Friday, November 21

Frank Zappa & The Mothers - The Fillmore 1970 Tapes (Bootleg)




Size: 315 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included
★★ Superb SoundQuality A+ ★★

♦♦♦ [1970-11-06] ♦♦♦ Like a tidal wave of total weirdness, the Mothers of Invention splashed down on the Fillmore West for a series of shows in November of 1970, then washed back into the seedy ocean of L.A., leaving the landscape forever changed (or at least confused and slightly offended).


Not to be outdone by the art school drop-outs and buck-skin fringe contingent then wandering the Sunset Strip, Frank Zappa had been steadily releasing incredibly strange records since the mid-'60s. He abandoned the original Mothers at the close of that decade, only to reform a different line-up under the same name in 1970, this time including two members of The Turtles - Howard Kaylan and Mark Volman (sometimes known as Flo and Eddie due to contractual problems) - to help with Zappa's increasingly bizarre comedy routines and, almost incidentally, sing.

The opening set by Boz Scaggs couldn't possibly have prepared anyone for what was going to occur that night at the corner of Van Ness and Market, though it did prove that Bill Graham had a pretty good sense of humor. Eager to try out material from the upcoming 200 Motels film and accompanying album, The Mothers don't stay in any one direction for too long; sometimes it's as if they're moving in all directions at once. There are hints of jazz-fusion and psychedelia, along with Zappa's beloved doo-wop. 


They even make a brief stab at The Turtles' "Happy Together" as part of the groupie-baiting sleaze-fest "Daddy, Daddy, Daddy." This is a limber bunch, but they're at their best when playing it straight ("Call Any Vegetable" from Absolutely Free is a prime example). Some songs are derailed by excessive hollering and dialogue, the delivery of which suggests the performers are nearly as bored as the audience they're baffling. Provoking the crowd, however, is part of the plan, and listening to Frank scold them for their indifference is highly satisfying for anyone who's ever stood under stage lights.

An appreciation for this performance depends entirely on one's threshold for long and noodly instrumental explorations accented by dick jokes. But it can safely be said that no one else was doing anything quite like this at the time. During an age of weird, Frank Zappa had the distinction of being the unparalleled weirdest.

♦♦♦ [November 13, 1970] ♦♦♦ This wonderful and sonically superb recording of Frank Zappa and the Mothers of Invention dates back to the fall of 1970, when the band played memorable shows at both the Fillmore East and West.

From the very beginning of the set, with "Introduction / Have Gun Will Travel / Paladin And Hey Boy," the fun begins and never lets up. Older classics such as "Call Any Vegetable" and "Sharleena" are balanced against lesser-known, but just as interesting tracks, such as "Mother People," "The Sanzini Brothers," " El Porko The Magnificent," and the hysterical, "Dog Breath." He closes with the rockin' riff track, "King Kong."


The Mothers Of Invention - France Single 1971
Taken from the archives of Fillmore founder and promoter Bill Graham, this show is among many that Zappa and his early '70s version of the Mothers of Invention played at the Fillmore between 1970 and 1972. By now, Zappa was releasing most of his albums simply under his own name, but he still kept the Mothers tag around for nearly another four years.

This version of the band lasted from late 1969 through 1972, when Zappa, playing a show at the Rainbow Theater, was thrown off the stage by a deranged fan in London, breaking both his legs, forcing him to spend nearly a year in two hip casts.
This was probably the best-loved version of the Mothers, containing a hybrid version of top flight jazz musicians (George Duke), high octane studio rockers (Aynsley Dunbar and Jeff Simmons), and the remnants of a '60s pop band (Howard Kaylan and Mark Volman, better known as Flo & Eddie, from the Turtles). The connection to the Turtles came in the fact that Zappa's manager and business partner, Herb Cohen, was Kaylan's first cousin.

FRANK ZAPPA & THE MOTHERS
THE FILLMORE 1970 TAPES

DISC 1
November 6, 1970
Fillmore West, San Francisco

★ Frank Zappa - guitar, vocals
★ George Duke - keyboards
★ Ian Underwood - keyboards
★ Aynsley Dunbar - drums
★ Howard Kaylan - vocals
★ Jeff Simmons - bass
★ Mark Volman - vocals

01. Palladin and Hey Boy 
02. Call Any Vegetable 
03. The Sanzini Brothers 
04. Penis Dimension
05. The Sanzini Brothers
06. Little House I Used To Live In
07. Mudshark (w/ Dr. John references)
08. Holiday In Berlin
09. Cruising For Burgers
10. Easy Meat
11. Daddy Daddy Daddy
12. Do You Like My New Car?
13. Happy Together
14. Who Are The Brain Police (cut)

DISC 2
November 13, 1970
Fillmore East, New York City
(Early Show)

★ Frank Zappa - guitar, vocals 
★ George Duke - keyboards 
★ Ian Underwood - keyboards 
★ Aynsley Dunbar - drums 
★ Howard Kaylan - vocals 
★ Jeff Simmons - bass 
★ Mark Volman - vocals

01. Grace Slick Jam 
02. The Sanzini Brothers
03. Little House I Used To Live In
04. Mudshark
05. Holiday In Berlin 
06. Cruising For Burgers
07. The Sanzini Brothers' Pyramid Trick
08. What Will This Morning Bring Me This Evening?
09. What Kind Of Girl Do You Think We Are?
10. Bwana Dik
11. Latex Solar Beef
12. Daddy, Daddy, Daddy
13. Do You Like My New Car?
14. Happy Together
15. Wonderful Wino
16. Concentration Moon (w/ bass solo)
17. Mom And Dad
18. Improvisations (cut)

DISC 3
November 13, 1970
Fillmore East, New York City
(Late Show)

01. Kip Cohen Intro
02. Palladin and Hey Boy 
03. Call Any Vegetable 
04. The Sanzini Brothers 
05. Does This Kind of Life Look Interesting to You?
06. Pound For a Brown (On The Bus)
07. Sleeping in a Jar
08. El Porko the Magnificent 
09. Sharleena 
10. The Air 
11. Dog Breath 
12. Mother People 
13. You Didn't Try to Call Me
14. King Kong

Part 1: Fillmore Tapes
Part 2: Fillmore Tapes
Part 3: Fillmore Tapes
or
Part 1: Fillmore Tapes
Part 2: Fillmore Tapes
Part 3: Fillmore Tapes
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Wednesday, November 19

Guitar Bandits (Various Artist) - California Jam 1974 (Bootleg)


Size: 500 MB
Bitrate:320
mp3
Found in OuterSpace
Artwork Included

This is an ultra rare 3CD-bootleg release on Seagull Records, compiling different live recordings from the 1974 "California Jam". Many of the "big" names were there, playing the whole range from hard & heavy rock to blues. 

The only tiny little blemish with this release is that nothing here was actually recorded at California Jam. Even better, none of the artists compiled here even played at California Jam! So although this release is complete bogus it is nevertheless a nice collection of recordings most which seem to be sourced from King Biscuit Flower Hour broadcasts.

The first thing I want to say about this great sounding set, is that not one performance took place at the California Jam no matter what the title might suggest. That being said, EVERY PERFORMANCE is Soundboard/FM quality, leading me to believe it's a compilation of radio shows. The Who tracks come from one of their King Biscuit Flower Hour appearances. I was told but can't confirm that the Mott The Hoople tracks are from a King Biscut Flower Hour show. I highly recommend this 3CD set, I mean look at the artist and track list, Eric Clapton, Peter Frampton, Robin Trower, Leslie West, Peter Townsend, one thing the title was correct about is the Guitar Factor!!

Most tracks seem to be sourced from the King Biscuit Flower Hour, a few others from bootlegs or unknown sources, most all from 1973 - 1974; TYA didn't exist in April 1974; Steven Tyler says "thank you New York;" Leslie West wishes Felix Pappalardi happy birthday (he was born 12/30/39); still a great collection!

FM recordings. Exact dates & venues is unknown.

Disc 1
Ten Years After
01. Rock And Roll Music To The World
02. Spoonful
03. I'm Going Home

Johnny Winter Band
04. Bad Luck Situation
05. Stone County
06. Silver Train
07. Jumpin' Jack Flash

Robin Trower
08. The Day Of The Eagle
09. Bridge Of Sighs
10. Too Rolling Stoned
11. Alethea
12. Little Bit Of Sympathy

Bachman-Turner Overdrive
13. Roll On Down The Highway
14. Takin' Care Of Business

Disc 2
Mountain
01. Theme For An Imaginary Western
02. Nantucket Sleighride
03. Roll Over Beethoven / Whole Lotta Shakin' Goin' On

Aerosmith
04. Dream On
05. Walk This Way
06. Train Kept' a' Rollin'

Mott The Hoople
07. American Pie/Golden Age of Rock 'n' Roll
08. Sucker
09. Born Late '58
10. One Of The Boys
11. Marionette
12. All The Way From Memphis

Humble Pie
13. Four Day Creep
14. Stone Cold Fever
15. C'mon Everybody

Disc 3
Eric Clapton
01. Badge
02. Let It Rain

Edgar Winter's White Trash
03. Keep PLaying That Rock n' Roll
04. Frankenstein
05. Tobacco Road
06. Rock n' Roll Boogie Woogie Blues

The Who
07. Anyway, Anyhow, Anywhere
08. Substitute
09. My Generation
10. Pinball Wizard

Peter Frampton
11. Do You Feel Like We Do

Part 1: Link
Part 2: Link
Part 3: Link
or
Part 1: Link
Part 2: Link
Part 3: Link

Saturday, November 15

Pictures of the day...







Billboard Magazine
Article







Bloody Mary - Selftitled (Great Hardrock US 1974)


Size: 67.1 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster

Well played hard rock in the style of many other non-mainstream early 70's guitar & keyboard driven hard rock bands such as; Bull Angus, Indian Summer, Jackal, and yes...even Sir Lord Baltimore at times. Though to me this album comes off sounding more like 1970 than 1974. Musically it's great, and for some the only thing holding it back may be the vocals (desired taste)...depending on how particular you are.

I acquired this LP by chance while in Oregon attending an annual vinyl collectors convention during the late 70's. I used to go down there quite frequently and visit a buddy who owned a record store and hang out, party a bit, and bring a few obscurities his way on each visit. He'd return the favour, as I'd always wind up lugging a big box of vinyl back up to Canada on my return...this is how I discovered Bloody Mary.

At the time, there was no talk of former Sir Lord Baltimore members being a part of this bands lineup. That all came in more recent times as internet fuelled speculation, which eventually morphed into misinformation perceived to be true via music related blog & website chatter. To this day I've never seen any sound evidence of this, as even Sir Lord Baltimore drummer John Garner (rumoured to be a Bloody Mary member) denies any involvement, and claims he'd never heard of Bloody Mary until he was asked about them. 

I consider myself to have a discerning ear, and after listening to Sir Lord Baltimore and Bloody Mary countless times over the years or, I do see some very slight similarities in the vocals, but not enough to convince me that it's John Garner. I actually like John's singing, be it with Sir Lord Baltimore, or the early 00's band The Lizards. But I don't care all that much for Bloody Mary's vocalist...whoever he is, but I accept it as a part of this bands sound. Quite honestly, if it wasn't for the musicianship itself, I doubt very much I would have played this album as often as I have over the years. That said, it's really the music found herein that warrants a 4/5 rating from this fan.

Another mystery on Artie Ripp's short-lived and infamous Family label ...   As you'd expect from a label notorious for abusing its artists, 1974's "Bloody Mary" carried little in the way of credits. If you trust the liner notes, the album was recorded at UltraSonic Studios in new York with Vinny Testa producing and Ray Incorbaia shown as associate producer.  There were no performance credits and all seven compositions were credited to Bloody Mary.

Musically this was decent, professional early-'70s hard rock that bore some comparison to the likes of Bull Angus, Deep Purple, Judas Priest (?), and maybe even a bit or Uriah Heep thrown in the mix.  Tracks like 'Highway', 'Riddle of the Sea, and 'You Only Got Yourself' featured lots of decent guitar and keyboard interplay. That said, there wasn't a great deal of originality across these grooves and the lead singer's arch, occasionally screechy voice was best described as an acquired taste.  The thing is, these guys were actually quite good; especially if you were willing to invest more than a quick spin to check the album out   Yeah, he was a bit heavy handed, but the lead singer was quite talented with the rest of the band showing an unexpected knack for sweetening the mix with nice harmony vocals (check out the opening rocker 'Dragon Lady').   The rest of the band were equally good with the lead guitarist deserving special mention for consistently impressive contributions to the set. Standouts ?   Hard to pick them on this one ,but I'd give the nod to the opening rocker 'Dragon Lady' and 'Riddle of the Sea'. As an aside, the album may have been released in 1974, but to my ears it certainly sounded like something recorded at least a couple of years earlier. [Review "Scott Blackerby" USA) 

Strongly Recommended to fans of early 70's hard rock.

01. Dragon Lady 05:04
02. Highway 02:51
03. Riddle Of The Sea 04:08
04. Free And Easy 05:10
05. You Only Got Yourself 07:01
06. Can You Feel It ( Fire ) 05:37
07. I Hear The Music Playing 04:51

1. Bloody Mary
or
2. Bloody Mary
.

Saturday, November 8

Hour Glass - The Hour Glass (1st Album US 1967)


Size: 102 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Hour Glass was the debut album by the group of the same name, issued in October 1967 on Liberty Records, the first of two by the group that featured the namesakes of The Allman Brothers Band.

The album was recorded by a group saddled by a producer unable to quite realize the group's potential. Dallas Smith, a formulaic producer noted for his work with Bobby Vee, knew the group was from the South. He knew they had formed from the ashes of groups that had performed liberal amounts of blues covers. And he heard soulful qualities in the voice of nineteen-year-old Gregg Allman. Therefore, he referred to them as a "Motown band", much to the chagrin of the group.

The Hour Glass was recorded with an emphasis on lead vocalist Gregg Allman's voice and dispensing with nearly all original material. Of the eleven tracks on the original LP, only one was penned by a group member, Gregg Allman's "Got To Get Away". The remaining ten were written by songwriters running the gamut from Curtis Mayfield and Jackson Browne to Del Shannon and the Goffin-King team. The Hour Glass performed the basic tracks, which were overdubbed by Smith with layers of vocals and instrumentation.

The album was a failure in both sales terms and in properly showcasing the group. On the follow-up, 1968's Power of Love, the group would be given a bigger role in the making of the album.

Chances are that the Hour Glass' two albums would never have been reissued, but for the fact that the group was formed by Duane and Gregg Allman out of the ruins of their first full-time band, the Allman Joys; additionally, its lineup featured future Capricorn Records star record producers Johnny Sandlin on drums and Paul Hornsby on organ and piano. And that would also be a bit unfair, because the Hour Glass were an above-average white soul group -- no Allman Brothers Band by a long shot, at least on their recordings, but an imposing outfit.

Hour Glass Single US 1967
From Elvis in Memphis Originally named the Allman-Act (a pun on "almanac"), they got an audition with Liberty Records with help from the Nitty Gritty Dirt Band, and a recording contract resulted. There was also a name change to the Hour Glass. Unfortunately, it turned out that Liberty was primarily interested in Gregg Allman as a lead singer, and did its best to dress up the group's recordings with layer upon layer of production, including a full horn section and a soul chorus. The resulting debut album didn't sound a lot like the group, although it was polished and often effective white Southern soul, sometimes crossing paths with the sounds later heard from Elvis' glorious Indian Summer period on the From Elvis in Memphis album, which was still two years away. Other moments, such as "Silently," fit more easily into the languid pop-psychedelic spirit of 1967.

Amid this over-production, there wasn't a lot of the actual Hour Glass on the album, and not much in the way of sales success. By the time of their second album, Power of Love, the band's lineup had changed, with Pete Carr, a friend of Sandlin and company from Pensacola, FL, replacing Mabron McKinney on bass. 

This time out, they were given a freer hand in choosing the songs that went onto the new album, which gave it a bluesier feel than its predecessor. the Hour Glass still wielded virtually no control in the studio in terms of how the songs were arranged or recorded, but elements of their sound slipped through. Gregg Allman also wrote a couple of songs during this period, one of which, "It's Not My Cross to Bear," would turn up later on the Allman Brothers Band's debut album. Unfortunately, the Hour Glass' best moments were nowhere near the studio sessions where these two albums had been recorded but, rather, at the long jams they played at the Whisky a Go Go.

They made an attempt to record an album of their own, putting together demos for a proposed third release at Fame Studios in Muscle Shoals, AL -- they also cut a handful of tracks, most notably a B.B. King medley featuring Duane Allman out in front which, although not adequate from a commercial standpoint, did show off his playing in the studio better than any records up to that time. Liberty Records had no interest in the resulting tapes or in doing a third album, the first two having stiffed, and the band broke up soon after. Gregg and Duane tried playing in a band with their friend Butch Trucks, called the 31st of February, but Gregg headed back to California while Duane remained in Florida.

Although Liberty rejected the results of the Muscle Shoals sessions, they ended up benefiting all concerned in a far more roundabout fashion. Duane Allman's playing on those tracks led to a contract for session work at Fame, where he got to play on records by Wilson Pickett, Aretha Franklin, and King Curtis, and was heard by manager Phil Walden and persuaded to form a new band. The rest, as they say, is history.

01. "Out of the Night" (Alex Moore, Bob Welch) - 1:57
02. "Nothing But Tears" (Jimmy Radcliffe, B. J. Scott) - 2:28
03. "Love Makes the World Go 'Round" (Deon Jackson) - 2:42
04. "Cast off All My Fears" (Jackson Browne) - 3:31
05. "I've Been Trying" (Curtis Mayfield) - 2:40
06. "No Easy Way Down" (Gerry Goffin, Carole King) - 3:20
07. "Heartbeat" (Ed Cobb) - 4:52
08. "So Much Love" (Gerry Goffin, Carole King) - 2:57
09."Got to Get Away" (Gregg Allman) - 2:14
10. "Silently" (Dan Bourgoise, Del Shannon) - 2:48
11. "Bells" (Edgar Allan Poe, arr. Peter Alin) - 2:24

Bonus:
12. "In a Time" (Paul Hornsby) - 2:17
13. "I've Been Trying" (alternate version) (Curtis Mayfield) - 2:35
14. "Kind of a Man" (Composer Unknown) - 3:07
15. "D-I-V-O-R-C-E" (Bobby Braddock, Curly Putman) - 3:12
16. "She Is My Woman" (Composer Unknown) - 2:38
17. "Bad Dream" (Gregg Allman) - 3:37
18. "Three Time Loser" (Don Covay, Ronald Miller) - 2:40

Tracks 1-11 constitute the original album.
Tracks 12-13 are outtakes from the album.
Tracks 14-18 are tracks from aborted 1968 and 1969 sessions by Gregg Allman (present on 1992 re-release only).

1. Link
or
2. Link
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Wednesday, November 5

Johnny Jenkins - Ton-Ton Macoute! (w. 'Allman Bros' Members US 1970)


Size: 87.5 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: SHM-CD Remaster Edition.

Ton-Ton Macoute! is the 1970 album by Johnny Jenkins, a former bandleader who first hired Otis Redding in his band, The Pinetoppers, as a singer. "Ton-Ton Macoute!" was originally intended as a Duane Allman solo album, before he departed to form The Allman Brothers. Most of the guitar tracks were played by Allman, and Jenkins later supplied the vocal tracks. The album is a blend of Southern Blues/Rock/Country and Soul. Guest musicians include future Allman Brothers Duane Allman, Berry Oakley, Jaimoe, and Butch Trucks. The standout tracks are Dr. John's "I Walk on Gilded Splinters", Bob Dylan's "Down Along the Cove", and J.D. Loudermilk's "Bad News".

The phrase "Ton-Ton Macoute" is actually a phrase in Haiti, meaning "bogey man" (literally: "Uncle Bagman") in the Haitian language. "Ton-Ton Macoute" was the name Papa Doc Duvalier used for his secret police, who wreaked havoc in Haiti in 1950s. The "bogey man" of Haitian folklore refers to a man visiting during Christmas Eve, entering peoples homes at night and taking naughty children into his knapsack.


Johnny Jenkins' Ton-Ton Macoute is a fine bowl of Southern gumbo. Aided and abetted by the likes of Duane Allman (this started as an Allman solo disc, but when he formed the Allman Brothers Band, Jenkins put his vocals over the tracks best suited), Dickey Betts, and those great guys from Muscle Shoals, Jenkins cooks on such cuts as "Down Along the Cove" from the pen of Bob Dylan, and Muddy Waters' "Rollin' Stone." But it is Dr. John's "I Walk on Guilded Splinters" which shines here and is the one which folks will recognize as the basis for Beck's hit "Loser." On the slippery "Blind Bats & Swamp Rats" you can almost feel the heat and humidity rolling out of the bayou. This reissue also includes the mighty fine bonus cuts "I Don't Want No Woman" and "My Love Will Never Die." Great Southern funk & roll for the discerning listener. It even includes educational liner notes which tell the tale behind each cut.

Guitarist, singer, and songwriter Johnny Jenkins may have had a long pause between records, but his heart, ears, and mind were always close to blues music. Jenkins never wanted to be a professional musician, and always worked day jobs, including digging wells, logging, and mechanical work. Jenkins' style is, at times, reminiscent of Elmore James, and at other times one can hear echoes of Jimi Hendrix in his guitar playing -- probably because Jenkins was a seminal influence on Hendrix.

Born in Macon, GA in 1939, Jenkins grew up in a rural area called Swift Creek. He listened to a battery-powered radio and first heard the sounds of blues and classic R&B artists like Bill Doggett, Bullmoose Jackson, and others. Jenkins built his first guitar out of a cigar box and rubber bands when he was nine, and began playing at a gas station for tips. He played it left-handed and upside down, and this practice continued after his older sister bought him a real guitar a couple of years later.

Capricorn Records founder Phil Walden first heard Jenkins on a local radio talent show in 1959. Walden began to book Jenkins' band, the Pinetoppers, which included Otis Redding on lead vocals. Redding got his first big break in 1962 when he drove Jenkins to Stax Studios in Memphis to record a follow-up to Jenkins' regional hit, "Love Twist." The producer encouraged the young Redding to take a turn at singing in the studio, and he recorded "These Arms of Mine" with some extra studio time. Redding's career began to take off and Jenkins was asked to become part of his band but he refused, ironically, because of his fear of air travel.

Johnny Jenkins - US Promo Single 1970
Following Redding's untimely demise in an plane crash, Jenkins stayed close to home, playing regionally and working day jobs to support his family. His unorthodox guitar style left lasting marks on the young, impressionable Jimi Hendrix, who came out to see Jenkins play while visiting relatives in the Macon area. Later, in 1969, Jenkins and Hendrix teamed up to play together at The Scene, a club owned by Steve Paul in New York. In 1970, Walden put Jenkins into the studio with several members of the Allman Brothers Band to record his debut album, Ton Ton Macoute, one of the fledgling Capricorn label's first releases. Although Ton Ton Macoute was finally released to high critical praise in 1972, the then-small label had other priorities to deal with, including the newly successful Allman Brothers.

Blessed Blues In 1996, Capricorn founder Walden convinced Jenkins to record a "comeback" album, Blessed Blues. He's backed by a stellar cast of musicians, including Chuck Leavell on keyboards and Muscle Shoals percussionist Mickey Buckins. Capricorn also reissued Jenkins' now-legendary Ton Ton Macoute on compact disc in 1997.

01. "I Walk on Gilded Splinters" (Dr. John) - 5:49
02. "Leaving Trunk" (Sleepy John Estes) - 4:19
03. "Blind Bats & Swamp Rats" (Jackie Avery) - 4:44
04. "Rollin' Stone" (Muddy Waters) - 5:21
05. "Sick and Tired" (Dave Bartholomew/Chris Kenner) - 4:41
06. "Down Along the Cove" (Bob Dylan) - 3:25
07. "Bad News" (J.D. Loudermilk) - 4:08
08. "Dimples" (John Lee Hooker/James Bracken) - 2:55
09. "Voodoo in You" (Jackie Avery) - 5:00
10. "I Don't Want No Woman" (Don Robey) - 2:12
11. "My Love Will Never Die" (Otis Rush) - 5:33

1. Johnny Jenkins
or
2. Johnny Jenkins
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Monday, November 3

The Hot Dogs - Say What You Mean (Good Rock Album US 1973)


Size: 89.3 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The Hot Dogs were a Memphis group who recorded for Stax offshoot Ardent Records in the early- to mid-'70s. Ardent was also Big Star's label and studio during this time period, and the Hot Dogs were a similar band in many respects, drawing on the same mix of Beatlesque guitars and harmonies, although without the skewed, edgy deconstructive feel that made Big Star so distinctive and posthumously revered. 

A loose conglomeration of Stax session players, including singer and bassist Bill Rennie, singer, guitarist and pianist Greg Reding, and later, guitarist Jack Holder and drummer Fred Prouty, along with producer and lead guitarist Terry Manning, the Hot Dogs released two albums, the pretty, harmony driven Say What You Mean in 1973, and the rockier, less distinctive Hot Dog in 1977. Say What You Mean is a lovely set, highlighted by the title track, which features some spot-on George Harrison-styled lead guitar work, and "Morning Rain," which sounds like a lost Zombies song with some funky Memphis organ tossed into the mix. 

"Take the Time to Let Me Know" is another gem, with its massed acoustic and electric guitars building to a nice, leisurely crescendo. Mellow, melodic, and full of wonderful vocal harmonies, Say What You Mean will be of interest to Big Star fans (producer Manning also worked with Big Star member Chris Bell at Ardent), and is a stellar of example of that curious Memphis power pop micro-genre that centered around the Ardent studios in the early 1970s.

The Hot Dogs featured the talents of Memphis-based musicians Greg Reding and Bill Rennie.  keyboardist/guitar player Reding had previously been a member of Village Sound, while singer/bass player Rennie had been in The Poor Little Rich Kids (he was known as Bill Renni).  Along with former Piccadilly Circus guitarist Jack Holder, in 1970 the pair started playing together under the moniker Silver.  The same year the trio went into Memphis' famed Ardent Studios to record some demos. The demos caught the attention of producer Terry Manning who brought in sessions drummer Prouty for backup.  Unfortunately Silver  fell apart before anything could come of it, with Reding and Rennie subsequently paying their bills as touring sidemen for Albert King.   


Back in Memphis, 1972 saw Reding and Rennie renew their relationship with producer Manning and with his support went into the Stax-affiliated Ardent Studios to record an album.  With backing from Holder, guitarist Robert Johnson, and Prouty, 1973's Manning-produced "Say What You Mean" was a surprisingly likeable set of British-influenced power pop.  With Reding and Rennie responsible for much of the material (Manning also contributed several tracks), these guys clearly had an affection for English-styled pop with more than a passing nod to the Fab Four.  In fact, imagine what Badfinger would have sounded like if they'd been from Memphis and you'd be in the right aural ballpark.

The Hot Dogs - US Single 1974 (Terry Manning)
01. The title track 'Say What You Mean' was a gorgeous ballad with a haunting melody and some beautiful harmony vocals.  Even better were the stunning guitar solos (I'm guessing Holder and Johnson were the featured performers).  You had to wonder how this was overlooked as a single. 
02. Kicked along by a xylophone (?), 'Morning Rain' started out with a beguiling laidback tropical feel, before taking brief detours into Uriah Heep organ terrain, following by a Hammond B3 cocktail jazz interlude, and ending with a tasteful lead guitar (Terry manning?).  For some reason this one's always reminded me of an early Steely Dan track.  It would have slotted nicely on "Can't Buy a Thrill".  Very nice.   
03. Shifting gears 'When I Come Home Again' displayed the group's proficiency in the country-rock department.  Nice melody with an incidiously catchy chorus be forewarned that  this one will stick in your head.   
04. 'Time Is All' started out as an acoustic ballad, but exploded into an outright rocker before returning to it's roots.  Not my favorite track, though the guitar solo was pretty hot ... 
05. Side one ended with another acoustic ballad in 'Another Smile'.  This one had a pretty melody and some wonderful harmony vocals from the pair.  Always liked the chiming twelve strings and the handclap percussion on this one. 
06. 'Thanks' was one of the track that reminded me of something out of the Badfinger catalog.  Pretty melody and a dazzling guitar solo made this one of the best songs on the album.  Great Rennie bass pattern to boot. 
07. 'Take the Time To Let Me Know' was another pretty ballad, but it didn't really go anywhere.  Once again the highlight came in the form of the tasty guitar solo. 
08. Manning's 'Feel Real Fine' offered up a weird mix of country and rock influences.  It was definitely weird and almost sounded like a "White Album" outtake. Kicked along by some acoustic slide guitar and harmonica, this was actually one of the catchiest numbers.  Beats me why I like it so much.   
09. Starting off as another country-tinged number the mandolin-propelled 'Let Me Look At the Sun' came as another major surprise.  Showcasing a fabulous melody and the album's best lead guitar, this was another lost single. 
10. Following a pattern, 'Way To Get To You' opened up with spare acoustic guitars before bursting into a fuller rock arrangement.  Another pretty melody with glorious harmony vocals ... 
11. 'Lowdown' ended the album with another out-and-out rocker.  While the song was quite good (another killer guitar performance), on this one Reding and Rennie seemed somewhat uncomfortable singing in the high key.  This one was tapped at their third and final single.  

01. Say What You Mean   (Steve Smith - S.T. Smith) - 6:34 
02. Morning Rain    (Greg Reding - Bill Rennie - Terry Manning) - 4:48 
03. When I Come Home Again   (Steve Smith - S.T. Smith) - 2:23 
04. Time Is All   (Bill Rennie - Jack Holder - Terry Manning - Ruleman) - 3:32 
05. Another Smile  (Bill Rennie - Terry Manning) - 2:55 
06. Thanks    (Greg Reding - Bill Rennie) - 2:53 
07. Take the Time To Let Me Know    (Greg Reding - Jack Holder - Bill Rennie) - 3;34 
08. Feel Real Fine  (Terry Manning) - 2:53 
09. Let Me Look At the Sun    (Bill Rennie - Terry Manning) - 3:52 
10. Way To Get To You    (Greg Reding - Bill Rennie) - 2:33 
11. Lowdown    (Greg Reding - Bill Rennie - Terry Manning) - 3:33

1. The Hot Dogs
or
2. The Hot Dogs
.

Sunday, November 2

★★ Borderline Books ★★


Hi all, i have found a working "Borderline Books" website again. Look at my left side near the top (under Decca Logo)

//ChrisGoesRock

Foghat Billboard Advertise Jule 15, 1972

Wednesday, October 29

Roky Erickson ‎– Live At Oyafestivalen, Oslo, Norway, August 10th, 2007 (Quality Sound)


Size: 237 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included

Roger Kynard "Roky" Erickson (born July 15, 1947) is an American singer, songwriter, harmonica player, and guitarist from Texas. He was a founding member of the 13th Floor Elevators and a pioneer of the psychedelic rock genre.

Erickson was interested in music from his youth: he played piano from age 5 and took up guitar at 10. He attended school in Austin and dropped out of Travis High School in 1965, one month before graduating, rather than cut his hair to conform to the school dress code. His first notable group was The Spades, who scored a regional hit with Erickson's "We Sell Soul"; the song is included as an unlisted bonus track on Erickson's 1995 All That May Do My Rhyme CD and had also been adapted as "Don't Fall Down" by the 13th Floor Elevators for their first album. The Spades' original version of "You're Gonna Miss Me", later a hit for 13th Floor Elevators, was featured on the compilation album The Best of Pebbles Volume 1.

Erickson co-founded the 13th Floor Elevators in late 1965. He and bandmate Tommy Hall were the main songwriters. Early in her career, singer Janis Joplin considered joining the Elevators, but Family Dog's Chet Helms persuaded her to go to San Francisco, California instead, where she found major fame.

In 1966 (Erickson was 19 years old) the band released their debut album The Psychedelic Sounds of the 13th Floor Elevators. The album had the band's only charting single, Erickson's "You're Gonna Miss Me." A stinging breakup song, the single remains probably Erickson's best-known work: it was a major hit on local charts in the U.S. southwest, and appeared at lower position on national singles charts as well. Critic Mark Deming writes that "If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators (band) released their epochal debut single, "You're Gonna Miss Me", in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work."

In 1967, the band followed up with Easter Everywhere, perhaps the band's most focused effort, featuring the epic track "Slip Inside This House", and a noted cover of Bob Dylan's "It's All Over Now, Baby Blue".

The album Live was put out in 1968 by International Artists. It featured audience applause dubbed over studio recordings of cover versions, alternate takes and older material, and it had little to no input from the band.

The 13th Floor Elevators arrest in early 1966

Bull of the Woods, released in 1969, was the 13th Floor Elevators' last released album on which they worked as a group and was largely the work of Stacy Sutherland. Erickson, due to health and legal problems, and Tommy Hall were only involved with a few tracks, including "Livin' On" and "May the Circle Remain Unbroken".

In 1968, while performing at HemisFair, Erickson began speaking gibberish. He was soon diagnosed with paranoid schizophrenia and sent to a Houston psychiatric hospital, where he involuntarily received electroconvulsive therapy.

The Elevators were vocal proponents of LSD, mescaline, DMT[citation needed] and marijuana use,[citation needed] and were subject to extra attention from law enforcement agencies. In 1969, Erickson was arrested for possession of a single marijuana joint in Austin. Facing a potential ten-year incarceration, Erickson pleaded not guilty by reason of insanity to avoid prison. He was first sent to the Austin State Hospital. After several escapes, he was sent to the Rusk State Hospital for the Criminally Insane, where he was subjected to more forced electroconvulsive therapy and Thorazine treatments, ultimately remaining in custody until 1972. Six tracks from the 1999 Erickson collection Never Say Goodbye were recorded during his time there.

In 1974, after having been released from state hospital, Erickson formed a new band which he called "Bleib alien", Bleib being an anagram of Bible and/or German for "stay," and "Alien" being a pun on the German word allein ("alone") - the phrase in German therefore being "remain alone." His new band exchanged the psychedelic sounds of The 13th Floor Elevators for a more hard rock sound that featured lyrics on old horror film and science fiction themes. "Two Headed Dog (Red Temple Prayer)" (produced by The Sir Douglas Quintet's Doug Sahm and inspired by Vladimir Demikhov's 1950s head transplant experiments) was released as a single.

The new band was renamed Roky Erickson and the Aliens. In 1979, after playing with the Reversible Cords on May Day at Raul's, Erickson recorded 15 new songs with producer Stu Cook, former bass player of Creedence Clearwater Revival. These efforts were released in two "overlapping" LPs — "I Think Of Demons" (CBS UK, 1980) and "The Evil One" (415 Records, 1981). Cook played bass on two tracks, "Sputnik" and "Bloody Hammer." Roky performed with The Nervebreakers as his backup band at The Palladium in Dallas in July 1979. A recording was issued on the French label New Rose and was recently re-issued elsewhere.

In 1982, Erickson asserted that a Martian had inhabited his body. He came to feel that, due to his being alien, human beings were attacking him psychically. A concerned friend enlisted a Notary Public to witness an official statement by Erickson that he was an alien; he hoped by declaring so publicly he would be in line with any "international laws" he might have been breaking. Erickson claimed the attacks then indeed stopped.


Beginning in the 1980s, Erickson began a years-long obsession with the mail, often spending hours poring over random junk mail, writing to solicitors and celebrities (dead or living). He was arrested in 1989 on charges of mail theft. Erickson picked up mail from neighbors who had moved and taped it to the walls of his room. He insisted that he never opened any of the mail, and the charges were ultimately dropped.

Several live albums of his older material have been released since then, and in 1990 Sire Records/Warner Bros. Records released a tribute album, Where The Pyramid Meets The Eye: A Tribute to Roky Erickson, produced by WB executive Bill Bentley. It featured versions of Erickson's songs performed by The Jesus and Mary Chain, R.E.M., ZZ Top, Poi Dog Pondering, Julian Cope, Butthole Surfers, Bongwater, John Wesley Harding, Doug Sahm and Primal Scream, among others. According to the liner notes, the title of the album came from a remark Erickson made to a friend who asked him to define psychedelic music, to which Erickson reportedly replied "It's where the pyramid meets the eye, man," an apparent reference to the Eye of Providence and the Great Seal of the United States.

Solo albums:
Roky Erickson and the Aliens (1980, CBS Records)
 The Evil One (1981, 415 Records)
 Don't Slander Me (1986, Pink Dust Records)
 Gremlins Have Pictures (1986, Pink Dust Records)
 Casting the Runes (1987, Five Hours Back)
 Holiday Inn Tapes (1987, Fan Club)
 Live at the Ritz 1987 (1988, Fan Club)
 Click Your Fingers Applauding The Play (1988, New Rose Records)
 Openers (1988, Five Hours Back)
 Live Dallas 1979 (1992, Fan Club)
 Beauty and the Beast (1993, Sympathy for the Record Industry)
 All That May Do My Rhyme (1995, Trance Syndicate)
 Demon Angel: A Day and a Night with Roky Erickson (1995, Triple X Records)
 Roky Erickson and Evilhook Wildlife (1995, Sympathy for the Record Industry)
 Never Say Goodbye (1999, Emperor Jones)
 Don't Knock the Rok! (2004, Norton Records)
 I Have Always Been Here Before (2005, Shout! Factory)
 Halloween (2008, Norton Records)
 True Love Cast Out All Evil (2010, ANTI- Records)

01. Cold Night For Alligators 03:35
02. White Faces  02:39 
03. Don't Shake Me Lucifer  03:21 
04. The Interpreter  02:52 
05. The Beast  06:15 
06. Bermuda 03:23
07. Splash 1 03:23
08. Creature With the Atom Brain  03:42
09. Starry Eyes 03:49
10. Bloody Hammer  05:57
11. Before You Accuse Me  03:30
12. Two Headed Dog  03:45 
13. You're Gonna Miss Me  03:17 
14. 'Audience' 01:39 
15. Night of the Vampire  07:03 
16. The Wind and More  06:08
17. I Walked With a Zombie  09:26

Bonus:
18. For You  03:46
19. Mine Mine Mind  03:18
20. Stand For The Fire Demon  07:55
21. I Love How You Love Me 02:58

Part 1: Link
Part 2: Link
or
Part 1: Link
Part 2: Link
.