at the 60-70's|
Saturday, 21 February 2015
Found in OuterSpace
In 1967 McVie learned that her ex-band mates, Andy Silvester and Stan Webb, were forming a blues band, Chicken Shack, and were looking for a pianist. She wrote to them asking to join, and they invited her to play keyboards/piano and to sing background vocals. Chicken Shack's debut release was "It's Okay With Me Baby", written by and featuring McVie.
She stayed with Chicken Shack for two albums, during which her genuine feel for the blues became evident, not only in her Sonny Thompson-style piano playing, but through her authentic "bluesy" voice. Chicken Shack had a hit with "I'd Rather Go Blind", which featured McVie on lead vocals. Perfect received a Melody Maker award for female vocalist in both 1969 and 1970. McVie left Chicken Shack in 1969 after marrying Fleetwood Mac bassist John McVie a year earlier.
Christine Perfect is the debut solo album of former Chicken Shack keyboardist/singer Christine McVie née Perfect. The album was released just after Perfect had left Chicken Shack, but before she joined Fleetwood Mac. It contained the Etta James song, "I'd Rather Go Blind", which had earlier been a hit single for Chicken Shack.
Originally released in 1970.
Christine Anne Perfect (born 12 July 1943), professionally known as Christine McVie, is an English singer-songwriter and keyboardist. Her fame came as a member of rock band Fleetwood Mac, joining the band in 1970 while married to bassist John McVie. Eight songs she had written and sung are on the band's Greatest Hits album, including "Don't Stop", "Little Lies", "Everywhere", "Over My Head", and "You Make Loving Fun". She has also released three solo albums. AllMusic critic Steve Leggett noted McVie's "naturally smoky low alto vocal style", describing her as an "Unabashedly easy-on-the-ears singer/songwriter, and the prime mover behind some of Fleetwood Mac's biggest hits."
In 1998, as a member of Fleetwood Mac, McVie was inducted into the Rock and Roll Hall of Fame and received the Brit Award for Outstanding Contribution to Music. Since retiring from the band, she has worked on solo material in her converted barn at her home in Wickhambreaux in Kent. McVie appeared on stage with Fleetwood Mac at London's O2 Arena in September 2013, and rejoined the band in January 2014. Her first full shows since her return came during Fleetwood Mac's On with the Show tour in October 2014. In 2014 she received the British Academy's Ivor Novello Award for Lifetime Achievement.
Christine Perfect with Chicken Shack
1968-xx-xx BBC Studios, London, England
Only known live recordings of Christine with Chicken Shack
01. When the Train Leaves Home 01:21
02. Love Me or Leave Me 03:33
03. Mean Old World - with Duster Bennett 04:28
04. It's OK with Me Baby 02:48
|for 100% size: open picture IN A NEW WINDOW|
Everybody knows about Jerry's Kids--the young victims of muscular dystrophy for whom Jerry Lewis raises money during his annual telethons.
Say hello to pop music's counterparts: Graham's Kids. These are the youngsters who go to bed hungry or malnourished in North, Central and South America, the kids for whom Graham Nash and a bunch of his friends raised about $100,000 during a nationwide radio broadcast on Saturday afternoon.
Officially titled "Graham Nash's Children of the Americas Radiothon," the event consisted of a live broadcast of concert performances from the Palace in Hollywood and the United Nations building in New York City. The four-hour program was broadcast on KLSX-FM in Los Angeles and about 65 stations around the country, said Richard Linnell, the show's executive producer.
While the day's lineup included Jackson Browne, Randy Newman and Midnight Oil (the last two from New York), the main attraction was the appearance by Crosby, Stills, Nash & Young--their first performance since recording their first studio album in almost two decades, the just-released "American Dream."
The re-teaming of the four, whose work together in the early '70s has been heralded as among rock's most creative collaborations, marks the end of the obstacles that kept Neil Young from participating with his former partners, who had continued working together in various configurations.
The quartet's seven-song, 45-minute set at the Palace included four tunes from "American Dream," plus the chestnuts "Love the One You're With," "Southern Cross" and "Long Time Gone." The crowd reaction at the Palace to the group's familiar harmonies was overwhelming.
In radio-land, though, the audience was falling short of expectations. When the CSN&Y set ended, listener pledges totaled $89,650, short of the $100,000 the organizers were hoping to raise.
So as soon as they finished performing a drastically revamped version of "My Country 'Tis of Thee" with John David Souther and (on tape) acoustic guitarist Michael Hedges, Graham Nash and David Crosby said they'd make up the shortfall by giving $5,000 each.
The show had many of the earmarks of traditional telethons: appeals from celebrities (George Harrison, Tom Petty), a toll-free number for viewer contributions (1-800-FOR-KIDS), pledges from entertainment industry heavies ($10,000 from Bruce Springsteen, $5,000 each from Rod Stewart and Atlantic Records) and needy beneficiaries (World Hunger Year and UNICEF).
But while Nash says he wants to be known for helping these children, he doesn't like the idea that the event--which is in its second year--is billed with his name up front.
" 'Graham Nash's Children of the Americas' is just too pompous for me," Nash said backstage at the Palace. "I understand why they want to bill it that way, but it makes me very uncomfortable, and I think I'll change it next year. It should just be the 'Children of the Americas Radiothon, with your host Graham Nash.' "
A longtime activist for liberal, environmental and humanist causes, Nash got involved in an annual hunger-themed radiothon by New York radio station WNEW-FM, and decided it had the potential to be a nationwide effort to help starving children throughout the Americas.
"When all's said and done, we're going to be gone a lot sooner than our kids are," he said. "We're going to leave this planet to them. I hope it can sustain them, I hope it will make them flourish instead of being blown apart in a nuclear holocaust, I hope that AIDS doesn't totally screw up the planet. . . .
"I hope for a lot of things, but I know that I'll be gone and they'll still be here. They are our future, and I can't put my energy any better place than this."
And what about Crosby, Stills, Nash & Young? They've said they don't plan to tour together, but with the new album, the radiothon success and another appearance due soon at a benefit show in Oakland, might they change their minds?
"I don't know, I truly don't know," Nash said. "I don't think any of us do. We're reeling under the realization that we've made what we consider to be a great record. So we'll sit back, see what happens . . . get Christmas under our belts and look at the new year. Then we'll figure out what we're going to do."
Nash said that Young wants to make another CSN&Y album before considering a tour, but he added with a laugh: "We've already got 25 years of music to draw on. . . . We could do a hell of a show."
The Second Annual Children of The Americas Radiothon
w/ Randy Newman, Jackson Browne, Sangre Machehual, Fabulous Thunderbirds, Pat Benetar, Boston, Al Stewart, Midnight Oil and Crosby, Stills, Nash and Young,
Live from 2 coasts:
West Coast - The Palace Theatre in Hollywood, California
East Coast - The Lobby of the United Nations Building in New York City
01. Introduction to Concert
MC (Graham Nash)
MC (Pete Fornatale) and Bill Ayers
02. Teach Your Children (some applause added between 5:42 to 5:51 of disc 1-to smooth out the transition)
03. MC (Graham Nash), MC (Pete Fornatale)
04. I Love L.A.
05. Dixie Flyer
06. Sail Away
07. Political Science
08. Short People
09. I Want You To Hurt Like I Do
10. MC (Pete Fornatale)
David Crosby Introduces..
Jackson Browne and Graham Nash
11. Crow On The Cradle
12. David Crosby talks about the CONCERT FOR THE CHILDREN OF THE AMERICAS benefit and introduces....
Jackson Browne with Sangre Machehual
13. Lives In The Balance (w/ David Crosby and Graham Nash)
14. My Personal Revenge
15. Fruita Almarga (Bitter Fruit)
16. Lene' Verde
17. MC (Pete Fornatale)
Paul Barrere and Billy Pain promo
Jackson Browne, Graham Nash & David Crosby
18. Rock Me On The Water
19. George Harrison calls Graham Nash for the telethon
01. MC (Pete Fornatale)
02. Powerful Stuff
03. Look At That, Look At That
04. She's Tough
05. Paul Kantner telethon promo
Mark Knofler telethon promo
MC (Pete Fornatale) introduces Pierre Robaire who re-introduces the ...
promo for telethon
06. Wrap It Up
07. MC (Pete Fornatale)
Discussion on the Purpose and Funding Of The Charity
A short trip to Boston and WBCN-FM Rodney J.
Rodney J. introduction to...
08. All Fired Up
09. Run Between The Raindrops
10. Let's Stay Together
promo for telethon
MC (Graham Nash)
11. Tom Shultz promo for telethon
(Live song prepared for this broadcast)
12. To Be A Man
13. MC (Graham Nash)
A conversation with Harry Chapin (previously taped)
MC (Graham Nash) talk with Bill Ayers and others
14. Antarctica (technical issue at start of song)
15. Princess Olivia
16. The Year Of The Cat
17. Graham Nash telethon promo and introduction to...
18. Wealth Is Virtue
19. The Dead Heart
01. MC (Graham Nash)
Crosby, Stills, Nash and Young
02. This Old House
03. Love The One You're With
04. telethon promo
05. In the Name of Love (end is clipped and faded to remove MC talking over the last notes)
06. snip of the crowd singing Happy Birthday to Neil.
MC (Graham Nash)
MC (Pete Fornatale)
Crosby, Stills, Nash and Young
07. Tracks in the Dust
08. Don’t Say Goodbye (w/ Craig Doerge on Keyboards and Steve Lawrence on Saxophone)
09. Southern Cross
10. Long Time Gone
11. MC (Pete Fornatale)
Graham Nash, David Crosby, John David Souther and Michael Hedges
12. My Country ‘tis of Thee
13. MC (Graham Nash)
MC (Pete Fornatale)
technical and support closing credits
Part 1: Link
Part II : Link
Part III : Link
Part 1: Link
Part II : Link
Part III : Link
Found by: ChrisGoesRock
Some Artwork Included
These are vintage radio broadcast transcription discs (at times you can “hear” the vinyl which adds flavor). The sound quality is amazing. Country Style USA is from 1958, Guest Star is from 1959. That’s all the info I have. I received these many years ago in a trade and transferred them from cassette. This is as good as it gets.
Country Style USA was a radio program syndicated by the US Army Band and Recruiting Services and broadcast as a recruiting tool for them.
Produced by the U.S. Treasury Department in the 1940s and 1950s as a public service program, Guest Star features a different often top-name "guest star" (singer, actor, comedian) each week to promote the sales of savings bondsprevioulsy circulated with incorrect dates of 1958 & 1959.
John R. "Johnny" Cash (February 26, 1932 – September 12, 2003) was a singer-songwriter, actor, and author, widely considered one of the most influential American musicians of the 20th century. Although primarily remembered as a country music icon, his genre-spanning songs and sound embraced rock and roll, rockabilly, blues, folk, and gospel. This crossover appeal won Cash the rare honor of multiple induction in the Country Music, Rock and Roll, and Gospel Music Halls of Fame.
Cash was known for his deep bass-baritone voice, the distinctive sound of his Tennessee Three backing band, a rebelliousness coupled with an increasingly somber and humble demeanor, free prison concerts, and trademark look, which earned him the nickname "The Man in Black". He traditionally began his concerts with the simple "Hello, I'm Johnny Cash.", followed by his signature "Folsom Prison Blues".
Much of Cash's music echoed themes of sorrow, moral tribulation and redemption, especially in the later stages of his career. His best-known songs included "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Get Rhythm" and "Man in Black". He also recorded humorous numbers like "One Piece at a Time" and "A Boy Named Sue"; a duet with his future wife, June Carter, called "Jackson"; and railroad songs including "Hey, Porter" and "Rock Island Line". During the last stage of his career, Cash covered songs by several late 20th-century rock artists, most notably "Hurt" by Nine Inch Nails.
In 1954, Cash and Vivian moved to Memphis, Tennessee, where he sold appliances while studying to be a radio announcer. At night he played with guitarist Luther Perkins and bassist Marshall Grant. Perkins and Grant were known as the Tennessee Two. Cash worked up the courage to visit the Sun Records studio, hoping to get a recording contract. After auditioning for Sam Phillips, singing mostly gospel songs, Phillips told him that he didn't record gospel music any longer. It was once rumored that Phillips told Cash to "go home and sin, then come back with a song I can sell", although in a 2002 interview Cash denied that Phillips made any such comment. Cash eventually won over the producer with new songs delivered in his early rockabilly style. In 1955, Cash made his first recordings at Sun, "Hey Porter" and "Cry! Cry! Cry!", which were released in late June and met with success on the country hit parade.
On December 4, 1956, Elvis Presley dropped in on Phillips while Carl Perkins was in the studio cutting new tracks, with Jerry Lee Lewis backing him on piano. Cash was also in the studio and the four started an impromptu jam session. Phillips left the tapes running and the recordings, almost half of which were gospel songs, survived and have since been released under the title Million Dollar Quartet. In Cash: the Autobiography, Cash wrote that he was the one farthest from the microphone and was singing in a higher pitch to blend in with Elvis.
Cash's next record, "Folsom Prison Blues", made the country Top 5, and "I Walk the Line" became No. 1 on the country charts and entered the pop charts Top 20. "Home of the Blues" followed, recorded in July 1957. That same year Cash became the first Sun artist to release a long-playing album. Although he was Sun's most consistently selling and prolific artist at that time, Cash felt constrained by his contract with the small label partly due to the fact that Phillips wasn't keen on Johnny recording gospel, and he was only getting a 3% royalty as opposed to the standard rate of 5%. Presley had already left Sun, and Phillips was focusing most of his attention and promotion on Lewis. The following year Cash left the label to sign a lucrative offer with Columbia Records, where his single "Don't Take Your Guns to Town" became one of his biggest hits.
Early in his career, fellow artists teasingly nicknamed him The Undertaker because of his preference for black clothes - which he wore primarily because they were easier to keep looking clean on long tours.
In the early 1960s, Cash toured with the Carter Family, which by this time regularly included Mother Maybelle's daughters, Anita, June, and Helen. June later recalled admiring him from afar during these tours. In the 1960s he appeared on Pete Seeger's short-lived television series Rainbow Quest. He also acted in and wrote and sang the opening theme for the 1961 film Five Minutes to Live, later re-released as Door-to-door Maniac.
* Luther Perkins: Lead Guitar
* Marshall Grant: Upright Bass
1956-11-12 Country Style USA Radio
01. Country Style USA Intro
02. Hey Porter
03. I Walk The Line
04. “Join The Reserve For Youth Training Program” spot
05. Rock Island Line (Johnny says they haven’t recorded it yet)
06. So Doggone Lonesome
07. Country Style USA Outro
1956-XX-XX Country Style USA Radio
08. Country Style USA Intro
09. Folsom Prison Blues
10. Cry Cry Cry
11. “Reserve For Youth Training Program” spot
12. I Was There When It Happened
13. Get Rhythm (“Our latest release on Sun”)*
14. Country Style USA Outro
1959-06-28 Guest Star
15. Guest Star Intro
16. Country Boy
17. Chat w/ Johnny
18. Don’t Take Your Guns To Town
19. Johnny Cash “Buy Savings Bonds” spot
20. Swing Low, Sweet Chariot
21. Guest Star Outro
Sunday, 15 February 2015
Found in OuterSpace
John "Johnny 'Guitar'" Watson, Jr. (February 3, 1935 – May 17, 1996) was an American blues, soul, and funk musician and singer-songwriter. A flamboyant showman and electric guitarist in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with disco and funk overtones, saw Watson have hits with "Ain't That a Bitch", "I Need It" and "Superman Lover". His successful recording career spanned forty years, with his highest chart appearance being the 1977 song "A Real Mother For Ya".
Watson was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.
His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". Watson agreed, but "that was the first thing I did." A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland. His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Watson with her.
In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.
Watson affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it. Watson's ferocious "Space Guitar" album of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".
He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. In 1975 he is a guest performer on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy") on the Frank Zappa album One Size Fits All. He also played with Sam Cooke, Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic - the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry made him one of the most colorful figures in the West Coast funk scene.
He modified his music accordingly. His albums Ain't That a Bitch (from which the successful singles "Superman Lover" and "I Need It" were taken) and Real Mother For Ya were landmark recordings of 1970s funk "Telephone Bill", from the 1980 album Love Jones, featured Watson rapping.
The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the 1980s. "I got caught up with the wrong people doing the wrong things", he was quoted as saying by the New York Times.
The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination.
In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. Talking rhyming lyrics to a groove is something you'd hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I'm talking in melody. When I play, I'm talking with my guitar. I may be talking trash, baby, but I'm talking".
In 1995, he was given a Pioneer Award from the Rhythm & Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley's 1996 album A Man Amongst Men, playing vocoder on the track "I Can't Stand It" and singing on the track "Bo Diddley Is Crazy".
His music was sampled by Redman (who based his "Sooperman Luva" saga on Watson's "Superman Lover" song), Ice Cube, Eazy-E, Snoop Dogg, Dr. Dre, Jay-Z, and Mary J. Blige. Snoop Dogg and Dr. Dre borrowed P-Funk's adaptation of Watson's catchphrase "Bow Wow Wow yippi-yo yippi-yay" for Snoop's hit "What's My Name".
"Johnny was always aware of what was going on around him", recalled Susan Maier Watson (later to become the musician's wife) in an interview printed in the liner notes to the album The Very Best of Johnny 'Guitar' Watson. "He was proud that he could change with the times and not get stuck in the past".
Watson, a recognized master of the Fender Stratocaster guitar, has been compared to Jimi Hendrix and allegedly became irritated when asked about this comparison, supposedly stating: "I used to play the guitar standing on my hands. I had a 150-foot cord and I could get on top of the auditorium – those things Jimi Hendrix was doing, I started that shit."
Frank Zappa stated that "Watson's 1956 song 'Three Hours Past Midnight' inspired me to become a guitarist". Watson contributed to Zappa's albums One Size Fits All (1975), Them or Us (1984), Thing-Fish (1984) and Frank Zappa Meets the Mothers of Prevention (1985). Zappa also named "Three Hours Past Midnight" his favorite record in a 1979 interview.
Steve Miller not only did a cover of "Gangster of Love" on his 1968 album Sailor (substituting "Is your name "Stevie 'Guitar' Miller?" for the same line with Watson's name), he made a reference to it in his 1969 song "Space Cowboy" ("And you know that I'm a gangster of love") as well as in his 1973 hit song "The Joker" ("Some call me the gangster of love"). Miller had also borrowed the sobriquet for his own "The Gangster Is Back", on his 1971 album Rock Love.
Jimmie Vaughan, brother of Stevie Ray Vaughan, is quoted as saying: "When my brother Stevie and I were growing up in Dallas, we idolized very few guitarists. We were highly selective and highly critical. Johnny 'Guitar' Watson was at the top of the list, along with Freddie, Albert and B.B. King. He made magic."
Johnny Guitar Watson
December 8 1976
Le Bataclan, Paris, France
01. I Don't Want To Be A Lone Ranger
02. Superman Lover
03. Cuttin' In
04. Gangster of Love, Baby What You Want Me To Do, Gangster of Love
05. Ain't That A Bitch
06. Everyday I Have The Blues
07. Stormy Monday
08. blues intrumental
10. Everyday I Have The Blues (1975 piano solo version)