Sunday, 25 February 2018

Timothy Leary & Ash Ra Tempel - Seven Up (German Progressive Rock 1972)

Size: 85.4 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Seven Up, Ash Ra Tempel's third album is often very misunderstood by fans of their music. It's a real odd one to say the least, and if you're familiar with such albums as their 1971 debut, Join Inn (1973), or Inventions For Electric Guitar (1975, actually a Manuel Göttsching solo album) this one is quite a shock indeed. By this point, trying to figure out who was in the group has became pretty pointless. Guitarist Manuel Göttsching and bassist Hartmut Enke are still here, with tons of different vocalists, and ex-Tangerine Dream organist Steve Schroyder (he played on Alpha Centauri and guested on Zeit). 

The album starts off with "Space". It's a suite divided in to four movements. It starts off with "Downtown", which doesn't sound too encouraging. It sounds like downright generic blues sung by a female vocalist, but never let that deceive you. You quickly face some truly mind blowing spacy electronic effects and noise that never lets up! It's pretty much the same throughout, although three more blues songs will follow, but as always, the blues songs never last because it sounds like the band was just so stoned at the time, they'd rather blow people's mind. I can sense quite a bit of irony in the way the band played those blues numbers. 

Thanks to the presence of Timothy Leary (who was in exile in neighboring Switzerland), it's no surprise that this music is the effects of an LSD trip. The second half of the album is taken up by a three movement suite called "Time". Here's where detractors of the album finds its redeeming qualities, as this is very much like like Alpha Centauri-era Tangerine Dream. The last movement of "Time" is "She" which is basically a re-recording of "Suche & Liebe" off Ash Ra Tempel's 1972 album Schwingungen. This is a wonderful, and underrated album, which if you approach with an open-mind you'll probably enjoy it.

Ash Ra Tempel are a German krautrock group of the 1970s, and are an example of cosmic or space rock.

The group was originally founded by guitarist Manuel Göttsching, keyboardist/drummer Klaus Schulze, and bassist Hartmut Enke in 1971. All three founding members had previously played together as part of the short-lived group Eruption founded by Conrad Schnitzler. Prior to that Schnitzler and Schulze had worked together in Tangerine Dream.

A short-lived project Manuel Göttsching had in 1970 was the Steeple Chase Blues Band, which also included Hartmut Enke, Wolfgang Müller, and Volker Zibell.

Ash Ra Tempel released its self-titled debut album in June 1971. This release is considered by critics to be a classic of the genre; Schulze temporarily departed for a solo career shortly after its release. Schwingungen (1972), Seven Up (with Timothy Leary) (1972), and Join Inn (1973) are all considered key works from the band. The pop-oriented 1973 album Starring Rosi was thus named because it featured lead vocals by Rosi Mueller.

Their music is widely characterized as cosmic and atmospheric. The early albums were more psychedelic-oriented and all had one lengthy track per side: one more powerful and dramatic, the other of a more atmospheric nature. Instead of writing English lyrics, since German language was not popular in rock music at the time, Ash Ra Tempel more or less decided not to have lyrics in their songs.

Ash Ra Tempel's last concert performance took place in Cologne in February 1973.

Later, after recording the soundtrack Le Berceau de Cristal (1975; unreleased until 1993) Ash Ra Tempel shortened its name to Ashra, making a more melodic, synthesizer-based music. In 2000 the band was reunited in the line up of Manuel Gottsching and Klaus Schulze. The pair had previously worked together on Schulze's album In Blue

01.a  Downtown   16:00
01.b  Power Drive    
01.c  Right Hand Lover    
01.d  Velvet Genes    
02.a  Timeship   21:36 
02.b  Neuron    
02.c  She  


Saturday, 24 February 2018

Mike Bloomfield - Live at Bill Graham's Filmore West (US 1969)

Size: 136 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan BLU-SPC CD2 Remaster

When Mike Bloomfield and Nick Gravenites were recorded by Columbia at the Fillmore West in early 1969, most of the tracks the label released appeared on Live at Bill Graham's Fillmore West 1969. However, not a little additional material from the same source appeared on one side of Gravenites' My Labors LP. This set doesn't contain the most notable of Bloomfield's recordings; it's not the best band he played with, nor is it the best material with which he had to work. It's best appreciated as one of numerous releases on which to hear his reliably accomplished blues-rock guitar work, although it's not as flashy or inventive as his best performances, the arrangements sometimes recalling Electric Flag due to the presence of a horn section. 

No less than four vocalists (Gravenites, Bloomfield, Bob Jones, and Taj Mahal, who guests on "One More Mile to Go") were featured on the original Live at Bill Graham's Fillmore West 1969 LP; this expanded version does give more weight to Gravenites' singing, as he takes lead on all four of the tracks added from My Labors. As a final bonus, the CD also includes a Bloomfield-sung cover of Ray Charles' "Mary Ann" from another Bloomfield live album of the era (The Live Adventures of Mike Bloomfield and Al Kooper), as well as historical liner notes.

Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects -- most notably Bob Dylan's earliest electric forays -- and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.

Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. 

Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.

Highway 61 Revisited In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. 

Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic Highway 61 Revisited and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's East-West. Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, East-West merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects.

A Long Time Comin'Bloomfield quickly formed a new band called the Electric Flag with longtime Chicago cohort Nick Gravenites on vocals. The Electric Flag was supposed to build on the innovations of East-West and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, A Long Time Comin', in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. 

Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management -- not to mention heroin abuse -- all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut Super Session, a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. Super Session's success led to a sequel, The Live Adventures of Mike Bloomfield and Al Kooper, which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.

TriumvirateBloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, Triumvirate, was released on Columbia, but didn't make much of a splash. 

Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please.

Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.

01. It Takes Time  4:05
02. Oh Mama  3:23
03. Love Got Me  2:39
04. Blues On A Westside  15:35
05. One More Mile To Go  11:08
06. It‘s About Time  7:11
07. Carmelita Skiffle  5:18

08. If i Ever Get Lucky  14:04
09. Stronger Than Dirt (Instrumental) 06:19

1. Mike Bloomfield
2. Mike Bloomfield
3. Mike Bloomfield

The Electric Flag - A Long Time Comin' (A Classic 1st Album US 1968)

Size: 133 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." 

That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. 

A Long Time Comin' is the "new soul" described appropriately enough by the late critic Lillian Roxon, and tunes like "She Should Have Just" and "Over-Lovin' You" lean more towards the soul side than the pop so many radio listeners were attuned to back then. Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us "Groovin'," so Janis Joplin's eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out "Groovin' Is Easy" on this disc. 

It's a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites. 

Though launched after Al Kooper's the Blues Project, A Long Time Comin' itself influenced bands who would go on to sell more records. In the traditional "Wine," it is proclaimed "you know Janis Joplin, she'll tell you all about that wine, baby." As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they're not covering Howlin' Wolf's "Killing Floor" and adding spoken-word news broadcasts to the mix. 

More contributions by Buddy Miles and Gravenites in the songwriting department would have been welcome here. The extended CD version has four additional tracks, Bobby Hebb's "Sunny" and "Mystery," both which appear on the self-titled Electric Flag outing which followed this LP, as well as other material which shows up on Old Glory: The Best of Electric Flag, released in 2000. 

"Sittin' in Circles" opens like the Doors' "Riders on the Storm," the keyboards as well as the sound effects, and a hook of "hey little girl" which would resurface as the title of a Nick Gravenites tune on the aforementioned follow-up disc, where Gravenites and Miles did pick up the songwriting slack, Bloomfield having wandered off to Super Session with the Blues Project's Al Kooper. Amazing stuff all in all, which could eventually comprise a boxed set of experimental blues rock from the mid- to late sixties. Either version of this recording, original vinyl or extended CD, is fun listening and a revelation.

Mike Bloomfield – lead guitar, vocals
 Buddy Miles – drums, vocals
 Barry Goldberg – keyboards
 Harvey Brooks – bass
 Nick Gravenites – vocals, guitar
 Herb Rich – organ, vocals, baritone saxophone, guitar
 Michael Fonfara – keyboards
 Marcus Doubleday – trumpet
 Peter Strazza – tenor saxophone
 Stemsy Hunter – alto saxophone

01. "Killing Floor" (Chester Burnett a.k.a. Howlin' Wolf) – 4:11
02. "Groovin' Is Easy" (Nick Gravenites) – 3:06
03. "Over-Lovin' You" (Mike Bloomfield, Barry Goldberg) – 2:12
04. "She Should Have Just" (Ron Polte) – 5:03
05. "Wine" (Traditional arr. Bloomfield) – 3:15
06. "Texas" (Bloomfield, Buddy Miles) – 4:49
07. "Sittin' in Circles" (Goldberg) – 3:54
08. "You Don't Realize" (Bloomfield) – 4:56
09. "Another Country" (Polte) – 8:47
10. "Easy Rider" (Bloomfield) – 0:53

Bonus Tracks:
11. "Sunny" (Bobby Hebb) – 4:02
12. "Mystery" (Miles) – 2:56
13. "Look into My Eyes" (Harvey Brooks, Miles) – 3:07
14. "Going Down Slow" (James Oden a.k.a. St. Louis Jimmy Oden) – 4:43

1. The Electric Flag
2. The Electric Flag
3. The Electric Flag

Thursday, 15 February 2018

Hard Meat - Hard Meat (Great Hardrock UK 1969)

Size: 98.6 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Hard Meat was a British progressive rock group active between 1969 and 1971. It was formed by the Birmingham-born brothers Michael Dolan (1947 - 2 August 2014) (guitar, lead vocals) and Steve Dolan (1948 - 22 May 2000) (bass, vocals), with drummer Mick (variously Mike) Carless.

The trio's debut single was a cover of the Beatles' "Rain" b/w "Burning Up Years" on the Island label in 1969. This was followed by two albums released by Warner Bros in 1970: Hard Meat and Through a Window. Their second single (culled from the latter album) was "The Ballad of Marmalade Emma and Teddy Grimes," based on the life of two well-known Colchester tramps. Despite tours of Europe and the USA neither album saw chart success, and the group disbanded shortly afterwards.

New Zealand band The Human Instinct covered "Burning Up Years" on their 1969 debut album of the same name.

The nineteen sixty nine was the year too generous on the side of rock music so many brilliant albums were unnoticed at the time and to this day they remain noticed just by the few. Hard Meat is one of those albums filled with rock songs of quality that just passed by ignored and sunk into oblivion. 

So it’s very pleasant after so many years to find something new and excellent, take it from the shelves of obscurity, blow away the dust of time and enjoy the sound. It’s like a beautiful view seen through the window of nostalgia.

Produced by Sandy Roberson, 1969's "Hard Meat" featured all original group compositions. Musically quite  varied, all seven tracks were powered by Michael's likeable voice and his surprisingly impressive lead guitar and Carless' Keith Moon -styled percussion. The album certainly wasn't the year's most original offering, bouncing around the musical spectrum including dollops of folk-rock, conventional rock, psych, and even a bit of progressive influences.  

I really liked every one of these seven tunes. The opener 'Through a Window' (which curiously became the title of their sophomore LP) offered up an enthralling mixture of all of those earlier genres which should have become and FM classic. 'Time Shows No Face' showed the band could do conventional and commercial rock. With a sunny, lysergic feel, 'Universal Joint' sounded like something recorded in the mid-'60s  - I'm a sucker for this stuff. The funny thing was that as good as the individual tunes were, sitting down and listening to the album as a full set the results were even better. Well worth tracking down.

Mick Dolan - Electric Guitar, Acoustic Guitar, Lead Vocals
Steve Dolan - Electric Bass, String Bass, Vocals
Mick Carless - Drums, Congas, Percussion and Assorted Loud Noises

01. Through A Window - 3:51 
02. Yesterday, Today, Tomorrow - 5:03 
03. Space Between - 4:33 
04. Time Shows No Face - 3:56
05. Run Shaker Life - 10:16 
06. Universal Joint - 3:39 
07. Most Likely You Go Your Way I'll Go Mine - 5:03 

1. Hard Meat 1969
2. Hard Meat 1969
3. Hard Meat 1969

Wednesday, 7 February 2018

Cargoe - Selftitled (Very Good Rock US 1972) I think you will like the album

Size: 117 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

This is a groovy not too well known LP.  If in-the-pocket 70's rock with a slight psych-ish sound is your thing, this one's for you.  Great guitars all over this one.  Not a bad track on it.

Like The Hot Dogs a year later, Cargoe released their sole record in the early 1970s on Memphis-based label Ardent Records, home to better-known Big Star. 

Indeed, Cargoe's self-titled record was released the very same year as Big Star's '#1 Record'. 

Produced by Terry Manning whose 'Home Sweet Home' Lp released in 1969 trod more or less the same musical ground, that is to say a blend of psychedelic pop rock and Memphis soul, with more folk-rock leanings on here, Cargoe's eponymous album can be regarded as a precursor of that now almost mythical Ardent sound which the aura of a band like Big Star has helped cultivate.

The band recorded their Album CARGOE with Terry Manning producing at, John Fry's Ardent Studios. They scored numerous Billboard and Cashbox Top 100 listings, and reviews from 1970 through 1973, along with major radio play of their first single “Feel Alright” and follow-up “I Love You Anyway”. The band’s studio LP CARGOE was even featured, with Isaac Hayes Shaft, which won an Academy Award/Oscar that year for Best Original Song, in a Special Edition section of Billboard’s June 3, 1972 “The Deck is STAX” promotion.

The band began a west coast tour the summer of 1972, but was caught up in the distribution and bankruptcy label problems at Stax/Volt, who distributed the album and owned the masters. Distribution was sold to Columbia Records who failed to include Cargoe in their catalog, which meant that listeners who heard the hit couldn't actually buy the record. “Feel Alright” and their debut CARGOE LP fell off the charts instantly.

The same label troubles caused both Cargoe and Big Star to disband within a short time. Big Star went on to become one of the most beloved and influential bands of the entire decade, while Cargoe pretty much disappeared out of the popular memory.

Ardent Records contracts for distribution with Stax/Volt gave Stax ownership of the master tapes. When Stax went bankrupt in the mid-'70s, ownership of the masters eventually wound up in the hands of Fantasy Records Saul Zaentz, and no one's been able to get the tapes for domestic release.

It's certainly worth noting that after nearly 40 years of producing and engineering countless hit records including ZZ Top, Led Zeppelin, George Thorogood, Celine Dion, Björk, Lenny Kravitz, Mariah Carey, Shania Twain, and many others, Terry Manning to this day regards Cargoe as “the great record he helped make that no one ever discovered”.. 

Bill Phillips - Hammond B3, Rhodes, Grand Piano, Vocals
Tommy Richard - Guitar, Vocals
Max Wisley - Bass, Vocals
Tim Benton - Drums, Vocals

01. Come Down  03:58
02. Feel Alright  02:33
03. Horses and Silver Things  03:49
04. Scenes  03:46
05. Things We Dream Today  02:44
06. Time  04:09
07. Feelin' Mighty Poorly  05:35
08. Thousand Peoples Song 4:12
09. Heal Me  03:11
10. I Love You Anyway  04:02
11. Leave Today  05:14

Bonus Track
12. Tokyo Love  03:51

1. Cargoe 1972
2. Cargoe 1972
3. Cargoe 1972

Sunday, 4 February 2018

"The Thing" What is it?

Hi, need help with this "thing". What is it for?. It's not a homemade thing. See The pistures, hope some of you can help.


Saturday, 3 February 2018

Various Artist - Psychedelic Minds Vol.1 Underground US 1967-71

Size: 145 MB
Bitrate: 256
Ripped By: ChriGoesRock
Artwork Included

The bands on this selection represent the innovative boiling point of the short-lived worldwide psychedelic rock movement between 1967-71.

Open Picture in A New Window For 100%
The bands on this selection represent the innovative boiling point of the short-lived worldwide psychedelic rock movement between 1967-71, the years when garage punk evolved into heavy psychedelic rock with its wider soundscapes and complex improvisations. Vol. 1 contains a dozen 45-rpm songs by lost psychedelic messengers (8 US bands, one from Germany, Peru and France). 

The groups are Blackrock, Sound Machine, Yesterday´s Obsession, Mastermind, Sangre Mexicana, Bhagavad Gita, Protein Bros, Purple Canteen, Los Nuevos Shains, Blow Mind and the A & B-side of legendary Dirty Filthy Mud. About half of the songs are previously unreissued and appear in stunning soundquality and with 12 p. poster-booklet. 

Enjoy this 45-minute lesson as Dr. Leary´s students would do: Turn on, Tune in, Listen again! 

This compilation series presents the boiling point of international psychedelic underground sounds between 1967-71: the years when garage punk evolved into heavy psychedelic rock with its wider soundscapes and complex improvisations. VOL. 1 contains a dozen 45-rpm songs by lost psychedelic messengers (8 US bands and 1 from each of Germany, Peru & France ). 

Dirty Filthy Mud (Track 11 + 12): 
From Oakland, California, this band recorded their only 45 at Sierra Sound Labs in Berkeley. It was issued in a thick cardboard art sleeve like the Frumious Bandersnatch and Country Joe and The Fish EP's (which explains why it is often referred to as an "EP"!). The Forest Of Black is one of the most blatantly psychedelic recordings from the Bay Area sixties scene, with wild electronic effects and druggy lyrics that seem to have been inspired by Country Joe's Bass Strings.The original 45 has become very expensive and nearly impossible to locate at any price.

01.Blackrock - Black Cloud Overhead (1969) - 3.36
02.Sound Machine - Woman (1971) - 3.52
03.Yesterday's Obsession - The Phycle (1968) - 3.11
04.Mastermind - Turn Of The Head (1969) - 3.31
05.Sangre Mexicana - Good Cause (1970) - 2.48
06.Bhagavad Gita - Long Hair Soulful (1968) - 5.45
07.Protein Bros - Drainpipe (1971) - 2.52
08.Purple Canteen - Brains In My Feet (1968) - 4.05
09.Los Nuevos Shains - Looking You (1971) - 3.37
10.Blow Mind - They´re Coming (1970) - 6.12
11.Dirty Filthy Mud - Morning Sun Flower (1967) - 2.40
12.Dirty Filthy Mud - The Forest of Black (1967) - 3.02

Bonus Tracks:
13.Catfish Knight And The Blue Express (1968) - Deathwise - 2.55
14.Changin' Tymes - Blue Music Box (1968) - 2.14
15.Mammoth - Mammoth (1970) - 3.29
16.Electric Prunes - Vox Wah Wah Spot - 01.03
17.Vox Wah Wah Promo Spot - 05.18
18.Thor's Hammer - My Life (UK 1967) - 02.21
19.The Evil I - Love Conquers All (1968) - 02.57
20.Mind Garage - Asphalt Mother (1968) - 05.11

1. Psychedelic Minds
2. Psychedelic Minds
3. Psychedelic Minds

Thursday, 25 January 2018

Bee Gees - Odessa (Maybe Their Best Album UK 1969)

Size: 149 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The group members may disagree for personal reasons, but Odessa is easily the best and most enduring of the Bee Gees' albums of the 1960s. It was also their most improbable success, owing to the conflicts behind its making. 

The project started out as a concept album to be called "Masterpeace" and then "The American Opera," but musical differences between Barry and Robin Gibb that would split the trio in two also forced the abandonment of the underlying concept. 

Instead, it became a double LP -- largely at the behest of their manager and the record labels; oddly enough, given that the group didn't plan on doing something that ambitious, Odessa is one of perhaps three double albums of the entire decade (the others being Blonde on Blonde and The Beatles) that don't seem stretched, and it also served as the group's most densely orchestrated album. 

Yet amid the progressive rock sounds of the title track and ethereal ballads such as "Melody Fair" and "Lamplight" were country-flavored tunes like "Marlery Purt Drive" and the vaguely Dylanesque bluegrass number "Give Your Best," delicate pop ballads like "First of May" (which became the single off the album), and strange, offbeat rock numbers like "Edison" (whose introduction sounds like the Bee Gees parodying Cream's "White Room"), and "Whisper Whisper" (the latter featuring a drum break, no less), interspersed with three heavily orchestrated instrumentals. 

Even the seeming "lesser" numbers such as "Suddenly" had catchy hooks and engaging acoustic guitar parts to carry them, all reminiscent of the Moody Blues' album cuts of the same era. Moreover, the title track, with its mix of acoustic guitar, solo cello, and full orchestra, was worthy of the Moody Blues at their boldest. 

The myriad sounds and textures made Odessa the most complex and challenging album in the group's history, and if one accepts the notion of the Bee Gees as successors to the Beatles, then Odessa was arguably their Sgt. Pepper's. The album was originally packaged in a red felt cover with gold lettering on front and back and an elaborate background painting for the gatefold interior, which made it a conversation piece.

01. "Odessa (City on the Black Sea)"  07:33
02. "You'll Never See My Face Again"  04:16
03. "Black Diamond"  03:27
04. "Marley Purt Drive"  04:26
05. "Edison"  03:07
06. "Melody Fair"  03:48
07. "Suddenly" Maurice  02:29
08. "Whisper Whisper"  03:24
09. "Lamplight" Robin  04:47
10. "Sound of Love"  03:27
11. "Give Your Best"  03:26
12. "Seven Seas Symphony"  04:09
13. "With All Nations (International Anthem)"  01:46
14. "I Laugh in Your Face"  04:09
15. "Never Say Never Again"  03:28
16. "First of May"  02:50
17. "The British Opera"  03:17

1. Odessa
2. Odessa
3. Odessa


Steve Tilston - An Acoustic Confusion (Rare Folk UK 1971)

Size: 116 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Found in OuterSpace
Artwork Included

Gorgeous stuff. Imagine walking down an isolated country lane and stumbling across an inviting swimming hole (you know, like one out of an old Country Time Lemonade ad or The Andy Griffith Show) and jumping in expecting pleasant relief from simple heat but instead finding the water thicker, as if somehow taking stock of your very essence; memorizing what it is that affects you, what causes you to remember a person or incident warmly, fitting so perfectly into your subconscious that initially you can't quite take in how profoundly it has actually captured all the infinitesimal things that make up who you are. 

What the hell am I talking about you ask? Well, Steve Tilston does just that in musical terms with "An Acoustic Confusion". I liked it on first listen but it took four or five listens until the depth of Tilston's achievement dawned completely on me. Like my analogy of thick water, this music courses around in your heart and head until both take the full measure of the other and find the fit oddly complimentary. 

The opening track, "I Really Wanted You", is one of those songs that seems so at home in your mind that it feels as if you've known it since childhood. Maybe it sheds small glimmers of light on some tucked away memories but the effect is a comforting one. Elsewhere, "It's Not My Place To Fail", features the beautifully juxtaposed vocals of Tilston and Dave Evans, and the overall effect is mesmerizing, like two aspects of the same soul just simply and honestly letting you know how it is. "Train Song" shows off some incredibly nimble, fleet fingered guitar playing from Tilston where, as he puts it in the liner notes, his guitar "tries to emulate the rhythm of a speeding train." I can confirm his attempt is evocatively successful. 

Instrumentally the album is safely in the realm of the simple folk tradition, yet this music is subtly but intrinsically different in that way Vashti Bunyan differs from, say, the folk of Pete Seeger. Tilston is a surprisingly mature and inventive guitarist, vocalist and lyricist (he was only twenty when he recorded this) and the vibe is in the same tradition of Nick Drake, Al Stewart and even Don McLean, without really sounding like any of them. His voice is remarkably fully rounded and assured, forging a unique path all his own. That's why comparisons with other musicians (as several reviewers have attempted) is useful in Tilston's case only as a starting point. It really is pointless to draw out any in depth comparisons with other artists. 

The seeming simplicity of these lyrics belies a depth of emotion that is much more than the obvious collection of mere words.  Poetry itself can be deceptively simple while containing messages much more profound than initially assumed and the overall effect here, of acoustic guitars, the occasional harmonica, string bass and violin, with crisp voices to the fore, is a musical example of that truth. 

The very human details in Tilston's words, often detailing unrequited love, a failed relationship or fond childhood memory, is made complete and fully "poetic" by the snug musical framework. 

This music is thick water and if you allow it, it will take stock of you and soon thereafter you will of it in that strange swimming dance between music and listener that is a rare and special thing. Take a left turn at the next fork in the road and when you find that little placid pond--take the plunge.

♫♪  Guitar, Vocals – Dave Evans, Steve Tilston
♫♪  Violin – Pete Finch
♫♪  Harmonica, Vocals – Keith Warmington
♫♪  Bass [String Bass] – John Turner

01. I Really Wanted You  04:31
02. Simplicity  03:49
03. Time Has Shown Me Your Face  03:51
04. It's Not My Place To Fail  04:05
05. Train Time  03:39
06. Sleepy Time On Peel Street  03:51
07. Prospect Of Love  02:31
08. Green Toothed Gardener  03:29
09. Normandy Day  03:12
10. Rock & Roll Star  04:56

Bonus Tracks
11. Show A Little Kindness  05:00
12. The Price Of Love  04:17

1. Steve Tilston
2. Steve Tilston
3. Steve Tilston

Muddy Waters, Johnny Winter and James Cotton - 1977-03-04 (FM Broadcast) (Bootleg)

Size: 292 MB
Bitrate: 320
Found in OuterSpace
Some Artwork Included

With his loud amplified guitar and thunderous beat, Muddy Waters reigned over the Chicago blues scene during the 1950s. Waters' sound was steeped in Delta country blues and his use of microtones, in both his vocals and slide guitar playing, was utterly distinctive. His influence over a variety of musical genres, including blues, R & B, rock 'n' roll, folk, jazz, and country cannot be overestimated. Waters became the most popular bluesman in the world and led the most outstanding band, fueled in large part by Willie Dixon, one of the most prolific and successful blues songwriters of that era. After two decades of great popularity, Waters' career was clearly in decline as the 1970s began. Although he continued recording, most notably in London, with many of the greatest rock musicians Britain had to offer, the results were less satisfying than his groundbreaking work of the 1950s. 

Enter Johnny Winter, who after playing high-energy rock 'n' roll for several years, returned to his musical roots in 1977 and refocused on playing authentic blues. That same year Winter convinced his label to sign Waters, which was the beginning of a most fruitful partnership. Recorded in just two days with Winter in the producer's chair and former Waters' sideman, James Cotton, blowing harp, Waters' comeback album, Hard Again was a return to his original Chicago sound. Its raw feel harkened back to Waters' Chess Records days, and the outstanding musicianship and intimate, good time vibe led to the album exceeding all expectations, earning Waters a Grammy in the process.

Bathing in the glow of such success, Waters, Winter, and Cotton assembled a crack touring outfit that included musicians from the Hard Again sessions and for an all-too-brief time, hit the road together. The group included the renowned guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie "Big Eyes" Smith. Cotton brought in his bassist Charles Calmese as well. With old comrade James Cotton blowing harp and Johnny Winter as his co-stars, Waters was provoked to the heights he regularly reached decades earlier. They were only together for a brief time, but this band was arguably the most impressive assemblage of blues talent ever. Everything they touched had extraordinary intensity. Selected live performances from this tour would be utilized to produce the follow-up albums, Breakin' It Up, Breakin' It Down and Muddy "Mississippi" Waters Live with enough great material left over for Legacy to later release an expanded edition of the latter with a second disc of un-issued recordings.

One of the most memorable nights of the tour occurred on March 4th, when New York City's Palladium presented this assemblage as "An Evening Of The Blues." The performance was divided into two sets with an intermission between. Johnny Winter and James Cotton, backed by this terrific band, fronted the first set. Following the break, all the musicians would return to the stage with Muddy Waters joining them and they would perform selections from Hard Again as well as choice classics from Waters vast repertoire.

The first set kicks off with Johnny Winter leading the group through a hot rendition of "Hideaway" to warm things up. James Cotton then ups the ante with the harmonica blowout, "Juke," which receives a roar of approval from the New York audience. Winter again takes lead vocals for the slow burner, "Love Her With A Feeling," and the up-tempo shuffle, "Mama Talk To Your Daughter." Winter and guitarist Bob Margolin both tear into these numbers with ferocity, but with plenty of attention to each other so that their playing is always complimentary. Like Winter, Cotton then takes the vocals for the next two, first ripping into Jackie Brenston's 1951 R & B hit, "Rocket 88," often credited as the world's first rock 'n' roll song. Cotton also delivers a driving, energetic performance of his own "How Long Can A Fool Go Wrong." These two performances may be familiar to some as alternate mixes were later issued on the Waters, Winter, and Cotton album, Breakin' It Up, Breakin' It Down

The unidentified instrumental may be the highlight of this first set. Winter and Margolin provide phenomenal intertwining leads with Cotton blowing furiously throughout. Both guitarists Cotton, and pianist Pinetop Perkins all take impressive solos. Clocking in at nearly 12 minutes, this is joyful blues improvisation at its finest and the joyful feeling is palpable on the recording. Perhaps as a preview of things to come, Johnny Winter next leads the band through a thoroughly engaging romp through "Walking By Myself." They conclude the first set with another extended slow blues jam, this time with Pinetop Perkins taking lead vocal for "Anna Lee." This eventually transforms into a catchy vamp in which all the band members are introduced and they announce that they will be back after the break. A remarkable first set, but they were just setting the stage. The best was still yet to come.

The second set kicks off with a loose vamp to introduce Muddy Waters to the already enthralled audience, eager for more blues. Continuing, they begin a nice relaxed groove on the walking blues, "Kansas City." Muddy takes his first vocal of the evening with outstanding support from Margolin, Cotton, and Perkins, with Winter just enjoying the ride and laying low. "Caldonia" begins in swinging style, propelled by Pinetop Perkins energetic piano playing and an undeniably captivating walking bass line from Charles Calmese. "Hoochie Coochie Man" lets them get down and dirty, with both Waters and Winter playing slide guitar. What it lacks in length is compensated for by its raw power. Waters next pays tribute to his friend and chief competition during the 1950s with "Howlin' Wolf," before launching into his own vintage single, "Walking Through The Park." A rousing take on "The Blues Had A Baby," featuring outstanding piano work from Perkins follows. A raw pulsating version of "Mannish Boy" is another fine example of this tight muscular band, before they bring it to a close with a roaring take on the obligatory "Got My Mojo Workin'."

The audience refuses to let them go and eventually they all return to the stage. The two-song encore begins with Johnny Winter fronting the group on the slide guitar shredfest of "Black Cat Bone" into "Dust My Broom." Few musicians have ever applied such ferocity to the Elmore James classic and the sparks are flying. This remarkable performance closes with the smoldering slow blues of "Dealing With The Devil." Cotton leads the way, but everyone gets one last chance to wail, including Winter's brother Edgar, who joins in on piano and adding his trademark vocal exclamations throughout. It's a fitting and powerful closer to one of the greatest evenings of the blues New York City has ever seen.

Muddy Waters, Johnny Winter, and James Cotton March 4, 1977
The Palladium, New York City, New York

 Muddy Waters - Guitar, Vocals
 Johnny Winter - Guitar, Vocals
 James Cotton - Harmonica, Vocals
 Bob Margolin - Guitar
 Pinetop Perkins - Piano
 Charles Calmese - Bass
 Willie Smith - Drums

Set One, Johnny Winter and James Cotton with The Muddy Waters Blues Band
01. I'm Ready  03.36
02. Love With A Feeling  08.22
03. Mama Talk To Your Daughter  04.58
04. Rocket 88  02.14
05. How Long Blues  09.15
06. Blues In My Sleep  11.32
07. Walking By Myself  04.47
08. Anna Lee  08.52
09. Hold It -> Band Introductions  04.21

Set Two, with Muddy Waters, Johnny Winter and James Cotton
01. After Hours -> Muddy Waters Intro  03.41
02. Kansas City  09.20
03. Caldonia  06.34
04. Hoochie Coochie Man  03.11
05. Howlin' Wolf  07.27
06. Walking Through The Park  04.43
07. The Blues Had A Baby And They Named It Rock 'N Roll  05.23
08. Mannish Boy  08.52
09. Got My Mojo Workin'  03.35

10. -crowd & tuning-  02.16
11. Black Cat Bone -> Dust My Broom  05.00
12. -crowd & tuning-  01.22
13. Dealin' With The Devil  08.04