Friday, 15 May 2015

♫♪♪♫♪ B.B. King is Dead, R.I.P. ♫♪♪♫♪





















Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. His bent notes and staccato picking style have influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provides a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). Since that time, he has partnered with such musicians as Eric Clapton and U2 while managing his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar.

The seeds of Riley B. King's enduring talent were sown deep in the blues-rich Mississippi Delta, where he was born in 1925 near the town of Itta Bena. He was shuttled between his mother's home and his grandmother's residence as a child, his father having left the family when King was very young. The youth put in long days working as a sharecropper and devoutly sang the Lord's praises at church before moving to Indianola -- another town located in the heart of the Delta -- in 1943.

Country and gospel music left an indelible impression on King's musical mindset as he matured, along with the styles of blues greats (T-Bone Walker and Lonnie Johnson) and jazz geniuses (Charlie Christian and Django Reinhardt). In 1946, he set off for Memphis to look up his cousin, a rough-edged country blues guitarist named Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecropper's eternal struggle with his wife Martha, King returned to Memphis in late 1948. This time, he stuck around for a while.

King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became "The Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B.

King had a four-star breakthrough year in 1949. He cut his first four tracks for Jim Bulleit's Bullet Records (including a number entitled "Miss Martha King" after his wife), then signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin' Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas.

the Biharis also recorded some of King's early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. King's first national R&B chart-topper in 1951, "Three O'Clock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three O'Clock Blues," he handed the group, known as the Beale Streeters, over to Ace.

It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name.

The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B field. Recording mostly in L.A. (the WDIA air shift became impossible to maintain by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin' Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation.

In 1960, King's impassioned two-sided revival of Joe Turner's "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino.

In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaped out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. "Don't Answer the Door" in 1966 and "Paying the Cost to Be the Boss" two years later were Top Ten R&B entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969.

Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins' "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number-three R&B smash, it vaulted to the upper reaches of the pop lists as well.

King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster.

Blues Summit Although his concerts were consistently as satisfying as anyone in the field (King asserted himself as a road warrior of remarkable resiliency who gigged an average of 300 nights a year), King tempered his studio activities somewhat. Nevertheless, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases from that period include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Riding with the King, a collaboration with Eric Clapton. King celebrated his 80th birthday in 2005 with the star-studded album 80, which featured guest spots from such varied artists as Gloria Estefan, John Mayer, and Van Morrison. Live was issued in 2008; that same year, King released an engaging return to pure blues, One Kind Favor, which eschewed the slick sounds of his 21st century work for a stripped-back approach. A long overdue career-spanning box set of King's over 60 years of touring, recording, and performing, Ladies and Gentlemen...Mr. B.B. King, appeared in 2012.

Some Good Rock/Fuzz Groups Who has album for sell (Vinyl/CD):





Enjoy!

The Albums can be ordered at: http://www.alive-records.com/ 

Tuesday, 12 May 2015

Neil Young - Elektra Demos (Rare Solo Recordings US 1965)


Size: 165 MB
Bitrate: 320
mp3
Found in Space
Some Atwork

The Elektra Demos Recorded at the Elektra Studios in New York City, September 1965. Engineered by Peter Siegel. All Tracks are just Neil and his acoustic guitar.

Neil Percival Young, OC OM (born November 12, 1945) is a Canadian singer-songwriter and musician. He began performing in a group covering Shadows instrumentals in Canada in 1960, before moving to California in 1966, where he co-founded the band Buffalo Springfield together with Stephen Stills and Richie Furay, and later joined Crosby, Stills & Nash in 1969. He released his first album in 1968 and has since forged a successful and acclaimed solo career, spanning over 45 years and 35 studio albums, with a continuous and uncompromising exploration of musical styles. The Rock and Roll Hall of Fame website describes Young as "one of rock and roll's greatest songwriters and performers". He was inducted into the Hall of Fame twice, first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997.

Young's music is characterized by his distinctive guitar work, deeply personal lyrics and characteristic alto or high tenor singing voice. Although he accompanies himself on several different instruments, including piano and harmonica, his idiosyncratic electric and clawhammer acoustic guitar playing are the defining characteristics of a varyingly ragged and melodic sound.

While Young has experimented with differing music styles throughout a varied career, including swing and electronic music, most of his best known work is either acoustic folk-rock and country rock or electric, amplified hard rock (most often in collaboration with the band Crazy Horse). Musical styles such as alternative rock and grunge also adopted elements from Young. His influence has caused some to dub him the "Godfather of Grunge".

Young has directed (or co-directed) a number of films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He has also contributed to the soundtracks of films including Philadelphia (1993) and Dead Man (1995).

Young is an environmentalist and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. He is currently working on a documentary about electric car technology, tentatively titled LincVolt. The project involves his 1959 Lincoln Continental converted to hybrid technology as an environmentalist statement. In 1986, Young helped found The Bridge School, an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his ex-wife Pegi Young (née Morton). 

Young has three children: sons Zeke (born during his relationship with actress Carrie Snodgress) and Ben, who were diagnosed with cerebral palsy, and daughter Amber Jean who, like Young, has epilepsy. Young lives on his ranch in La Honda, California. Although he has lived in northern California since the 1970s and sings as frequently about U.S. themes and subjects as he does about his native country, he has retained his Canadian citizenship.[20] On July 14, 2006, Young was awarded the Order of Manitoba, and on December 30, 2009, was made an Officer of the Order of Canada.

Once they reached Los Angeles, Young and Palmer met up with Stephen Stills, Richie Furay, and Dewey Martin to form Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills' topical song "For What It's Worth" became a hit, aided by Young's melodic harmonics played on electric guitar. According to Rolling Stone, the Rock and Roll Hall of Fame and other sources, Buffalo Springfield helped create the genres of folk rock and country rock. 

Distrust of their management, as well as the arrest and deportation of Palmer, exacerbated the already strained relations among the group members and led to Buffalo Springfield's demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of Young's three contributions were solo tracks recorded apart from the rest of the group.

In many ways, these three songs on Buffalo Springfield Again, "Mr. Soul", "Expecting to Fly", and "Broken Arrow", are harbingers of much of Young's later work in that, although they all share deeply personal, almost idiosyncratic lyrics, they also present three very different musical approaches to the arrangement of what is essentially an original folk song. "Mr. Soul" is the only Young song of the three that all five members of the group performed together. In contrast, "Broken Arrow" was confessional folk-rock of a kind that would characterize much of the music that emerged from the singer-songwriter movement. Young's experimental production intersperses each verse with snippets of sound from other sources, including opening the song with a soundbite of Dewey Martin singing "Mr. Soul" and closing it with the thumping of a heartbeat. "Expecting to Fly" was a lushly produced ballad similar to the baroque pop of the mid-1960s, featured a string arrangement that Young's co-producer for the track, Jack Nitzsche, would dub "symphonic pop".

In May 1968, the band split up for good, but in order to fulfill a contractual obligation, a final album, Last Time Around, was released, primarily from recordings made earlier that year. Young contributed the songs "On the Way Home" and "I Am a Child", singing lead on the latter. In 1997, the band was inducted into the Rock & Roll Hall of Fame; Young did not appear at the ceremony. The three surviving members, Furay, Stills and Young, appeared together as Buffalo Springfield at Young's annual Bridge School Benefit on October 23–24, 2010, and at Bonnaroo in the summer of 2011

Neil Young - Elektra Demos 
New York City, N.Y. USA
September 1965

01. Sugar Mountain
02. Nowadays Clany Can't Even Sing
03. Run Around Babe
04. Don't Pity My Baby
05. I Ain't Got The Blues - False Start 1
06. I Ain't Got The Blues - False Start 2
07. I Ain't Got The Blues - False Start 3
08. I Ain't Got The Blues - Final Take
09. The Rent Is Alawys Due
10. When It Falls, It Falls All Over You

From Neil Young: Ancient History (11-17)
11. Sugar Mountain
12. Nowadays Clany Can't Even Sing
13. Run Around Babe
14. Don't Pity My Baby
15. I Ain't Got The Blues 
16. The Rent Is Alawys Due
17. Extra, Extra
18. Where the Buffalo Roam (1980) 

Tracks 01 to 10: The Elektra Demos recorded at the Elektra Studios in New York City, September 1965. All tracks are just Neil and his acoustic guitar. First time available in stunning sound quality!

Track 11: Recorded During Rehearsals at KOED TV, USA, December 1970 
Tracks 12 & 13: Recorded at the Coliseum, Seattle, July 9, 1974 
Track 14: Recorded at the Hammersmith Odeon, London, March 31, 1976 
Track 17: Recorded at the Bicentennial Park, Miami Beach, November 12, 1977 
Tracks 18: Recorded at the Austin City Limits TV Show, Austin, September 25, 1984

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