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Thursday, 7 November 2019

Jan Dukes De Grey - Sorcerers (1st Album UK Folk-Prog 1970)


Size: 121 MB
Bitrate: 320
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Artwork Included
Source: 24-Bit Limited Remaster

Jan Dukes de Grey is a short-lived English psychedelic/progressive folk and progressive rock band that was primarily active in the early 1970s. Despite a relatively meager total output and a lukewarm contemporary reception in terms of sales, the band has attracted a cult following and has seen a moderate revival of interest following the 2010 release of their previously completed but unpublished 1977 album, Strange Terrain. Jan Dukes de Grey is considered to have been among the least conventional musicians associated with the progressive folk scene and in particular their 1971 album, Mice And Rats In The Loft, has come to be viewed as a seminal British acid folk album and as one of the wildest relics of the florid post-hippie era.


The origins of Jan Dukes de Grey can be traced to the 11-man early-to-mid-60s soul group, "Buster Summers Express". While performing as a member of Buster Summers, multi-instrumentalist and vocalist Derek Noy began to write his own music and to incorporate his material into Buster Summers' pieces. Receiving positive support for these innovations, and anxious to perform his own material exclusively, Noy split from the group in 1968 to pursue his own musical direction based more extensively on the emerging underground sound of the day (characterized by bands like Cream, Pink Floyd, and Jethro Tull). Noy, penning 50 to 60 titles within the next 6 months, was approached by guitarist/fipple-flautist Michael Bairstow who wished to join Buster Summers Express. Noy explained that he was interested in starting a new band instead, and Bairstow soon agreed.

Formed in Leeds in December 1968, the original incarnation of the band consisted of the duo Derek Noy and Michael Bairstow. The name "Jan Dukes de Grey" was developed by Noy as an exotic-sounding title with no further significance. Gigging and refining Noy's original compositions for the next several months at local venues, Jan Dukes de Grey was signed in 1969 by Decca Records. By October 1969, the 18-track Sorcerers was recorded. The album consisted entirely of original pieces by Noy that have been described by reviewers as naive and instinctive with good musicality but lacking in technique especially in the flute accompaniment.

In October 1969, just after Sorcerers had been recorded, former Buster Summers drummer Denis Conlan joined the band and a new brace of gigging began. 

Though all pieces performed were written by Noy, the band's sound changed considerably during this period to become more strongly progressive and improvisational. This new sound resonated favorably with the university circuit and soon they had achieved a small measure of success, opening for big-name bands like Pink Floyd in November 1969 and The Who in May 1970. 

Despite this encouragement, sales of Sorcerers (released in January 1970) were mediocre and the band was forced to sign with the better-distributed Transatlantic Records for their next album, the epic 3-track Mice and Rats in the Loft (released in June 1971). Markedly different from their debut album, the second Jan Dukes de Grey album has been described as less-fragmented and more extreme than Sorcerers. The much longer track-lengths provided the band the opportunity to expand their more improvisational sound and to develop complex progressive themes in a wild and manic manner often favorably compared to Comus' First Utterance.

Sales of Mice and Rats in the Loft were again tepid and the recording costs advanced by Transatlantic meant that savings had to be made in advertising and the album received little press. Jan Dukes de Grey carried on performing local shows for the next several years, briefly adding former Buster Summers keyboard- and saxophone-player Eddy Spence in late 1970. Bairstow left the band in early 1973 to be replaced by guitarist Patrick Dean, a fan who had written glowing reviews of the band for the Yorkshire Evening Post. By the end of 1973, Conlon also left the band and was replaced by Noy's wife Fiona Dellar. Two other musicians, bassist Danny Lagger and drummer Maurice McElroy joined immediately after Dellar.

Jan Dukes De Grey -
Article Record Mirror January 1970
By April 1974, the band changed its name to "Noy's Band" and added bass guitarist Alan Ronds to be signed to the Dawn label. As Noy's Band the group released only one single, a reinterpretation of "Love Potion Number 9" paired with Noy's original piece "Eldorado". When this release flopped the band began to unravel, finally disbanding in August 1975. Noy, Dellar, and McElroy then joined with musician Nick Griffiths to perform briefly as punk band, Rip Snorter, through 1976 and the start of 1977.

In the meanwhile, starting in late 1975, Noy had renewed acquaintance with Pink Floyd and had begun discussing the possibility of a solo-project on the side. This new incarnation of Jan Dukes de Grey would consist primarily of Noy, with Dellar, McElroy, and the newly added keyboardist Peter Lemer providing backup. Additional guests including former Jan Dukes de Grey members as well as a slew of other musicians and personalities would also contribute to songs in an ad hoc manner. At the time, Pink Floyd drummer Nick Mason was heavily involved with Britannia Row Studios and Noy was offered a production deal in 1976 for a new Jan Dukes de Grey album to be recorded at Britannia Row. The third Jan Dukes de Grey album, Strange Terrain took just over a year to complete and cost nearly £100,000 to make. Guest performers on various tracks included Ray Cooper, actor Michael Gothard (playing saxophone), and actress Lydia Lisle, among others. The album was never released and the band dissolved for good shortly afterward. The third and final album at last saw a release in 2010 under the Cherrytree label.

Influences
The most apparent early influence on Jan Dukes de Grey was the British soul group, "Buster Summers Express" of which 3 one-time members of the band were members and that founding member Bairstow had originally intended to join. The Jan Dukes de Grey sound diverged from Buster Summers considerably, however, beginning with the influences of Cream, Pink Floyd, and Jethro Tull. Bairstow's use of the flute drew directly from Noy's interest in Donovan, and in creating their debut album Sorcerers the band drew inspiration from such bands as T. Rex and The Incredible String Band. Later in the lifespan of Jan Dukes de Grey, a heavier and more progressive sound was adopted such that Strange Terrain was described as demonstrating influence from Arthur Brown, David Bowie, and mid-70s Pink Floyd.

01. Dragons (0:55)
02. Rags, Old Iron (2:24)
03. 28th June, Village Song (3:03)
04. High Priced Room (2:39)
05. Sorcerers (2:41)
06. Ode to a Schoolgirl (1:25)
07. Cheering Crowd (2:34)
08. Out of the Eastern Hills (2:31)
09. MSS (2:00)
10. Texas (2:44)
11. Yorkshire Indian Sitting in the Sun (2:17)
12. Wonder Child (2:24)
13. Dominique (3:59)
14. Trust Me Now (3:33)
15. Forms (1:42)
16. City After 3:00 Am (4:04)
17. Butterfly (3:32)
18. Turkish Time (4:56)

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Monday, 28 October 2019

The Latest Album with: Nixon Now - The NOW Sound (Stooges Retro Band Germany 2018)


Size: 122 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
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If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now Among their fans are Michael Davis of the revived MC5, the legendary Thee Hypnotics or Nicke Royale of the Hellacopters. Everybody who has seen the furious four live can figure out why.


These dudes have listened to more than one Stooges record in their time. 

From the vocals to the fancy lead guitar work, this has Iggy Pop written all over it. Catchy and mid-tempo, with a pounding beat. It´s an excellent record from start to finish. Seriously - great songwriting, production, this has it all. The NOW Sound adds a vicious punk sneer to their psychedelic freak-out barrage, and it fits perfectly. It´s the super sonic equivalent of a tyre fire, belching out thick clouds of deliciously toxic black smoke.

Sweat drips down from the ceiling of the completely packed club. The smell of beer and weed is in the air, while the band plays its encore and all the people go crazy... This is how the first tunes of THE NOW SOUND sound like. It it has been 13 years since NIXON NOW, out of Hamburg Germany, released their last album. There has been much bottled up since then which is now being fired as an uncomplicated declaration of love for the '69 Detroit rock sound. THE NOW SOUND was recorded without much frippery on just one big weekend in Hamburg. 



This kind of music has to be recorded that way - impulsively and raw. NIXON NOW have licked that perfectly and created a great and dirty soundmonster with retro-charm and also zeitgeist. THE NOW SOUND! FILE UNDER: Garage | Rock | Punk | Fuzz FOR FANS OF: MC5 | The Stooges | The Hellacopters | Iggy Pop

Hamburg-based proto-punk garage-rockers Nixon Now release their first album in 13 years, but judging by the raw, Detroit '69 spirit of 'The Now Sound' the guys haven't aged one bit! Fans of Stooges, beware!

Nixon Now are:
 Andi Schmidt: guitar, vocals
 Sven Anders: lead guitar
 Tom Beege: bass
○ Torben Fischer: drums

01. Rouse  01:31
02. God Has Money  01:45
03. 313  02:59
04. A Matter Of Time  02:35
05. No Fun Man  01:51
06. Right  05:53
07. Feel Loud  01:38
08. Instant Mayhem In A  02:42
09. The Mover  02:02
10. Wrong Time This Time  04:50
11. Park Outside With The Motor Running  02:33
12. Too Soon Too Much  06:25
13. Heard This Song Before  01:37
14. Livermore Drone Part 1+2  06:28

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Wednesday, 23 October 2019

Nixon Now - Altamont Nation Express (Raw "The Stooges" Rock 2015)


Size: 135 MB
Bitrate: 320
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If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now Among their fans are Michael Davis of the revived MC5, the legendary Thee Hypnotics or Nicke Royale of the Hellacopters. Everybody who has seen the furious four live can figure out why.



From the starz n' stripes bellbottom-clad chick on the front to the song titles to the friggin' group name fer crissake, Nixon Now are the Compleat Package, classic underground white-knuckle hard rockers with guitars set on kill. This is all packed into 15 easy-to-swallow short sharp dollops of distortion and excitement, a mere one of which could provide enough energy for an entire album by most bands, not to mention light up the city of your choice on New Year's eve. .


Hamburg´s hipshakers Nixon Now are one such example of the MC5 legacy and, to tell you the truth, they do the two-minute-and-change supercharged fuzzbomb better than the originals. 

The one thing that can be said for Nixon Now is that the exude that rare rock n´ roll energy that is so friggin´ hard to capture on a studio recording. 

Altamont Nation Express actually sounds like the band going Chernobyl in front of a rabid, sweaty and panty-throwing audience. It´s all stun guitars with Kamikaze divebomb solos, Keith Moon-like percussive abandon and pre-Punk snotty spit n´ fuck you attitude. You´ll most certainly dig Nixon Now if the MC5 appeals to you.

The Band
andi schmidt - guitar & vocals
 sven anders - guitar
 marc zimmermann - bass
 stephan rath -  drums

01. Revolver 02:40
02. Today Is The Day 02:43
03. Bad World 03:38
04. Shake 03:15
05. You & Me 02:51
06. Car Wash 03:59
07. Burning Down The Neighborhood 03:21
08. Altamont Nation Express 02:16
09. I Live In A Car 02:15
10. The Rocker 02:07
11. Madman 01:26
12. Fastest Thing 01:39
13. I Can Boogie 02:29
14. Brian Jones 01:44
15. Electric Teenage Nürnberg 04:1

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Sunday, 20 October 2019

Hey!, Not to be missed: Nixon Now - Solution Revolution (The Stooges Alike Retro-Sound Germany 1999)


Size: 125 MB
Bitrate: mp3
Ripped by: ChrisGoesRock
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Solution Revolution snarls like early Stooges, time tripping back to a time when Detroit had the most dangerous Rock and Roll music on earth. Full robust Iggy on steroids kinda sound - rips like stonerrock on speed with a growling groove driving home thee irresistable power of loud, forcerful uptempo and heavy Rock and Roll fury. 

This is one German band that definetly knows how to put the jackboot into some butt. I can't get enough of Andi Schmidt's nasal sneering vocals belting out the most incredible rock life lyrics. Pure punk legend stuff. Every song is a killer. Get ready to be nixonized.

Nixon Now. "Solution: Revolution" tunnels deep into the black heart of it all, the burning napalm, the hippie death cults, and all of it lorded over by a Motor City grind of twisted metal and wounded howls. Yeah, the MC5. 

The Stooges. But not in the lo-fi, pseudo-blues New York fake-out or the pill bottle trip and drone way you're used to, oh no. Nixon Now are Super Rockers, after all. Brothers and sisters, bring this record and as many flame throwers as your muscle car can carry, because it's gonna be a long, black night.

If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now. 

There's so much fuzzed-out, punked-up riff-crazy power that you'll feel like brother Wayne Kramer or Fred "Sonic" Smith, whirling with their guitars like dervishes at an early MC5 show, convinced that rock was going to change the world and that the lifestyle would simply PREVAIL.

01. 1999 03:01
02. Into The Nixon 03:49
03. Make My Day 01:54
04. I´ve Been Around 03:43
05. Do The Strand 02:43
06. U.C.P. 02:00
07. Ann Arbor 01:38
08. Sick Me 02:44
09. Addicted To Love 04:02
10. The Solution 05:25
11. Don`t Want You 02:59
12. More Ann Arbor 02:00
13. The Politician 03:12
14. Altamont Rose 03:40
15. Sympathy For Meredith 07:42

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Time For Old Classic: Crosby, Stills, Nash & Young - Déja Vu (Classic Album US 1970)


Size: 79.1 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Woodstock", "Teach Your Children", and "Our House".


Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group, who at the time remained largely unknown to the general public. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays harmonica on the title track.

Four singles were released from the album with all but the last, "Carry On," charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu — Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners. 

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. 

There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. 


"Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. 


"Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. 

And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. 

Recorded July - December, 1969 at Wally Heider's Studio C, San Francisco and Wally Heider's Studio III, Los Angeles.

Released March 11, 1970

Personnel:
David Crosby — vocals all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair," "Woodstock," "Déjà Vu," "Country Girl," and "Everybody I Love You"

 Stephen Stills — vocals all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On," "Helpless," "Woodstock," and "Déjà Vu"; bass on "Carry On," "Teach Your Children," and "Déjà Vu"; percussion on "Carry On"

 Graham Nash — vocals all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair," "Woodstock," "Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children"

 Neil Young — vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair," "Helpless," "Woodstock," "Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl"

Additional personnel:
 Dallas Taylor — drums; tambourine on "Teach Your Children"
 Greg Reeves — bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Our 
   House," "Country Girl," and   "Everybody I Love You"
 Jerry Garcia — pedal steel guitar on "Teach Your Children"
 John Sebastian — harmonica on "Déjà Vu

01. "Carry On"  Stephen Stills  04:26
02. "Teach Your Children" Graham Nash  02:53
03. "Almost Cut My Hair" David Crosby  04:31
04. "Helpless" Neil Young  03:33
05. "Woodstock" Joni Mitchell  03:54
06. "Déjà Vu" David Crosby  04:12
07. "Our House" Graham Nash  02:59
08. "4 + 20" Stephen Stills  02:04
09. "Country Girl (Whiskey Boot Hill/Down Down Down/"Country Girl" (I                Think You're Pretty)" Neil Young  05:11
10. "Everybody I Love You" Stephen Stills, Neil Young  02:21

1. Déja Vu
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2. Déja Vu
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German Single 1970


Cross Country - Selftitled (Great Rock Album US 1973)


Size: 77 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Cross Country is a band formed in 1973 by three fourths of the musical group The Tokens- Jay Siegel, Mitch Margo and Phil Margo. The group released one self-titled album.


Compared to those who know about Intercourse by The Tokens, only few will know about this hidden gem. Somehow hidden away by Atlantic Records, this may be the most incredible effort ever by Phil and Mitch Margo, and Jay Siegel of the original "The Tokens" who helped create the smash hit The Lion Sleeps Tonight in 1961. If you can find a Cross Country CD consider yourself lucky! If you can find a vinyl you might want to check it into a museum. There are very few originally issued. These are gorgeous, haunting and original songs mostly by Mitch Margo, the mastermind behind Intercourse.


Fantastic album. Harmony vocals are very reminiscient of the Beach Boys but with a subtle touch of country music. Don't know anything about these guys, but it's a shame they didn't make any more records. The song titles may lack imagination, but the music more than makes up for it. I'm a huge 70s country rock fan, & though I wouldn't call this country rock, it gets regular plays @ my house right between The Band, Byrds & Burritos.

Cross Country are a bit like Crosby Stills Nash & Young, at least in the tight harmonies and rural folky hippie rock they produce. Nice laid back sip on iced tea and smoke some herb type o' stuff. Every now and then they do give rocking out a shot so it's not all mellow. 

This was released in 1973 on Atco records and is their only LP. 

01. Today - 2:52
02. Just A Thought - 3:22
03. Cross Country - 3:49
04. In The Midnight Hour - 3:16
05. Thing With Wings - 4:35
06. Tastes So Good To Me - 3:13
07. A Fall Song - 2:48
08. Choirboy - 3:18
09. A Ball Song - 2:52
10. A Smile Song - 4:26

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German Single 1973

Saturday, 19 October 2019

Creedence Clearwater Revival - Live At Woodstock 1969 (Rem. 2019)


Size: 129 MB
Bitrate: 320
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Found in DC++ World
Artwork Included

Creedence Clearwater Revival didn't think much of their set at Woodstock. Irritated by being pushed into the midnight slot by a series of misadventures they'd blame on the Grateful Dead, they wrote off their performance, not appearing in either the film or its accompanying soundtrack. Five decades later, they acknowledged the pull of history, consenting to having their set be part of Rhino's mammoth complete set Woodstock: Back To The Garden and also allowing it to be released by Craft Recordings. 


Listening to the nine-song concert in either context, it's bewildering to think that this was dismissed by anybody involved with the band. Throughout their hour, CCR sounds ferocious, tearing through their hardest material, playing "Born on the Bayou," "Green River" and "Bootleg" with a nasty edge. The hardness of their choogle is a bit of a revelation, as the band sounds fiery in a way that they don't on any of the officially-released Creedence live recordings. 


If CCR stuck to their hits, it'd be one thing, but the band gains momentum as their hour proceeds. Once they play an apocalyptic "I Put A Spell On You," they've set themselves up for a conclusion where they land on two mesmerizing ten-minute concluding jams. "Keep on Chooglin'" and "Suzie Q" stay mean through their long jams, leaving the question hanging: if this was Creedence Clearwater Revival on an average night, what on earth did they sound like on a great one?


Live at Woodstock is a 2019 live album slated for release on August 2, 2019 via Fantasy Records. The set documents swamp rock band Creedence Clearwater Revival's set at 1969's Woodstock.

Recording and release
Creedence Clearwater Revival was the first act to sign a contract for August's Woodstock festival in April 1969, for $10,000 (equivalent to $68,000 today). Given their late start time and omission from the Woodstock film (at John Fogerty's insistence), Creedence members have expressed bitterness over their experiences regarding the festival.


In 1994, "Commotion", "Green River", "Ninety Nine and a Half (Won't Do)", and "I Put a Spell on You" appeared on Woodstock: Three Days of Peace and Music and for the 40th anniversary home video release of the film, the band allowed the inclusion of "Born on the Bayou", "I've Put a Spell On You", and "Keep On Chooglin". This album also coincides with a 38-disc box set from Rhino Records compiling the entire festival, Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive.

When Creedence Clearwater Revival took to the stage at Woodstock, they were seven months into a year that will probably never be equalled. Bayou Country was released at the beginning of 1969, Green River had come out a couple of weeks earlier, and Willy And The Poor Boys would follow in December. 

That's three classic albums in a 12 month stretch that spawned eight US hits, and Woodstock should have been the crowning glory. But John Fogerty, who'd claimed that his band were the best in the world in the build-up, wasn't happy with the show and pulled the band's performance from both the soundtrack and the film.

Fifty years on, it's difficult to fathom what his problem might have been. Apart from the occasional extended gap between songs and the sloppy start to the opening Born On The Bayou, it's Peak Choogle. 

The recording is great, Fogerty's in fine voice throughout, the hits keep coming, and when the band slip into those chugging grooves they're emphatically fierce. I Put A Spell On You is even more ominous than the recorded version, and the 20 minutes given over to Keep On Chooglin' and Suzie Q as the set climaxes are flat-out intense. 

01. "Born on the Bayou" – 05:34
02. "Green River" – 03:16
03. "Ninety-Nine and a Half (Won’t Do)" (Steve Cropper, Eddie Floyd, Wilson Pickett) – 04:46
04. "Bootleg" – 03:38
05. "Commotion" – 02:48
06. "Bad Moon Rising" – 02:13
07. "Proud Mary" – 03:52
08. "I Put a Spell on You" (Jay Hawkins and Herb Slotkin) – 04:28
09. "The Night Time Is the Right Time" (Lew Herman) – 03:30
10. "Keep on Chooglin’" – 10:29
11. "Suzie Q" (Eleanor Broadwater, Robert Chaisson, Dale Hawkins, and Stan Lewis) – 10:52

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Saturday, 21 September 2019

Mother Upduff - Tales of Tangle (Great Psychedelic Rock US 2013-18)


Size: 177 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Some Artwork Included

We are excited to present our first 5 years of recordings, not as a compilation of singles but as one cohesive full-length album. 


When Nasoni Records approached us with the concept of a collection, my knee-jerk reaction was to drag all the files in the "Mother Upduff Masters" folder and send away. After a few scrupulous listens however, I felt it wouldn't hurt to adjust the levels between each song before remastering for the vinyl. Backwards it spiraled from there. 



A few months later we have 20 tracks ( 19 on vinyl ) completely remixed and remastered to map a progression within an album rather than an era. To obtain an audible common ground : some songs were cleaned and decluttered whereas others were crowded and muddied, room mics were turned up, takes were swapped, entire instrument sections were muted / unmuted, and the tape bias ran hot on the master. 


Alongside each single comes 3 unreleased songs from an unheard but fruitful period when Eirik Hutchinson joined Mat and I for the first time. Before Erik Mulder brought his skills to our last recordings, Eirik Hutchinson played a huge part in taking our sound out of the two-piece rut. That first season of sonic expansion can now be heard in Transient ( Electric ), The Rover, and Mexico. Contrary to the track placement of our 4th unreleased song, The Priestess was actually our last tune recorded before a brief hiatus. 



Now with past and present members playing together, Mother Upduff is continuing with a philosophy that mirrors the construction of this album. Each track was dissected and altered according to it's relationship towards the rest, similar to how we have always played for each other first, the individual second, and those listening last.

01. Grave Robbers 03:06
02. Transient ( Acoustic ) 02:12
03. The Captive 06:53
04. Philistine Blues ( Take II ) 02:28
05. Tempest 03:29
06. Pest 04:00
07. Mud 02:21
08. Paced 03:07
09. Passerby 05:14
10. Fire 02:43
11. Transient ( Electric ) 02:46
12. The Rover 03:21
13. Mexico 02:28
14. Bloom 04:05
15. Spellbound 02:35
16. The Priestess 05:53
17. Algos Train 05:03
18. Concept & Scope 05:57
19. Parnassus Drive 02:44
20. The Apologist 04:08



Part 1: Mother Upduff
Part 2: Mother Upduff
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Part 1: Mother Upduff
Part 2: Mother Upduff
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Part 1: Mother Upduff
Part 2: Mother Upduff


Wednesday, 18 September 2019

Marc Benno & The Nightcrawlers - Crawlin (Great Bluesrock US 1973)


Size: 99.3 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Source: Japan 24-Bit Remaster

The album recorded in 1973 @ sunset sound Studio Hollywood for A&M

Marc Benno brought a treasure for his Japanese fans!


The recordings which never released for last 32 years....
Marc Benno recorded 7 songs with his band The Nightcrawlers featuring Stevie Ray Vaughan, Doyal Bramhall etc. at Sunset Sound Studio inHollywood for A&M Records in 1973. But A&M decided not to release the record.

This is the special album with the 7 songs and plus another 5 songs of the studio sessions tracks with SRV (G),RussKrunker(Dr.) Mike Utley(key.) Lee Skiar(B.) etc.


This historic document seems to have escaped the attention of all but the most hardcore and curious Stevie Ray Vaughan fan. The story goes like this...by 1973, Texas singer, songwriter, guitarist, and piano player Marc Benno had spent better than a decade as an all-star studio pro, lending his talents to recordings by folks like Rita Coolidge and the Doors. 


Benno recorded a pair of albums with friend and fellow session-player Leon Russell as the Asylum Choir, Benno subsequently launching his solo career with a self-titled album in 1970, Russell hooking up with singer Joe Cocker before discovering mid-decade stardom.

Benno had put together a Texas-styled blues-rock band that included bassist Tommy McClure (who had played with Coolidge and Jim Dickinson, among others), drummer Doyle Bramhall, keyboardist Billy Etheridge, and a hot-shot young guitarist by the name of Stevie Vaughan (the "Ray" would be added later). 

Benno and the Nightcrawlers were managed by rock 'n' roll heavyweight Dee Anthony, and put on tour opening for the J. Geils Band and Humble Pie (which featured its own hot-shot fretburner in Peter Frampton). 

Benno and the band recorded what was to become their debut album for A&M Records, but when the label soured on blues-rock, Crawlin – which included Vaughan's first recordings – was put on the shelf and remained unreleased until 2009 when Blue Skunk Music resurrected the album.

As shown by the funky album-opening "Last Train," Benno had his finger firmly on the pulse of the soul-and-blues-infused rock sound of the early 1970s, the song's foot-shufflin' beat paired with twangy, chicken-scratched guitar solos and a chaotic mix that works in spite of the mess of instruments. 

By turns, the New Orleans-flavored "Coffee Cup" sounds like Dr. John, Benno's growling vocals and spry piano-pounding displaying the undeniable musical link between Texas blues and Louisiana's more jazz-influenced style.

The lively "Take Me Down Easy" mines turf similar to what Delaney and Bonnie and Friends were exploring at the time, cleverly mixing blues, rock, gospel and country into an inspired whole, some hot guitar licks sizzling in the background beneath Benno's energetic honky-tonk piano and an overall spirited instrumental jangle. 

Running in the other direction, "Hot Shoe Blues" blends a 1940s-styled jump-blues aesthetic with rollicking keyboards, red-hot guitar runs, and mile-a-minute echoed vocals to create an exhausting and entertaining musical romp. The title song is virtually an instrumental, barely-audible gang-vocals rising and falling beneath an innovative soundtrack that displays some of Stevie Vaughan's early talents.

Benno considered Stevie Ray Vaughan (or "Little Stevie" as he was often known at the time) to be the Nightcrawlers' secret weapon, a young guitarist of unusual skill and vision that could liven up any performance with his instrument. Crawlin includes four "bonus tracks," songs cut by Benno in anticipation of a solo release that would feature Vaughan's maturing guitarplay at its center. 

Using a variety of L.A. session pros and friends like bassist Lee Sklar, drummer Russ Kunkel, and keyboardists Gordon DeWitty and Mike Utley, these songs add more of a pop sheen to Benno's writing while not forsaking the artist's blues foundation.

"Friends" is a gospel-tinged soft-rocker that features some beautifully emotional Stevie Ray slide-guitar licks alongside Benno's testifying vocals and gentle piano play. By contrast, "Whole Thang" is a short, sharp shocker with scorching guitar solos riding low in the mix, Benno's bouncy electric piano creating an irresistible melody on top of which Vaughan weaves his magic; given a proper release in the mid-1970s, the song could have been a big hit and brought SRV to stardom that much quicker. 

"World Keeps Spinnin" is another Dr. John soundalike, with bits of sharp guitar and an underlying funky heartbeat while "Long Ride Home" is a dark, rich instrumental track and the stand-out on Crawlin, Vaughan and Benno swapping guitar licks while the band choogles along in the background with a rock-solid rhythm.


Marc Benno's Crawlin is a mixed bag, derived as it is from disparate sources and circumstances. The four bonus tracks are better-written and better-produced than the seven songs from a previous recording, and they feature Stevie Ray Vaughan in a much more prominent role. What the earlier songs lack in sonic quality and overall construction they more than make up for in energy and enthusiasm, Benno finally afforded the opportunity to chase stardom on his own terms.

While the earlier material on Crawlin, quite honestly, wasn't ready for primetime...I'll blame it on sub-par production that seemingly robs the performances of their edge and vitality...there's no doubt that Benno and the Nightcrawlers were on to something, and listening to these songs today one can't help but wonder what might have been. You'll find the material to be representative of the era of its creation, entertaining but not particularly innovative, and of interest mostly to hear Benno's underrated piano playing and Stevie Ray's first tentative steps towards blues-rock stardom.

After suffering the indignities of the record biz – Benno was subsequently dropped by his high-profile manager (who hitched his star exclusively to Frampton's fortunes) – and seeing his recordings buried in a vault somewhere in Hollywood, Marc Benno regrouped and re-dedicated himself to the blues. He spent years touring as second guitarist for the legendary Lightnin' Hopkins, honing his skills and learning the blues from a master. Benno continues to make music, fusing blues, rock, jazz, and pop music into his own original creation in spite of the industry, and Crawlin is a perfect example of his unique vision and talent.

The Nightcrawlers: 
Marc Benno - Guitar and Vocal
 Stevie Ray Vaughan - Lead Guitar
 Doyal Bramhall - Drum and Vocals
 Billy Ethridge- Keyboards
 Tommy McClure - Bass

* Session Recording with:
 Marc Benno - Guitar, Piano and Vocal
 Stevie Ray Vaughan- Lead Guitar / Russ Krunkel- Drums
 Johnny Perez - Drums / Mike Utley-Keyboards
 Gordon Dewitty-Hammond B3 Organ / Lee Skiar- Bass

01. Last Train  02:04
02. Coffee Cup  03:19
03. 8 Ball  06:22
04. Take Me Down Easy  03:23
05. Love is Turnin Green  05:36
06. Hot Shoe Blues  02:09
07. Crawlin  03:22
08. Friends*  04:33
09. Whole Thang*  01:57
10. Slammer Jammer*  04:35
11. World Keep Spinnin*  02:51
12. Long Ride Home*  04:48

*Bonus Tracks Please note and understand there are some noise on Track 10 due to the old recording material.

1. Marc Benno
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2. Marc Benno
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3. Marc Benno