Sunday, 25 January 2015

Python Lee Jackson - In a Broken Dream (Good Rock UK 1972) w. Rod Stewart on Vocal (3 tracks)

Size: 75.9 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster

Python Lee Jackson was an Australian rock band active from 1965 to 1968, before a brief sojourn in the United Kingdom. The group's most famous hit was "In a Broken Dream", featuring Rod Stewart as guest vocalist.

Australian period:
The original Python Lee Jackson was formed in December 1965, in Sydney by two British men – singer Frank Kennington and guitarist Mick Liber (born in Peebles, Scotland, on 1 March 1944) – after meeting drummer David Montgomery (born September 1945 in Melbourne). Together with bass player Roy James they played the underground circuit. In early 1966 Kennington deported back to the UK, and former Missing Links singer Bob Brady filled in for several months before Liber and Montgomery struck on the idea of putting a new version together.

A new Python Lee Jackson line-up came together around March 1966 when keyboard player and singer David Bentley (born in 1943, in Brisbane) left Sydney group Jeff St John & The Id to join Liber and Montgomery alongside former Unit 4 bass player Lloyd Hardy (aka Cadillac Lloyd Hudson).

In June the quartet added former Wild Cherries singer Malcolm McGee (born in Melbourne on 1 November 1945) and opened Rhubarb's club in Sydney's Liverpool Street. In September Bentley left (and rejoined the band in 1968) and was replaced by Bob Welsh. The band's first single, "Emergency Ward" c/w their version of the Bo Diddley song "Who Do You Love?", was actually a Ward Austin single featuring Python Lee Jackson as backing group.

Python Lee Jackson released a cover of Major Lance’s "Um, Um, Um, Um, Um, Um" c/w "Big City Lights" in December 1966 before Hardy was replaced by Duncan McGuire from Doug Parkinson's The Questions for three weeks. McGuire appeared on the band's cover of Sam and Dave’s "Hold On, I’m Coming" c/w "Your Mother Should Have Warned You" before Hardy (now going by the name Virgil East) returned for the band's first trip to Melbourne in early/mid March. While there the group performed at the Catcher from 17 to 19 March with various local bands each night. Python Lee Jackson returned to the city for an extended stay from 30 March to 16 April. Like its predecessor, the new single was a minor hit.

In April 1967, Dave MacTaggart from Adelaide band The Black Pearls replaced Virgil East. On 11 June the group appeared on Opus TV with The Loved Ones and Ray Hoff and The Offbeats. The new line-up released the band's final Australian single, "It’s a Wonder" c/w "I Keep Forgetting", in August before Welsh left to be replaced by saxophone player Bernie McGann.

Python Lee Jackson - UK Single 15 Sep 1972 w. Papersleeve
A few months later Mick Liber left and worked with Billy Thorpe and Gulliver Smith’s band, The Noyes, while former member Virgil East joined Jeff St John’s next project, Yama. Liber's replacement was Laurie Arthur from The Strangers. The band continued to play gigs, appearing at Melbourne clubs, Sebastians, and Berties. However Python Lee Jackson broke up in January 1968.

Malcolm McGee then joined vocal trio The Virgil Brothers with Rob Lovett (formerly of The Loved Ones) and Mick Hadley (formerly of Purple Hearts). McGee recorded two singles with the Virgil Brothers, including their Australian hit "Temptation 'Bout To Get Me", but he left the group just after they moved to the UK in late 1969 and was replaced by Danny Robinson (ex The Wild Cherries. McGee later played with McGuire in Rush. MacTaggart reunited with Liber briefly in Billy Thorpe's band.

Montgomery reunited with David Bentley in The David Bentley Trio. Around October 1968, they joined forces with Mick Liber and travelled to the UK where they revived the Python Lee Jackson name.

British period:
Arriving in the UK in October 1968 Bentley, Liber and Montgomery (joined by former Levi Smith Clefs' bass player John Helman) played at the Vesuvio club on Tottenham Court Road. In early 1969 they performed at the Arts Lab on Drury Lane for several months where they were spotted by DJ John Peel. In April 1969 Bentley, Liber and Montgomery, joined by Jamie Byrne from The Groove, recorded three tracks in the studio with British singer Rod Stewart.

Stewart was brought in to sing a few songs and one in particular, since Bentley had informed his bandmates that he didn't think his own voice was right for it. Recorded by John Peel, "In a Broken Dream" and several other songs sung by Stewart remained unreleased until 1970 when Miki Dallon re-produced the track for his Youngblood label and released it. The single was not a success on its release but Dallon re-released it in early 1972. The single rose to number three in the UK Singles Chart and #56 in the U.S. Billboard Hot 100.

Following the recording of the songs with Stewart the group had continued to make sporadic live appearances and Time Out magazine advertised one show at the Bottleneck Club in the Railway Tavern, Stratford in London's East End on 28 June 1969. The band went on hiatus, during which the band members explored separate projects in the years from 1969 to 1972.

Python Lee Jackson - UK Single 1971
In 1972, David Bentley, Mick Liber, and David Montgomery made some recordings with new members Gary Boyle (guitar) and former The Easybeats' member Tony Cahill (bass). These tracks subsequently appeared on the band's only album (also titled "In A Broken Dream") alongside the earlier Rod Stewart recordings from 1969 resulting in the release of the song and the subsequent charting. The song was popular in Europe and appeared on the soundtrack of films and documentaries (including the art house movie Breaking the Waves) and became the subject of many cover versions. Rod Stewart included the song on two anthologies of previously recorded work and, in 1996, an English band, Thunder, delivered a high-octane rendering that propelled it into the UK chart for the second time. In 2004 a cover of the song on Relations recorded by British singer Kathryn Williams. In 2009, Half A Cow released Sweet Consolation, a 24 track anthology of their work. Meant to be a definitive collection, it does not however, contain "In A Broken Dream" as the producers were unable to obtain the required licences needed to include their most famous song. Cahill was replaced on bass by Chris Belshaw shortly before the band dissolved.

Following the dissolution of the band, Montgomery would go on to briefly play drums for the American band King Harvest. He had been due to meet with Brian Jones on the day of Jones's death to discuss a collaboration.

David Montgomery – drums
 Mick Liber – guitar 
 David Bentley – keyboards, vocals
 Gary Boyle – guitar 
 Tony Cahill – bass
 Chris Belshaw – bass

01. In A Broken Dream Vocals – Rod Stewart  03:40
02. Boogie Woogie Joe  04:30
03. Doin' Fine Vocals – Rod Stewart  03:55
04. Sweet Consolation  04:10
05. The Blues Vocals – Rod Stewart  04:15
06. Turn The Music Down  03:00
07. If The World Stopped Still Tonight  03:05
08. Your Wily Ways  03:20
09. If It's Meant To Be A Party  03:20
10. Second Time Around The Wheel  04:50

1. Link
2. Link

Friday, 23 January 2015

Pauline Filby (Rare Folk Album UK 1969)

Size: 74.5 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster

The first ever CD-reissue of the nice and warm sounding X-ian folk album by Pauline Filby, which she recorded with guitar virtuso Gordon Giltrap. An essential album for anyone into the UK's psych/hippie underground folk movement of the '70s.

Many singers of popular music have all kinds of problems in merely trying to decide what songs to put on two sides pf a Long Player. This, I'm sure, is the reason why so many groups and singers in recent years have resorted to writing their own songs, and those that have managed to create something new have carved lifetime careers for themselves. The Beatles must head the list in this field.

Pauline Filby has solved the material hubting problem in this way, as all but three of the songs of this album are written by her. Not just a pretty voice, mate ! One is always reading that "here is a new star about to happen, folks" but in this case, I feel quite sincerely that Pauline has a great future for herself, providing the necessary things click into place, such as management and exploitation, etc.

The backing for this collection of songs is quite adequate, with no undue complications, plus some very nifty work on guitar by Gordon Giltrap which definitely stands out. Don't go running away with the idea that this is a series of folky-type religious songs. I'm sure the first sixteen bars of "Jigsaw" will break that illusion.

Altogether, this is a delightful LP featuring a girl who should be a delightful future star.

Original UK 1969 vinyl LP on Herald (LLR 567)
Now sellinf for USD 200-250.00

♫♪♪ Pauline Filby - vocals, guitar
♫♪♪ Gordon Giltrap - guitar ( 4 tracks )
♫♪♪ Bill Pownall - bass guitar, guitar
♫♪♪ Jack Watson - banjo, harmonica
♫♪♪ Brian Osmond - clarinet
♫♪♪ Tim Anderson - drums
♫♪♪ Brian Cresswell - flute
♫♪♪ Bruce Duncan - harmonica

01. A Day 2:06
02. Believe 1:59
03. Trouble 2:11
04. Loneliness 1:56
05. Tramp on the Street 4:18
06. Show Me a Rainbow 3:28
07. Satisfied Mind 3:39
08. Friday Street 3:13
09. Jigsaw 3:58
10. The Temptation 3:14
11. Amen 1:55

1. Link
2. Link

Listen to track 6: "Show Me a Rainbow"

Pauline Filby
Uk Herald Vinyl Label

Wednesday, 21 January 2015

New Guestbook Added Today

Hi, i have today added a new guestbook.  

It's IMPORTANT that you bookmark my guestbook because i allways added my NEW URL for my new blog if this one will be deleted.  

My new guestbook is  at the same place like the old one.


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Sunday, 18 January 2015

Not to be missed: Buddy Guy - The Sting 1992 WHCN-FM Broadcast (Bootleg)

Size: 143 MB
Birate: 320
Tape Found in a Trashcan in NY, 1996
Some Artwork 

Buddy Guy American blues singer, songwriter, and guitarist Guy provided the bridge between the electric Chicago blues sound of the late 1950’s and the guitardriven rock music of the late 1960’s. 

Born: July 30, 1936; Lettsworth, Louisiana Also known as: George Guy (full name) 

The Life George “Buddy” Guy was born to a family of sharecroppers in rural Louisiana. When he was not in school, he worked on the farm, plowing with a mule or picking cotton. He began playing guitar at roadhouses with local bands in his teens, and he decided to move to Chicago, at that time the center of blues music, in 1957. 

Guy created showcases for live music in Chicago, when in 1972 he bought a blues bar called the Checkerboard, which remained open until 1985. In 1989 he opened Buddy Guy’s Legends, a premier venue for live blues music in downtown Chicago. He had six children with his first wife, Joanne, and two more with his second wife, Jennifer.

Guy has won five Grammy Awards, more than thirty W. C. Handy Awards for blues music, and he was inducted into the Rock and Roll Hall of Fame in 2005 by Eric Clapton and B. B. King. The Music Guy’s life might stand as a model for the development of blues music in America: He began playing the blues in the rural South, he perfected his craft in Chicago, and he found belated recognition when he was “discovered” by rock musicians and introduced by them to a mainstream popular audience. Early Works. Guy had recorded a demo at a Baton Rouge, Louisiana, radio station before coming to Chicago, and he produced a handful of singles for Cobra Records (released by Artistic Records) after winning a battle of the bands. 

However, he made his early reputation with Chess Records. Although Guy recorded forty-seven songs under his own name while under contract to Chess Records from 1960 to 1967, the label showed no interest in releasing an album, perceiving him primarily as a versatile session guitarist who could play behind its more established stars, such as Muddy Waters and Howlin’Wolf. Even when Guy was allowed to record his own music, Leonard Chess, a founder of Chess Records, insisted that Guy play traditional blues rather than the sort of unrestrained “noise” on guitar that was the trademark of his explosive live shows. 

Tape Found in a Trash can in NY, 1996 :-)
An innovative guitarist, Guy was also a flamboyant showman, playing the guitar behind his back and with his teeth (techniques borrowed by Jimi Hendrix), hanging from rafters by his knees, and using long guitar cords that allowed him to walk out into the crowd as he played. When bands such as Cream, the Jimi Hendrix Experience, and Led Zeppelin began selling millions of albums featuring extended feedback-drenched guitar solos, Chess reportedly went to Guy, bent over, and said, “Kick me!” Chess offered to let Guy record his own style of music, but too late–Guy had just signed a contract with Vanguard Records that offered him artistic control, though none of the albums he recorded with Vanguard were completely successful. 

While his recorded output remained frustratingly uneven, Guy made his reputation with his live performances, touring as a solo artist and with harmonica player Junior Wells (recording with Wells as Friendly Chap on the classic "Hoodoo Man Blues" [1965] to avoid contractual conflicts), as a lead-in act with the Rolling Stones, and in appearances with such famous disciples as Clapton and Stevie Ray Vaughan. Stone Crazy! The first full-length recording that accurately represented Guy’s style was Stone Crazy!, recorded in one session while he was on a tour of France and released in America in 1981 by Alligator Records

(Remarkably, he had recorded a full album backing up Junior Wells, Pleading the Blues [1979], on the same day.) The opening track of Stone Crazy!, Guy’s “I Smell a Rat,” exemplified the freedom he had always needed: The song ran more than nine minutes, and it opened with a guitar solo extending more than two minutes before the first lyrics were sung, an approach that would never have been allowed by traditional blues labels, which had always followed the Chess formula of three-minute songs suitable for radio play. Damn Right, I’ve Got the Blues. 

Guy signed with Silvertone Records in 1990, and he finally achieved his first unalloyed successes with both critics and fans, resurrecting his career and earning him his first Grammy Award for Best Contemporary Blues Album. Now well into his fifties, he had finally begun the richest and most productive period of his career, and he would win the same Grammy Award in 1993, for Feels Like Rain, and in 1995, for Slippin’ In. Guy would collect additional Grammy Awards for Best Rock Instrumental Performance (1996, for the Stevie Ray Vaughan tribute “SRV Shuffle”) and for Best Traditional Blues Album (2003, for Blues Singer). 

Can’t Quit the Blues. This definitive careerspanning three-album boxed set, which surveys the first fifty years of Guy’s music, beginning with his 1957 demo for Ace Records, was released to coincide with his seventieth birthday. Guy’s sporadic and inconsistent recording history, mostly with small record companies, had made it extraordinarily difficult for fans to obtain his earlier works, and these compact discs address that need. Musical Legacy Guy unleashed the full potential of the electric guitar, establishing it as the distinctive lead instrument for most rock and blues music.

Hewas twenty years younger than bluesmen such as Muddy Waters and Howlin’Wolf, from whom he had learned his craft, and he became an elder statesman for the rock musicians who would follow him. Guy found himself in the unusual position of being both a living symbol of the classic blues tradition and a restless innovator whose interests extended that tradition. He broadened the range and appeal of the blues while remaining true to its fundamental sound and emotional resonance. Among the notable guitarists who have acknowledged Guy’s influence are Hendrix, Clapton, Vaughan, Jeff Beck, Jimmy Page, Robert Cray, and John Mayer.

For almost 50 years, Guy has performed flamboyant live concerts of energetic blues and blues rock, predating the 1960s blues rockers. As a musician, he had a fundamental impact on the blues and on rock and roll, influencing a new generation of artists.

Buddy Guy has been called the bridge between the blues and rock and roll. He is one of the historic links between Chicago electric blues pioneers Muddy Waters and Howlin' Wolf and popular musicians like Eric Clapton, Jeff Beck, Jimi Hendrix and Jimmy Page as well as later revivalists like Stevie Ray Vaughan. Vaughan stated that, "Without Buddy Guy, there would be no Stevie Ray Vaughan." Guitarist magazine observed:

Without Buddy Guy, the blues, not to mention rock as we know it, might be a heckuva lot less interesting today. Take the blues out of contemporary rock music—or pop, jazz and funk for that matter—and what you have left is a wholly spineless affair. A tasteless stew. Makes you shudder to think about it ..

In addition, Guy's pathfinding guitar techniques also contributed greatly to rock and roll music. His guitar playing was loud and aggressive; used pioneering distortion and feedback techniques; employed longer solos; had shifts of volume and texture; and was driven by emotion and impulse. These lessons were eagerly learned and applied by the new wave of 1960s British artists and later became basic attributes of blues-rock music and its offspring, hard rock and heavy metal music. Jeff Beck realized in the early 1960s: "I didn't know a Strat could sound like that—until I heard Buddy's tracks on the Blues From Big Bill's Copa Cabana album" (reissue of 1963 Folk Festival Of The Blues album) and "It was the total manic abandon in Buddy's solos. They broke all boundaries. I just thought, this is more like it! Also, his solos weren't restricted to a three-minute pop format; they were long and really developed."

Clapton has stated that he got the idea for a blues-rock power trio while watching Buddy Guy's trio perform in England in 1965. Clapton later formed the rock band Cream, which was "the first rock supergroup to become superstars" and was also "the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s."[where?]

Eric Clapton said "Buddy Guy was to me what Elvis was for others." Clapton said in a 1985 Musician magazine article that "Buddy Guy is by far and without a doubt the best guitar player alive...if you see him in person, the way he plays is beyond anyone. Total freedom of spirit, I guess. He really changed the course of rock and roll blues."

Recalls Guy: "Eric Clapton and I are the best of friends and I like the tune "Strange Brew" and we were sitting and having a drink one day and I said 'Man, that "Strange Brew" ... you just cracked me up with that note.' And he said 'You should...cause it's your licks ...' " As soon as Clapton completed his famous Derek & the Dominos sessions in October 1970, he co-produced (with Ahmet Ertegün and Tom Dowd) the Buddy Guy & Junior Wells Play The Blues album with Guy's longtime harp and vocal compatriot, Junior Wells. The record, released in 1972, is regarded by some critics as among the finest electric blues recordings of the modern era.

In recognition of Guy's influence on Hendrix's career, the Hendrix family invited Buddy Guy to headline all-star casts at several Jimi Hendrix tribute concerts they organized in recent years, "calling on a legend to celebrate a legend." Jimi Hendrix himself once said that "Heaven is lying at Buddy Guy’s feet while listening to him play guitar."

Songs such as "Red House", "Voodoo Chile" and "Voodoo Child (Slight Return)" partly came from the sonic world that Buddy Guy helped to create. According to the Fender Players' Club: "Almost ten years before Jimi Hendrix would electrify the rock world with his high-voltage voodoo blues, Buddy Guy was shocking juke joint patrons in Baton Rouge with his own brand of high-octane blues. Ironically, when Buddy’s playing technique and flamboyant showmanship were later revealed to crossover audiences in the late Sixties, it was erroneously assumed that he was imitating Hendrix." (In 1993, Guy covered "Red House" on Stone Free: A Tribute to Jimi Hendrix.)

Stevie Ray Vaughan once declared that Buddy Guy "plays from a place that I've never heard anyone play." Vaughan continued:

Buddy can go from one end of the spectrum to another. He can play quieter than anybody I've ever heard, or wilder and louder than anybody I've ever heard. I play pretty loud a lot of times, but Buddy's tones are incredible. He pulls such emotion out of so little volume. Buddy just has this cool feel to everything he does. And when he sings, it's just compounded. Girls fall over and sweat and die! Every once in a while I get the chance to play with Buddy, and he gets me every time, because we could try to go to Mars on guitars but then he'll start singing, sing a couple of lines, and then stick the mike in front of me! What are you gonna do? What is a person gonna do?!
Jeff Beck affirmed:

Geez, you can't forget Buddy Guy. He transcended blues and started becoming theater. It was high art, kind of like drama theater when he played, you know. He was playing behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it in the same chord.

Jeff Beck recalled the night he and Stevie Ray Vaughan jammed with Guy at Buddy Guy's Legends club in Chicago: "That was just the most incredible stuff I ever heard in my life. The three of us all jammed and it was so thrilling. That is as close you can come to the heart of the blues."

According to Jimmy Page:

"Buddy Guy is an absolute monster" and "There were a number of albums that everybody got tuned into in the early days. There was one in particular called, I think, American Folk Festival Of The Blues, which featured Buddy Guy. He just astounded everybody."

Singer-songwriter and guitarist John Mayer, who has performed with Guy on numerous occasions (including with Clapton's Crossroads Guitar Festival and on PBS's Soundstage) and collaborated with him on Guy's 2005 album Bring 'Em In, cited on several occasions that Buddy Guy was one of his top influences.

Former Rolling Stones bassist Bill Wyman:

"Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues. Such is Buddy's mastery of the guitar that there is virtually no guitarist that he cannot imitate."

Guy has opened for the Rolling Stones on numerous tours since the early 1970s. Slash: "Buddy Guy is the perfect combination of R&B and hardcore rock and roll." ZZ Top's Billy Gibbons: "He (Buddy Guy) ain't no trickster. He may appear surprised by his own instant ability but, clearly, he knows what's up."

Guy was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.

Guy appeared and performed in an episode of the popular children's show, Jack's Big Music Show, as the "King of Swing". Guy has influenced the styles of subsequent artists such as Reggie Sears and Jesse Marchant of JBM.

On February 21, 2012, Guy performed in concert at the White House for President Barack Obama and First Lady Michelle. During the finale of the concert Guy successfully encouraged the President to sing a few bars of "Sweet Home Chicago"

Buddy Guy - The Sting
WHCN-FM broadcast January 1992  
New Britian, Connecticut, USA

01. Mary Had a Little Lamb 05:54
02. I Just Wanna Make Love To You 07:09
03. I'll Play the Blues For You 04:25
04. Everything's Gonna Be Alright 09:59
05. Voodoo Chile 01:59
06. Hoochie Coochie Man 04:18
07. Cold Shot 00:37
08. Strange Brew > Mustang Sally 10:49
09. Knock On Wood 16:44
10. DJ Outro 00:36

1. Link
2. Link

Thursday, 15 January 2015

Pink Floyd - BBC 1970-07-16 + 1971-09-30 (Bootleg) SoundQuality A+

Size: 308 MB
Bitrate: 320
Found in OuterSpace
Some Artwork Included
SoundQuality A+

Pink Floyd 16 July 1970, BBC Mono Master
BBC Paris Cinema, Lower Regent Street
London, England

01. John Peel intro 00:28
02. The Embryo 10:23
03. John Peel 00:15
04. Fat Old Sun 05:29
05. John Peel 00:21
06. Green is the Colour >> Careful with that Axe, Eugene 11:22
07. John Peel 00:27
08. If 04:55
09. John Peel 00:50
10. Atom Heart Mother 26:33

Sound quality speaking, this is the best version of the BBC mono masters from 16 July70! Absolutely unprocessed ("BBC Radio One Master Reels" seems to have been dehissed a bit and suffers from slight metallic noise in the high end, and the HRV version "Mooed Music Rev.A" has some NR artefacts), this is superior sound!

However, a problem is the speed, much too fast (I compared with the live version of CWTAE on Ummagumma CD, with the studio versions of If and AHM from AHM CD, and with the versions available on BBC transcription CDs, all these comparisons lead to the same conclusion: a 102.5% stretch is needed to have correct speed).

Other problem with the SHN files is the existence of micro-gaps near the tracks transitions.

This RoIO would be absolutely perfect at correct speed and with micro-gaps fixed.

Pink Floyd - BBC Archives 1971 
Paris Cinema, Lower Regent Street, London, England, September 30, 1971

01. Fat Old Sun 15:04
02. One Of These Days 07:50
03. The Embryo 10:51
04. Echoes 27:10
05. Blues 04:54

Sources: BBC Transcription LP (Fat Old Sun, One Of These Days, Echoes)
1st gen cassette (Embryo, Blues)
BBC Radio One Master Reels* (John Peel intros) *mono

This is an upgrade of the second disc of Harvested's BBC Archives 1970-1971 (HRV CDR 007) which features the complete 1971 performance. The previous version, which we created over 6 years ago, used the same sources as above except that "One of These Days" and "Echoes" were taken from broadcast transcription CDs that were sent to radio stations in the 1980's. Back then I foolishly assumed that this "new" CD format would yield better sonic results than the vinyl transcription LP that I had. Wrong! 

This new version features a brand new 48kHz/24Bit transfer of the BBC vinyl (BBC Rock Hour) that was done at a professional recording studio and captured with ProTools. All pops, clicks, and imperfections were manually removed one-at-a-time. No EQing or NR was applied.

The BBC only have a mono version of this show in their archives which we used as a blueprint to reassemble this TRUE stereo version. Since "The Embryo" was never included on the transcription LPs, we used a 1st generation audio cassette recording from a WNEW broadcast and edited it into the show in its proper sequence. We did the same for the improv "Blues" jam which was also sourced from the WNEW broadcast.

Our previous sources:
All of Peel's intros + dial = BBC mono masters
FOS = BBC Transcription LP
OoTD = BBC Transcription CD
The Embryo = FM broadcast
Echoes = Mostly BBC Transcription CD/Open and close Transcription LP
Blues = FM broadcast

RevA sources:
All of Peel's intros + dial = BBC mono masters
FOS = BBC Transcription LP
OoTD = BBC Transcription LP
The Embryo = FM broadcast
Echoes = BBC Transcription LP
Blues = FM broadcast

Once again we feel that we have created a definitive version of this show. We hope that you all enjoy it.

RonToon, MOB, and Big Ed
Harvested Records

Part 1: Link
Part 2: Link
Part 1: Link
Part 2: Link

Wednesday, 14 January 2015

Lightnin' Slim - Rooster Blues (Classic Album US 1960)

Size: 77.2 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

When people talk about Louisiana swamp blues, this is what they're talking about. Excello Records' first foray into albums came with this wonderful collection of singles by Lightnin' Slim largely issued around the success of the title track, an R&B hit in 1960. 

"Long Leanie Mama," "My Starter Won't Work," "It's Mighty Crazy," "Hoo-Doo Blues," "Tom Cat Blues," "Lightnin' Troubles," "G.I. Slim" and "Feelin' Awful Blues" are all certified swamp blues classics and about as lowdown as the genre can get possibly get. 

With Lazy Lester on harmonica for the majority of the tracks here, the stripped-down approach to Slim's brand of blues casts these sides in a decidedly front-porch ambience with the added pulsating tape echo and oddball percussive effects just making everything on here sound even more doom-laden. 

Lightnin' Slim (March 13, 1913 - July 27, 1974) was an African-American Louisiana blues musician, who recorded for Excello Records and played in a style similar to its other Louisiana artists. Blues critic ED Denson has ranked him as one of the five great bluesmen of the 1950s, along with Muddy Waters, Little Walter, Howlin' Wolf and Sonny Boy Williamson.

Lightnin' Slim was born Otis V. Hicks on a farm outside St. Louis, Missouri. moving to Baton Rouge, Louisiana at the age of thirteen. Taught guitar by his older brother Layfield, Slim was playing in bars in Baton Rouge by the late 1940s.

He debuted on J. D. "Jay" Miller's Feature Records label in 1954 with "Bad Luck Blues" ("If it wasn't for bad luck, I wouldn't have no luck at all"). Slim then recorded for Excello Records for twelve years, starting in the mid-1950s, often collaborating with his brother-in-law, Slim Harpo and with harmonica player Lazy Lester.

Slim took time off from the blues for a period of time and ended up working in a foundry in Pontiac, Michigan, which resulted in him suffering from constantly having his hands exposed to high temperatures. He was re-discovered by Fred Reif in 1970, in Pontiac, where he was living in a rented room at Slim Harpo's sister's house. 

Reif soon got him back performing again and a new recording contract with Excello, this time through Bud Howell, the present President of the company. His first gig was a reunion concert at the 1971 University of Chicago Folk Festival with Lazy Lester, whom Reif had brought from Baton Rouge in January 1971.

In the 1970s, Slim performed on tours in Europe, both in the United Kingdom and at the Montreux Jazz Festival in Switzerland where he was often accompanied by Moses "Whispering" Smith on harmonica. He last toured the UK in 1973, with the American Blues Legends package.

In July 1974, Slim died of stomach cancer in Detroit, Michigan, aged 61.

Slim has been cited as a major influence by several contemporary blues artists, including Captain Beefheart, who in a 1987 radio interview with Kristine McKenna, stated that Lightnin' Slim was the only artist he could recommend somebody listening to.

01. Rooster Blues 2:33
02. Long Leanie Mama 2:10
03. My Starter Won't Start 2:50
04. G.I. Slim 2:29
05. Lightnin's Troubles 2:35
06. Bed Bug Blues 2:42
07. Hoo-Doo Blues 2:21
08. It's Mighty Crazy 2:38
09. Sweet Little Woman 2:09
10. Tom Cat Blues 2:44
11. Feelin' Awful Blues 2:58
12. I'm Leavin' You Baby 2:28

Bonus tracks:
13. Bad Luck trouble 2:54 (1956)
14. I'm a Rolling Stone 2:27 (1957)
15. I'm Evil 2:22 (1962)

1. Link
2. Link

Tuesday, 13 January 2015

Rick Derringer - Ford Auditorium 1976-11-17, Detroit (Bootleg)

Thailand EP 1975

Size: 126MB
Bitrate: 256
Found in OuterSpace
Some Artwork Included

Rick Derringer (born Ricky Dean Zehringer; August 5, 1947) is an American guitarist, vocalist, Grammy Award winning producer and entertainer.

Derringer came to prominence in the 1960s as a member of The McCoys, who had a number one hit single with "Hang on Sloopy." Derringer then turned to blues rock, scoring a 1974 hit with "Rock and Roll, Hoochie Koo". He has also worked extensively with brothers Edgar and Johnny Winter, and with the group Steely Dan.

Derringer was born in Fort Recovery, Ohio, the son of Janice Lavine (Thornburg) and John J. Zehringer, a railroad worker. When he was 17, his band The McCoys recorded "Hang on Sloopy" in the summer of 1965, which became the number one song in America before "Yesterday" by The Beatles knocked it out of the top spot. The song was issued by Bang Records. He adopted the Derringer stage name which was inspired by the Bang Records logo which featured a derringer pistol.

After starting The McCoys, he changed the band's name to "The Rick Z Combo", and then "Rick and the Raiders". After recording "Hang on Sloopy", it was decided that the original name was best, and The McCoys were reborn.

One of the first opportunities to see them play live came when they opened for The Rolling Stones on the entire 1966 American tour. Before "Hang on Sloopy", they were seen often at LeSourdsville Lake Amusement Park in southwest Ohio at Friday night WSAI (Cincinnati, Ohio) radio-sponsored dances. They were a part of the local summer dance experience along with Ivan and the Sabers on WING (Dayton, Ohio) radio Monday night dances.

Derringer also recorded and played with a version of Johnny Winter's band called "Johnny Winter And ..." and both Edgar Winter's White Trash and The Edgar Winter Group. He played on The EWG's Grammy-nominated rock instrumental single "Frankenstein", which topped the U.S. Billboard Hot 100 chart for a week starting in May 1973 and sold over one million copies.

Derringer also had a successful solo career, and his solo version of "Rock and Roll, Hoochie Koo" was a hit single in 1973. The years 2013–2014 mark the 40th anniversary of Derringer's first solo tracks on All American Boy released October 15, 1973. The album's success was rated by its record company, "Blue Sky Records", that stated that every college dorm room in America had one. He also recorded extensively with Steely Dan, playing slide guitar on songs including "Show Biz Kids" and "Chain Lightning".

Derringer appeared on Alice Cooper's Killer album in 1971, playing the solo on "Under My Wheels."

In late 1974, Derringer played guitar on Joe Vitale's debut solo album Roller Coaster Weekend produced by The Albert Brothers (Ron, and Howard). The album featured other famous guitarists Joe Walsh and Phil Keaggy.

Derringer opened for Led Zeppelin in Oakland, California on their last American tour in 1977. Derringer was also a featured guitarist on several Todd Rundgren albums in the 1970s, including Something/Anything? (1972), A Wizard, a True Star (1973), Initiation (1975) and the live album Back to the Bars (1978).

Rick Derringer - Ford Auditorium 
Detroit, MI 1976-11-17 
FM Broadcast

 Rick Derringer: Vocals, Guitar
★ Danny Johnson: Guitar, Vocals
★ Kenny Aaronson: Bass, Background Vocals
★ Vinny Appice: Drums

01. Still Alive and Well
02. Let Me In
03. Teenage Love Affair
04. Sailor
05. Beyond The Universe
06. Rock & Roll Hoochie Koo
07. Roll With Me
08. Rebel Rebel
09. Uncomplicated
10. I Just Wanna Keep on Makin Love
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2. Link

Wednesday, 7 January 2015

Pictures of the day...

The United States of America Album - Billboard Magazine Advertise 1968

The Standells Album - Billboard Magazine Advertise 1966

(Open the picture in a NEW WINDOW for 100% size)

Sunday, 4 January 2015

Lucas Sideras - One Day (Progressive Rock ex. Aphrodite's Child 1972)

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Lucas Sideras (Greek: Λουκάς Σιδεράς; 5 December 1944, Athens), is the former drummer of the Greek progressive rock band Aphrodite's Child.

He started playing drums at the age of 13. By the time he was 15 years old he started playing drums with several bands in Athens. Later on he met Vangelis and Demis Roussos, they formed Aphrodite's Child. In 1967 they signed with Mercury Records in France and they release three albums: End of the world (which includes the song "Rain and Tears"), It's Five O'Clock and 666, the latter of which sold 20 million copies worldwide.

Lucas Sideras is ex-drummer of the Greek Progressive Band Aphrodite's Child. One Day is the first solo album from Lucas Sideras, is a nice album. In this album play also A.Koulouris the ex-guitaris of the Aphrodite's Child and S.Spanoudakis.

After Aphrodite's Child split up in 1972, Lucas began to compose his own music and released his first solo album, One Day with Polydor-France, selling 28.000 copies. In 1974 Lucas released another solo album, Pax Spray, that sold 45.000 copies.

Sideras was also active as a producer. In 1975 he produced the album Alba for Riccardo Cocciante which hit #1 in Italy’s charts. In 1979 he produced the album Love's Fool for Sigma Fay, selling 75.000 copies. In 1981 he produced the album Dead Line for Sigma Fay, which sold 52.000 copies. In 1984 he produced the single "You're the Drug in My Life" for Sigma Fay, sold 34.000 copies.

In 1977 Sideras formed the group Ypsilon with Lakis Vlavianos and Dimitris Katakouzinos. They released an album Morning Sunrise, which sold 75.000 copies and followed this in 1984 with Alien child, which sold 60.000 copies.

In 1987 he formed the blues-rock band Diesel with Sigma Fay and Yanis Drolapas. The band was together for ten years and appeared regularly as a live act and in jamming sessions but their sole release was the 1995 album Diesel. Whilst with the band Sideras also composed music for several documentaries and advertisements in his studio.

In 2005 he formed the blues-rock band Los-Tres with Simos Kokavesis and Bary Zealy and they have appeared live numerous times. In 2008 Sideras released a solo album Stay With Me which he composed arranged and produced in his studio.

Lucas Sideras - Drums, Percussion, Piano, Vocals
 Anargyros "Silver" Koulouris - Guitar
 Stamatis Spanoudakis - Bass Guitar, Keyboards
 George Pentzikis - Backing vocals, Bass Guitar, Flute, Guitar, Organ, Piano
 Vlassis Bonatsos - Backing vocals, Percussion, Vocals
 Derek Wilson - Drums
 Franco Di Stefano - Drums
 Luciano Ciccaglione - Guitar

01. And I Cry 04:02
02. Lady 03:35
03. Rising Sun 05:00
04. I Was About To Die 04:05
05. One Day 03:40
06. Enough To Care 06:32
07. Zig-Zag 05:30
08. Do It 04:50
09. Saving Grace 02:00
1. Link
2. Link