Saturday, 25 July 2015

Video of the week

Captain Foam and the Doctor was a two piece band out of Canton Ohio from 1967 till probably around 70. Richard Bertram played all guitars and Mike O'brien was on drums. Ritchard previously had led Lord Ritchie and the Mariners, and Mike O'Brien had been in the Angry and The 18th Century. Captain Foam was probably the loudest band ever live.'

Captain Foam was a Extremly loud Heavy Psych/Heavy rock band. This song is of the A side of their very rare sought after single from 1968 . Anyone who knows a member of the band is welcome to get it touch. Rumour has it that Captain Foam played a 45 min version of Crossroads live..


Thursday, 16 July 2015

Not to be missed: Pentagram - All Daze Here 1972-76 (Very Good Hardrock)

Size: 237 MB
Bitrate: 256
Ripped By: ChrisGoesRock
Artwork Included

Compilation of early material from this hard rocking Sabbath influenced American underground metal band. Mostly unreleased tracks from the first period of this long lived but under recorded outfit. Fairly lo-fi stuff recorded live with some demos and with the first single included, the songs stand up well and the guitar playing is excellent. It is surprising they didn't generate more success. Stand out for me is ":Starlady" with a stunning piece of guitar work that give me goose bumps.Overall rating 4.5/5

The album starts with three of the five songs that came from their March ’73 recording sesh and gives the album its real coherence. However, the album hits its peak later on, so give it time if this stuff don’t smoke thy pole immediately. ‘Forever My Queen’ opens up just like Bang doing Sabbath in that remedial Bleib Alien-meets-‘Future Shock’-style, a grunge-a-holic trawl through the lowest grade of Iommi riffs. Vincent McAllister solos wildly and inappropriately all through and then it just… fades and fucks off in my favourite kind of AM radio fade – 3 secs max. Then, off into the next under 3-minutes bliss of ‘When the Screams Come’, complete with Bill Wardian bibles-at-the-sofa drum fills and Sabbalong time changes. 

Man, these guys are screaming out for an LP of their own but there’s not even bones for these dogs! And slowly out of the mists comes the sub-Joy Division/E Pluribus Sabbalong of ‘Walk in the Blue Light’ in which Vincent McAllister exposes his bassist-turned-guitar hero provenance with another Bleib Alien riff you always thought Ace Frehley woulda been knocking out before his Kiss days (not true, I’m sure). In fact, that whole Roky Erikson/Bobby Liebling thing that the Swedish band Witchcraft had going really manifests here in the atmosphere of ‘Walk in the Blue Light’, enjoying a real soaring clarity and openness that Sabbath obviously never approached because of their ubermetal groovelessness. 

Greg Mayne RICKENBACKER BASS Then, ‘Starlady’ kicks in from three years later and weez talking about a totally different, blazing, auspicious rock experience that sounds like a band that’s huge. Gone is the autistic, post-adolescent in-yer-boots vibe to be replaced with a Horned God confidence that screams and struts. Also, here we gotta nutha extra guitarist called Marty Iverson, who adds considerable weight to the sound and pushes the whole Pentagram trip into a Dust-as-played-by-Montrose experience even something like the Australian UGLY THINGS period of MC5/Yardbirds influenced groups. I know I keep punishing the Dust metaphors but Leibling’s voice is uncannily like Richie Wise’s at times. 

Track 5 is that classic ‘Lazylady’ 7” they recorded a year before as Macabre, and comes on with another ‘Walk in the Blue Light’ morons-on-the-frontier riff (play ‘em back to back – they’ze virtually the same fucking riff: excellent) over an Ace Frehley’s ‘Shock Me’/’Dark Light’-style throw away vocal that meets dirty Frank Zappa around the time of OVERNIGHT SENSATION (though this sucker is a year before that Mothers’ LP) – extremely charming and funny too. This is the toon in which Liebling disses his chick and kicks her out so she buys up the whole apartment block he lives in and has him kicked out, too. Nice.

‘Review your Choices’ is the fourth track from that same session that spawned the first three tracks on this disc. Again, we’re deep in Sabbath territory both lyrically and in its per-riffery. Sounds like Liebling never leaves the first four frets for his songwriting and Vincent McAllsiter is a committed ex-bass player when it comes to copping then staying true to the Liebling lick. He also exceeds at soloing like a flayling moron between each vocal delivery. Satan’s coming round the bend in this one, and there’s a man with a pitchfork, and.. oh whatever, I obviously suck this dung into every orifice with more gusto than most, or you wouldn’t be getting it served up as Album of the Month. Two months after that main sesh came the same Boffo Socko alias 7” ‘Hurricane’ that appears on GUITAR EXPLOSION 2, and is just Hendrix-filtered through Iommi’s week old socks. Deeply excellent, relentless, by numbers and irksome that it ain’t internationally known. A quick 2.05 classic, fade and outtahere. 

Then it’s time for two of the three best tracks on the whole record, and both recorded in their rehearsal with sometime extra guitarist Randy Palmer. ‘Living in a Ram’s Head’ (excellent fucking title, Herr Liebling) has a steaming incessant freight train quality you wanna keep playing over and over and over. Man, if they got more of this rehearsal room stuff in the can, clue me druids, I gots to know! The following track is ‘Earth Flight’ which coulda be spunked out in the late 1960s and appeared on PEBBLES VOLUME 5, or UGLY THINGS, or any classic hard rock LP of the time. Monstrous and full of demons, and worthy of ripping off forever. ’20 Buck Spin’ is the final one of the five track session from March 1973, and man does it smoke my unyielding pole. Vincent McAllister is as good here as he is rock in that photo of him you can see in the review. And that SG is more burning here that Iommi’s ever was (honest!) AND this guy never has to resort to soloing OVER his solos as Iommi did countless times (whaddya mean, I cain’t diss Iommi? Only after 20 years did Iommi’s solos become classic through sheer overplaying and I’ll challenge any non-motherfucker to disprove my unhasty assertion!) Someone should release these five tracks as 7” 33RPM European-style pic sleeve maxi single just so we can judge Pentagram on a contemporary 1973 level and understand the songs in context. This band will surely be revisited again and again in the next few years and will, like lost greats such as the Blue Things and the Swamp Rats, become an accepted part of Rock’s great canon like the little glitch that held that first LP up weren’t fucking owt at all. 

Geof O'Keefe DRUMS‘Be Forewarned’ is up next. What do I say? I been listening to this on heavy rotation for 21 years and it is demented and suffused with the kind of incandescant glow that marks it out as the work of the great. Batman-meets-Lucifer Sam-as-played-by-Heavy period Love is not exactly obvious, kiddies, and I think we see here the reason that Fleetwood Mac’s ‘The Green Manalishi’ influenced everyone (except its own writer): it has that LOVE IT TO DEATH interweaving minor key dervish quality that we all try to cop, but rarely even glimpse. 

Then, we conclude with Pentagram’s finest hour by about ten bazzillion miles. ‘Last Daze Here’ is a beautiful, gleaming jewel of a death trip, with Bobby singing like he’s staring out of some spectacular ice palace and ain’t never coming back to the real world. He’s Mithra trapped in the mountain, he’s Loki with the poison reigning down on him,, but there ain’t nobody there to wipe it away in this particklier scenario. This song is imbued with a sense of tragedy you rarely hear in heavy rock. For those who don’t quite get it… whatever. But if you ever approached that post-everything vacuum, that empty cathedral in your head, that hollow, unspeaking, unblinking, unhuman emotionless inertia that even Iggy could only hint at in the flatness of ‘Sick of you’ then you truly NEED NEED NEED this song in your life. If Pentagram had only done this one song and been killed in a plane crash thereafter, we’d still be celebrating it 50 years from now. And when Bobby takes it down from his dazed almost whispered tenor to flat shark-eyed semi-spoken baritone and states: ‘Said it’s bin a little bit too long’, you feel the ice melt, then re-freeze instantly, and you know in that moment how tragic human life is, how intolerably short human life is, how the moments of adolescence that resurface in adult life must be celebrated and further celebrated, then howled about, shrieked out, screamed out… man, we are dead and in the fucking ground for so long… No No No No No No No… Gimme Life and gimme the six minutes of this toon on endless rotation.

Although PENTAGRAM did not officially form until 1971, the beginnings of the band date back to 1970, when vocalist Bobby Liebling joined Washington DC area band, SPACE MEAT, who then changed their name to STONE BUNNY. Aside from Liebling, the line-up featured John Jennings (guitar), Greg Mayne (bass) and Geof O'Keefe (drums), all of whom later turned up in PENTAGRAM. STONE BUNNY only stayed together for a few months because Liebling's harder vocal style wasn't right for Jennings' often melodic material, and they parted ways with the Jennings/Mayne/O'Keefe trio reverting back to the moniker SPACE MEAT before splitting up a brief time later. 

In the fall of 1971, Liebling and O'Keefe decided to pool their talents and form a band that could play originals in the heavy style they both loved. In addition to Liebling (vocals) and O'Keefe (switching to guitar), the very first line-up featured Vincent McAllister (bass), and Steve Martin (drums). They began working up original material influenced by their idols including Blue Cheer, The Frost, The Groundhogs, Stray, and Sir Lord Baltimore, and yet even in this embryonic phase, the sound was uniquely PENTAGRAM. After a month, John Jennings returned to the fold giving the band a twin-guitar style of groups like Wishbone Ash and Thin Lizzy but it soon became apparent that further fine-tuning was needed. Martin's jazz-influence style wasn't right for the heavy direction the band wanted to go in, and so O'Keefe returned to the drums. This sadly unrecorded Mark III line-up of Liebling/Jennings/McAllister/O'Keefe lasted for all of one rehearsal which blew everyone away, but later that evening, Jennings phoned O'Keefe and said he really didn't want to play heavy hard rock, leaving the remaining three members disappointed and without a guitarist. 

The trio soldiered on briefly with Liebling playing rudimentary guitar so they could at least keep working on material until one day when bassist McAllister suggested he try playing guitar. Liebling and O'Keefe figured they had nothing to lose and after a few numbers, realized there had been a guitar hero posing as a bassist in the line-up all that time! They were blown away by his Leigh Stephens-styled soloing, wild and raw. It was just what they needed. O'Keefe promptly phoned his former SPACE MEAT pal bassist Greg Mayne (who also was a friend of Vincent's to begin with, living in the same area) and on Christmas day 1971, the classic "original line-up" of PENTAGRAM was born, although technically it was the 4th version of the band. They rehearsed as often as possible for three to four hours a night at a bulk mailing warehouse in Alexandria, VA where O'Keefe's dad was an executive. Just before the band's first promotional-only single, "Be Forewarned"/"Lazy Lady" was to be pressed in the summer of 1972, the band decided to avoid the potential controversy of being labelled a 'satanic' band and changed their name to MACABRE. Subsequently realizing people had difficulty correctly pronouncing that word (Muh-cah-bra), they went through a number of other names such as VIRGIN DEATH and WICKED ANGEL before finally and permanently reverting back to PENTAGRAM. They played their first live gig on December 8th, 1973 at Montgomery Junior College in Maryland. This Liebling/McAllister/Mayne/O'Keefe line-up remained constant (with the exception of two additions) until late 1976. 

Product Description
Before the name was even coined, Legendary D.C. outfit PENTAGRAM was helping to invent the beast called heavy metal. For over thirty years the band, led by eccentric founder and vocalist Bobby Liebling, has remained true to its vision of songcraft in the macabre art. This unwavering dedication has influenced scores of renowned musicians some three decades on, and the legacy grows stronger with each passing year. First Daze Here Too is a brand new 2-disc set containing rare and unreleased studio recordings and live rehearsals from the early 70's. A deluxe 28-page booklet includes lyrics, detailed historical liner notes by drummer Geof O'Keefe and scores of never-before-seen PENTAGRAM photography! First Daze Here Too is 22 tracks of vintage PENTAGRAM classics from the vaults of the influential and critically-acclaimed D.C. legends!!! The legend lives on! 

Disc 1:
01. Forever My Queen (1973)
02. When the Screams Come (1973)
03. Walk in the Blue Light (1973)
04. Starlady (1976
05. Lazylady (1972)
06. Review Your Choices (1973)
07. Hurricane (1973)
08. Livin’ in a Ram’s Head (1974)
09. Earth Flight (1974)
10. 20 Buck Spin (1973)
11. Be Forewarned (1972)
12. Last Days Here (1974)

Disc 2:  
01. Wheel of Fortune  
02. When the Screams Come  
03. Under My Thumb  
04. Smokescreen  
05. Teaser  
06. Little Games  
07. Much Too Young to Know
Disc 3: 
01. Virgin Death  
02. Yes I Do  
03. Ask no More  
04. Man  
05. Be Forewarned  
06. Catwalk  
07. Die in Your Sleep  
08. Frustration  
09. Target  
10. Everything's Turning To Night  
11. Take me Away  
12. Nightmare Gown  
13. Cartwheel  
14. Cat & Mouse  
15. Show 'Em How  

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

Tuesday, 14 July 2015

McDonald & Sherby - Catharsis (Heavy Guitar Driven Psych US 1974)

Size: 83.8 MB
Bitrate: 256
Ripped By: ChrisGoesRock
Artwork Included

"McDonald & Sherby's"  sole contribution to the canon of 20th century music was Catharsis, an album which originally appeared on the appropriately-named Omniscient label (Omniscient Records 1426S) Some have speculated that given the band's prog/psych leanings, Catharsis was probably recorded in the '70s, although the accepted wisdom is that the album was made at Minneapolis's Sound 80 Studios on 1969. The album consists of six long tracks with a decidedly heavy guitar-based vibe, all well- recorded and delivered with considerable aplomb."

"Latest offering in our series of Christian titles, this time from those noted style gurus, McDonald & Sherby, whose sole contribution to the canon of 20th century music was Catharsis, an album which originally appeared on the appropriately-named Omniscient label (Omniscient Records 1426S) Some have speculated that given the band's prog/psych leanings, Catharsis was probably recorded in the '70s, although the accepted wisdom is that the album was made at Minneapolis's Sound 80 Studios on 1969. 

The album consists of six long tracks with a decidedly heavy guitar-based vibe, all well- recorded and delivered with considerable aplomb. 

A guitar-based progressive album recorded at Sound 80 in Minneapolis. Though undated, the record sounds of a mid-seventies vintage, not dissimilar to fellow Great Lakes prog rockers Kopperfield."

*** I was in this band, and was shocked to find it here! It was indeed recorded at Sound 80 in Minneapolis, but the year is 1974 - not 1969. (In 1969 I was only in the 9th grade, and living in Japan.)

01. Addoranne - 10.06
02. Sharks Around Blood - 5.27
03. Run And Hide - 4.17
04. Space Beam - 4.35
05. Swim Free - 15.01
06. Drivin´ Me Crazy - 5.18 

1. Link
2. Link

McDonald & Sherby - Space Beam (US 1974)

Sunday, 12 July 2015

The Next Morning - Selftitled (Jimi Hendrix Infl. US Heavy 1971)

Size: 64.3 MB
Bitrate: 256
Ripped By: ChrisGoesRock
Artwork Included

A wickedly rare phase 'n' fuzz fueled slice of psychedelia circa 1970! - featuring ripsnorting guitar-work by Bert Bailey- these guys were Caribbean immigrants (four from Trindad, one from the Virgin Islands) and they idolized the Who and Jimi Hendrix.

African-American psychedelic groups, and rock bands from Trinidad, were both uncommon items around 1970. The Next Morning fit into both categories, making them an interesting curiosity regardless of their music. The music, however--average 1970 hard-rock with soul, hard rock, and psychedelic influences, particularly from Jimi Hendrix--is not as unusual as their origins. 

Rock And Roll, Here To Stay!, Ann Arbor Sun, May 7, 1971
One would not suspect from listening that the group were largely from Trinidad, with the proliferation of heavy, bluesy guitar and organ riffs, and the strained soul-rock vocals of Lou Phillips. They recorded one album, released in 1971, that received little notice before their breakup. 

The Next Morning formed in the late 1960s in New York, four of the five members having come to the city from Trinidad; Lou Phillips was from the Virgin Islands. Jimi Hendrix was a big influence on the band, as were some other hard rock acts of the period like the Who, and rock-soul hybrids like Sly Stone and the Chamber Brothers. 

The Next Morning were busy on the New York club circuit and attracted attention from Columbia Records, but ended up signing to the smaller Roulette label, whose Calla subsidiary issued their lone, self-titled LP in 1971. 

Although the jagged guitar sounds of Bert Bailey and some unexpected chord shifts made the album less pedestrian than some efforts in the style, the songs tended toward the long and meandering side, and the material was not as outstanding as their influences. 

The Next Morning's career sputtered out in the early 1970s, with bassist Scipio Sargeant finding some work doing horn arrangements for Joe Tex and Harry Belafonte. The Next Morning album was reissued on CD by Sundazed in 1999. 

01. The Next Morning 4:57
02. Life 2:57
03. Changes Of The Mind 6:01
04. Life Is Love 5:34
05. Back To The Stone Age 5:26
06. Adelane 2:51
07. A Jam Of Love 4:24
08. Faces Are Smiling 6:29 

1. Link
2. Link

Wednesday, 8 July 2015

Can - BBC In Concert London 1973 (Bootleg)

Size: 133 MB
Bitrate: 320
Found in Outer Space
Artwork Included

"Can" was a German experimental rock band formed in Cologne, West Germany, in 1968. Later labeled as one of the first krautrock groups, they transcended mainstream influences and incorporated strong minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music.

Can constructed their music largely through collective spontaneous composition—which the band differentiated from improvisation in the jazz sense—sampling themselves in the studio and editing down the results; bassist/chief engineer Holger Czukay referred to Can's live and studio performances as "instant compositions". They had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. Through albums such as Monster Movie (1969), Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973), the band exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music.

Early years: 1968–1970
The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol, Hotel Chelsea and, perhaps most importantly, the Velvet Underground. In his own words, the trip "corrupted" him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.

       “When I founded the group I was a classical composer and conductor and pianist making piano recitals, playing a lot of contemporary music but also Brahms, Chopin and Beethoven and everything. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new. It was, in a way, much newer than the new classical music which claimed to be 'the new music'.”

Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. In fact, both Schmidt and Czukay had directly studied under the influential composer Karlheinz Stockhausen. Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by guitarist Michael Karoli, a 19-year-old pupil of Czukay, and drummer Jaki Liebezeit, who had grown disenchanted with his work in free jazz groups. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of 1968.

The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit subsequently suggested the backronym "communism, anarchism, nihilism" for the band's name. In mid-1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom. Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie, released in 1969. This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Other material recorded around the same time was released in 1981 as Delay 1968. Mooney's bizarre ranting vocals emphasized the sheer strangeness and hypnotic quality of the music, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the epic "Yoo Doo Right", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music.

Mooney returned to America soon afterwards on the advice of a psychiatrist, having been told that getting away from the chaotic music of Can would be better for his mental health.[5] The liner notes of Monster Movie claim that Mooney suffered a nervous breakdown ("caught in a Can groove"), shouting "upstairs, downstairs" repeatedly. He was replaced by the more understated Kenji "Damo" Suzuki, a young Japanese traveller found busking outside a Munich café by Czukay and Liebezeit. Though he only knew a handful of guitar chords and improvised the majority of his lyrics (as opposed to committing them to paper), Suzuki was asked to perform with the band that same night. The band's first record with Suzuki was Soundtracks, released in 1970, a compilation of music made for films that also contained two earlier tracks recorded with Mooney. Suzuki's lyrics were usually in English, though sometimes in Japanese (for example, in "Oh Yeah" and "Doko E").

Classic years: 1971–1973
The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining each other), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return."

In 1971 the band composed the music for the three-part German-language television crime mini-series Das Messer ("The Knife"), directed by Rolf von Sydow.

Tago Mago was followed in 1972 by Ege Bamyasi, a more accessible but still avant-garde record which featured the catchy "Vitamin C" and the Top 10 German hit "Spoon". Czukay: "We could achieve an excellent dry and ambient sound... [Ege Bamyasi] reflects the group being in a lighter mood."

It was followed by Future Days in 1973, which represents an early example of ambient music, as well as including the pop song "Moonshake". Czukay: "'Bel Air' [the 20 minute-long track which took up the whole of side two on the Future Days original vinyl LP] showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting."

Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah's Witness. Vocals were taken over by Karoli and Schmidt; however, after the departure of Suzuki, fewer of their tracks featured vocals, as Can found themselves experimenting with the ambient music they had begun with Future Days.

Much of Can's music was based on free improvisation and then edited for the studio albums. For example, when preparing a soundtrack, only Irmin Schmidt would view the film and then give the rest of the band a general description of the scenes they would be scoring. This assisted in the improvised soundtrack being successful both inside and outside the film's context. Also, the epic track "Cutaway" from Unlimited Edition demonstrates how tape editing and extensive jamming could be used to create a sound collage that doesn't gel perfectly, and that the flashes of genius in the improvisation needed to be cut from long, unconsolidated recordings.

Can's live shows often melded spontaneous improvisation of this kind with songs appearing on their albums. The track "Colchester Finale", appearing on the Can Live album, incorporates portions of "Halleluhwah" into a composition lasting over half an hour. Early concerts found Mooney and Suzuki often able to shock audiences with their unusual vocal styles, as different as they were from one another; Suzuki's debut performance with Can in 1970 nearly frightened an audience to the point of rioting due to his odd style of vocalizing.[citation needed] The actor David Niven was amongst the crowd who remained to hear what Can and Damo would do next. Asked later by Czukay what he had thought of the music, Niven replied: "It was great, but I didn't know it was music." After the departure of Suzuki, the music grew in intensity without a vocal centre. The band maintained their ability to collectively improvise with or without central themes for hours at a time (their longest performance, in Berlin, lasted over six hours), resulting in a large archive of performances.

Can made attempts to find a new vocalist after the departure of Damo Suzuki, although no one quite fit the position. In 1975, folk singer Tim Hardin took the lead vocal spot and played guitar with Can for one song, at two gigs, performing his own "The Lady Came From Baltimore". Malaysian Thaiga Raj Raja Ratnam played four dates with the band between January and March 1976, all of which were recorded, and did considerable studio work with them. Another vocalist, Englishman Michael Cousins, toured with Can in March (France) and April (Germany) 1976. Audiences in France disapproved of his presence and literally spat at him while on stage. There are eight recordings of Cousins performing with the band.

BBC Radio 1: 'In Concert' FM Broadcast
London, Paris Theatre, Recorded: 1973-02-19

Holger Czukay - bass
 Irmin Schmidt - keyboards
 Michael Karoli - guitars, violin
 Jaki Liebezeit - drums
 Damo Suzuki - vocals 

01. "I`m So Green" + "Spoon" (Improvisation) 35:24 
02. "Tatgirdid Janit" 22:16

1. Link
2. Link

Monday, 29 June 2015

Robin Trower - Robin Trower Live! (Great Concert, Stockholm, Sweden 1976)

Size:83.7 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

An excellent recording of a superb 1975 stadium show in Sweden, Robin Trower's Live album is a perfect snapshot of the guitar hero in his prime. The record also gives ample evidence of why the Robin Trower Band was one of the most successful live guitar rock acts of the '70s, highlighting not only Trower's virtuoso Stratocaster licks, but the soulful vocals of bassist James Dewar and the polyrhythmic drumming of Bill Lordan. 

The song selection here is top-notch, the most obvious treat being the perennial Trower classic "Too Rolling Stoned," to which Lordon (who replaced Reg Isadore, drummer on the studio version of the song) contributes a somewhat funkier flavor. The same treatment is given to a blistering take on "Little Bit of Sympathy," which contains moments that recall the legendarily telepathic interplay between Jimi Hendrix and Mitch Mitchell. 

It's a mystery why James Dewar isn't generally recognized as one of the finest blue-eyed soul singers of the '70s, as he is easily as talented and convincing as Paul Rogers or Joe Cocker. Here, he's in excellent form and his vocals on the slow-burning "I Can't Wait Much Longer" are spine-tingling. Although none of the performances stray too far from the songs' studio versions, that fact is part of what makes this album interesting. Live shows the Robin Trower Band to be a quintessential no-frills blues-rock band, capable of kicking serious ass no matter what the setting.

Robin Trower Live is a live album by Robin Trower. Recorded at the Stockholm Concert Hall in Sweden on 3 February 1975 for the Swedish Broadcasting Corporation, it was released on vinyl in 1976, and re-released on CD in 1990, 2000, and 2004. The album entered the US Album Top 10, and reached #23 on the US Chrysalis Album Top 40. In an interview with Guitar Player in May 2006, Trower explained that the band was not aware the show was being taped, thinking they were playing for a radio broadcast only. Hence, he says, "We were loose and uninhibited, and we played one of our best shows."

Throughout his long and winding solo career, guitarist Robin Trower has had to endure countless comparisons to Jimi Hendrix, due to his uncanny ability to channel Hendrix's bluesy/psychedelic, Fender Strat-fueled playing style. Born on March 9, 1945, in Catford, England, Trower spent the early '60s playing guitar in various London based outfits; the most successful one being the R&B group the Paramounts, who specialized mostly in covers, but managed to issue several singles between 1963 and 1965. It wasn't until 1967 that Trower received his big break however, when he joined Procol Harum. The group had just scored a worldwide smash hit with "A Whiter Shade of Pale," but the only problem was that the band's leader, singer/pianist Gary Brooker, didn't have a proper band to back him. Brooker was previously a bandmate of Trower's in the Paramounts, and offered the guitar slot in his new fast-rising project to his old friend. As a result, Trower appeared on such Procol Harum classics as 1967's Procol Harum, 1968's Shine on Brightly, 1969's A Salty Dog, 1970's Home (which spawned the popular Trower tune "Whiskey Train"), and 1971's Broken Barricades.

While Procol Harum helped launch Trower's career, the guitarist realized there was limited space for his guitar work, and eventually left for a solo career. Enlisting singer/bassist James Dewar and drummer Reg Isidore (who was soon replaced by Bill Lordan) as a backing band, Trower issued his solo debut, Twice Removed From Yesterday, in 1973. The album barely left a dent in the U.S. charts, but that would change soon enough with his next release, 1974's Bridge of Sighs. With rock fans still reeling from Hendrix's death a few years earlier, the album sounded eerily similar to the late guitarist's work with the Jimi Hendrix Experience (especially his 1968 release, Electric Ladyland), and as a result, the album sky rocketed into the U.S. Top Ten, peaking at number seven.

Although Bridge of Sighs was to be his most popular solo release, Trower's stock continued to rise throughout the mid-'70s, as he became an arena headliner on the strength of such hit albums as 1975's For Earth Below, 1976's Robin Trower Live!, and Long Misty Days, plus 1977's In City Dreams. Further releases followed, yet by the dawn of the '80s, it became quite obvious that Trower's star was rapidly fading, as each album sold less than its predecessor. A brief union with ex-Cream bassist/vocalist Jack Bruce spawned a pair of releases, 1981's B.L.T. and 1982's Truce, before Trower returned back to his solo career.

The '80s saw Trower try and expand his audience with several releases that attempted to update his blues-rock style (such as 1987's slick produced Passion), but none returned the guitarist back to the top of the charts. During the early '90s, Trower returned back to Procol Harum for a brief reunion (1991's Prodigal Stranger), before backing ex-Roxy Music singer Bryan Ferry on a few releases (1993's Taxi and 1994's Mamouna, the latter of which Trower earned a co-producer credit for). Trower continued to issue solo albums in the 21st century (2000's Go My Way), while a steady stream of live sets and compilations appeared. Trower returned to work with Ferry once more on 2002's Frantic, again earning a production credit. Reassembling most of his late-'80s band, Trower released Living Out of Time in 2004 and returned with Another Days Blues in late 2005. What Lies Beneath appeared in 2009 from V-12 Records.

* Robin Trower – guitar
* James Dewar – bass, vocals
* Bill Lordan – drums

01. "Too Rolling Stoned"  06:50
02. "Daydream"  08:02
03. "Rock Me Baby"  06:01
04. "Lady Love"  03:15
05. "I Can't Wait Much Longer"  07:07
06. "Alethea"  04:11
07. "Little Bit of Sympathy" 05:55

1. Link
2. Link

Sunday, 21 June 2015

Loggins and Messina - Selftitled (Great 2nd Rock Album US 1972)

Size: 81.3 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Loggins and Messina is the second album by singer/songwriters Loggins and Messina, released in 1972.

Following on the success of their first album, this album built on the strengths of their debut outing. It also became the true introduction of the team, Loggins and Messina, not as singles playing together, but rather as a team that played as one.

It featured two songs that charted, with "Your Mama Don't Dance" reaching its peak at #4, their highest charting single. The album itself charted at #16. The album version of "Thinking of You" is a different recording than the hit single. Kenny Loggins played harmonica on more than one song: "Whiskey", "Long Tail Cat", "Thinking of You" and the Jim Messina-penned instrumental "Just Before the News", making it the duo's only album to have harmonica on more than one song.

The first full-fledged L&M album found the duo in good form as songwriters, with Messina turning in the sparkling "Thinking Of You," and the two collaborating on the hit single "Your Mama Don't Dance" and "Angry Eyes." Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young.

Kenny Loggins and Jim Messina were the most successful pop/rock duo of the first half of the '70s. Loggins was a staff songwriter who had recently enjoyed success with a group of songs recorded by the Nitty Gritty Dirt Band when he came to the attention of Messina, a record producer and former member of Buffalo Springfield and Poco. 

Messina agreed to produce Loggins' first album, but somewhere along the way it became a duo effort that was released in 1972 under the title Kenny Loggins with Jim Messina Sittin' In. The album was a gold-seller that stayed in the charts more than two years.

Loggins & Messina In the next four years, Loggins & Messina released a series of gold or platinum albums, most of which hit the Top Ten. They were all played in a buoyant country-rock style with an accomplished band. Loggins & Messina (1972) featured the retro-rock hit "Your Mama Don't Dance." Full Sail (1973), On Stage (a double live album, 1974), and Mother Lode (1974) all hit the Top Ten. So Fine was an album of '50s cover songs. The pair's last new studio album, Native Sons, came out at the start of 1976.

The Best of FriendsLoggins & Messina split for two solo careers by the end of that year, their early catalog completed by a greatest-hits album, Best of Friends, and a live record, Finale. The duo reunited in 2005 and hit the road for a summer tour while the compilation The Best: Sittin' in Again was arriving in stores. The tour itself was documented on Live: Sittin' in Again at Santa Barbara Bowl, which appeared late in the year.

Loggins and Messina is an American rock-pop duo consisting of Kenny Loggins and Jim Messina who achieved their success in the early to mid-1970s. Among their well-known songs are "Danny's Song", "House at Pooh Corner", and "Your Mama Don't Dance". After selling more than 16 million records and becoming one of the leading musical duos of the 1970s, Loggins and Messina broke up in 1976. Although Messina would find only limited popularity following the breakup, Loggins went on to be a 1980s hitmaker. In both 2005 and 2009, Loggins and Messina have rejoined for United States tours.

Jim Messina, formerly of Poco and Buffalo Springfield, was working as an independent record producer for Columbia Records in 1970 when he met Kenny Loggins, a little-known singer/songwriter and guitarist who was signed to ABC-Dunhill as a staff songwriter.

The two recorded a number of Loggins' compositions in Messina's home living room. When Columbia signed Loggins to a six-album contract (with the assistance of Messina), recording began in earnest for Loggins' debut album, with Messina as producer. Messina originally intended to lend his name to the Loggins project only to help introduce the unknown Loggins to Messina's well-established Buffalo Springfield and Poco audiences. But by the time the album was completed, Messina had contributed so much to the album - in terms of songwriting, arrangement, instrumentation, and vocals - that an "accidental" duo was born.

Their debut album was released November 1971 as Sittin' In. The album's first single release, the Caribbean-flavored "Vahevala" (or "Vahevella"), found top 3 success on WCFL on 18 May 1972. Although the album went unnoticed by radio upon release, it eventually gained traction by autumn 1972, particularly on college campuses, where the pair toured heavily. Loggins' and Messina's harmonies meshed so well that what was begun as a one-off album became an entity unto itself. Audiences regarded the pair as a genuine duo rather than as a solo act with a well-known producer. Instead of just continuing to produce Loggins as a sole performer, they decided to record as a duo – Loggins & Messina.

"When our first album, 'Sittin' In,' came out, we started receiving a lot of excitement about the music and good sales," Messina recalled in 2005. "We had a choice. It was either I now go on and continue to produce him and we do the solo career or we stay together and let this work. For me, I did not desire to go back out on the road. I had had enough of that, and I wanted to produce records. But Clive Davis (then president of the record company) intervened and said, 'You know, I think you'd be making a mistake if you guys didn't take this opportunity. Things like this only happen once in a lifetime. It may merit you sleeping on it overnight and making a decision that will be in your best interest.' He was absolutely correct. Kenny made the decision as well. It delayed his solo career, but it gave him an opportunity, I think, to have one."

Messina assembled The Kenny Loggins Band by summoning old friends bassist Larry Sims and drummer Merel Bregante, formerly of The Sunshine Company, multireedist Jon Clarke, violinist/multireedist Al Garth and famed Grammy-winning keyboardist, songwriter and record producer Michael Omartian, who played on the debut album, but did not join them on tour, although he played keyboards on the second and third albums. Los Angeles-based session percussionist Milt Holland played on each of the duo's studio albums, but like Omartian, he did not tour with them either.

Over the next four years they produced five more original albums, plus one album of covers of other artists' material, and two live albums. They sold 16 million records and were the most successful duo of the early 1970s, surpassed later in the decade only by Hall & Oates. Their work was covered by other artists such as Lynn Anderson who recorded "Listen to a Country Song" released in 1972 and reached #3 on the charts, and perhaps most notably Anne Murray, who reached the U.S. top ten with "Danny's Song" in early 1973 and the U.S. top twenty with "A Love Song" in early 1974. A greatest-hits album, The Best of Friends, would be released a year after the duo had separated. The later studio albums often found both Loggins and Messina more as two solo artists sharing the same record rather than as a genuine partnership. As both Loggins and Messina noted in 2005, their collaboration eventually became more a competition - a frequent, almost-inevitable dynamic of show business duos.

Never really a team of true equals due to the "teacher/apprentice" nature of their music experience levels, the pair had by early 1976 quietly, amicably parted to pursue solo careers, following the release of Native Sons. Prior to the duo's final tour, Loggins accidentally cut his hand with a craft knife while practicing his wood-carving hobby at home, which required surgery and prevented him from playing guitar for most of their final tour. After a final concert in Hawaii, the duo split and went on to solo careers. Messina found solo success elusive, but Loggins went on to become one of the biggest hitmakers of the 1980s.

The two reunited in 2005 to choose tracks for an expanded compilation album of singles and album cuts The Best: Sittin' In Again, which proved successful enough for them to embark on tour together. Their successful "Sittin' In Again" tour was launched in mid-2005 and played out the remainder of the year. They also released an album that year of the tour. "Every couple of years we'd talk about it, but I was having too much fun as a solo artist," Loggins said that summer. "It was very rewarding for me, and I wasn't ready to share the reins. I still had a lot of stuff to do on my own, to prove myself and to express myself, in a way that wouldn't have fit in with Loggins & Messina."

The two were pleased enough to consider future Loggins and Messina projects and the two also toured in 2009. "Like most relationships, we were a moment in time," Loggins said. "It's just really fun to be able to go back and celebrate that and just sort of really honor each other as grown men, in a way we never really did back then. We were young and competitive and didn't realize that it wasn't necessarily all about getting your way, but you learn that if you grow up."

Their backing band changed from album to album, with the core members listed below. Many albums featured backing members who were well known in their own right, John Townsend and Ed Sanford, later of the Sanford & Townsend Band ("Smoke from a Distant Fire"), contributed vocals and songwriting to the Native Sons, their final studio album.

Kenny Loggins - vocals, rhythm guitar, harmonica, acoustic guitar
 Jim Messina - vocals, lead guitar, electric mandolin, acoustic guitar
 Stephen Stills - vocals
 Merel Bregante - backing vocals, drums
 Lester "Al" Garth - violin, recorder, alto and tenor saxophone
 Michael Omartian - Hammond organ, piano, harmonium, clavinet, tack piano, Wurlitzer electric piano
 Rusty Young - dobro on "Long Tail Cat"
 Jon Clarke - flute, oboe, recorder, baritone saxophone, soprano saxophone, tenor saxophone
 Milt Holland - percussion
 Larry Sims - backing vocals, bass

01. "Good Friend" (Jim Messina) – 04:04 
02. "Whiskey" (Kenny Loggins) – 01:58 
03. "Your Mama Don't Dance" (Loggins, Messina) – 02:48 
04. "Long Tail Cat" (Loggins) – 03:47 
05. "Golden Ribbons" (Messina) – 06:08 
06. "Thinking of You" (Messina) – 02:19 
07. "Just Before the News" (Messina) – 01:09 (instrumental)
08. "Till the Ends Meet" (Loggins) – 03:10 
09. "Holiday Hotel" (Messina, Al Garth) – 02:02 
10. "Lady of My Heart" (Loggins) – 01:44 (lead singer: Kenny Loggins)
11. "Angry Eyes" (Loggins, Messina) – 07:40 

1. Link
2. Link

Friday, 19 June 2015

Some More To Read...

Alexis Korner Part 1
Alexis Korner Part 2
Led Zeppelin Part 1
Led Zeppelin Part 2
Led Zeppelin's new Label
Help Yourself (Band)
(Important (for you) Open the articles in a New window for 100% size)

Thursday, 18 June 2015

The Rolling Stones - It's Only Goat's Head Soup..But We Like It (1974) (Bootleg)

Size: 179 MB
Bitrate: 320
Found in DC++ World
Artwork Included

Ok, collection of song's."it's only rock n roll",sounds like the album version,and,does not sound great on this cd. Lot's of alternate mixes,and,some unreleased song's,for which,you can find on some other bootlegg's. Overall though,this would look good in anyone's collecton! My favorite track on this cd is,"drift away", a dobie gray song, which surprised me when i first heard it! Sound quality for the whole cd, is alright. That's why i give this a 9/10. However, it's great for your collection! Get it!

"It's Only Rock 'n Roll (But I Like It)" is the lead single from English rock band The Rolling Stones' 1974 album It's Only Rock 'n Roll. Writing is credited to Mick Jagger and Keith Richards and the single reached the top ten in the British charts and top 20 in America.

Recorded in late 1973 and completed in the spring of 1974, "It's Only Rock 'n Roll (But I Like It)" is credited to the Rolling Stones songwriting team Mick Jagger and Keith Richards, although future Rolling Stones guitarist Ronnie Wood collaborated with Jagger on it. The song was originally recorded one night in a studio at Wood's house, "The Wick" in Richmond, London. David Bowie was backing singer to Jagger's lead, and Willie Weeks played bass with Kenney Jones on drums. The song on the album is similar to that original recording, with the Stones keeping the original rhythm track.

The meaning of the lyrics was summed up by Jagger in the liner notes to the 1993 compilation Jump Back; "The idea of the song has to do with our public persona at the time. I was getting a bit tired of people having a go, all that, 'oh, it's not as good as their last one' business. The single sleeve had a picture of me with a pen digging into me as if it were a sword. It was a lighthearted, anti-journalistic sort of thing."

The Rollng Stones - German Single 194
“If I could stick my pen in my heart, And spill it all over the stage;
Would it satisfy ya, would it slide on by ya, Would you think the boy is strange? Ain't he strange?”

“If I could win ya, if I could sing ya, a love song so divine,
Would it be enough for your cheating heart, If I broke down and cried? If I cried?
I said I know it's only rock 'n roll but I like it”

“Suicide right on the stage...”

Mick also has said that as soon as he wrote it, he knew it was going to be a single. He said it was his answer to everyone who took seriously what he or the band did. According to Keith there was opposition to it being a single but they persisted, saying it had to be the next single. He said that to him "that song is a classic. The title alone is a classic and that's the whole thing about it."

The Rolling Stones - Japan Single 1974
Released in July 1974, "It's Only Rock 'n Roll (But I Like It)" reached number sixteen in the United States and number ten on the UK Singles Chart. The B-side was the ballad "Through the Lonely Nights", which was not featured on any album until the 2005 compilation Rarities 1971-2003.

The Rolling Stones regularly perform the song in concert, although in a different key from the studio recording: on their concert albums Love You Live (1977) and Live Licks (2004), the number is in B, whereas the studio track is in E. According to Richards, the song was recorded in the wrong key, but they did not realise this until they played it live.

Rolling Stones - "It's Only Goat's Head Soup...but we like it" - Outtakes & Alternates from "It's Only Rock'n'Roll" and "Goat's Head Soup" album, 1972-1974. Source: Audio Quality: Excellent studio recording

01. It's Only Rock 'N' Roll [5:12] (rough mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

02. Ain't Too Proud To Beg [3:51] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios.

03. Winter [5:34] (alternate mix)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

04. Silver Train [4:34] (alternate mix)
1973, 28th May onwards: London, Island Recording Studios. Mixing and overdubbing for the album ‘Goat’s Head Soup’ (partially without KR).

05. Drift Away [4:12] (unreleased song)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

06. Time Waits For No One [6:46] (long version)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

07. Criss Cross Man [4:06] (unreleased song)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

08. Through The Lonely Nights [4:16] (1974 b-side only)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

09. Living In The Heart Of Love [4:13] (unreleased song)
1974, 14th - 28th January: Munich, Germany, Musicland Studios.

10. Too Many Cooks [3:48] (unreleased Mick Jagger solo-single) (The Very Best Of Mick Jagger version)
1973, late December: ALL STAR BAND. Los Angeles, California, The Record Plant. Producer: John Lennon
Line-up: John Lennon (guitar)/Jesse Ed Davis (gtr)/Danny Kortchmar (gtr)/Al Kooper (keyb)/Jim Keltner (dr)/Bobby Keys (sax)/Trevor Lawrence (sax)/Jack Bruce (bass)/Bruce Gary (dr)/Mike Finnegan (keyb)/Wolfgang Metz (bass)/Rocky Djubano (perc)/Harry Nilsson & some unidentified girls (bvoc)

11. Angie [4:39] (rough mix without reverb & 2nd keyboard overdub)
1972, 25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic Sound Studios. 

12. Dance Little Sister [5:03] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

13. Till The Next Goodbye [4:40] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

14. If You Can't Rock Me [3:45] (alternate mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

15. Fingerprint File [7:06] (alternate longer mix)
1974, 10th - 15th April: Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio and 20th - 25th May: London, Island Recording Studios. 

01. Tracks 1, 2, 5, 6, 12, 13, 14, 15 were recorded at Newbury, England, Stargroves (MJ’s house), Rolling Stones Mobile Studio (1974, April 10th - 15th) and London, Island Recording Studios (1974, May 20th - 25th)

02. On April 1974, the Stones were in England (Newbury & London), not in Munich.

03. The Stones were in Munich on January (14th - 28th) recording early versions and primitive takes of Dance Little Sister, Drift Away, If You Really Want To Be My Friend, Living In The Heart Of Love, Luxury, Till The Next Goodbye, Time Waits For No One, Labour Swing, but I don't think any of the CD tracks are early versions or primitive takes.

04. The Stones were again in Munich on December (7th - 15th) (without Mick Taylor!), but they did not play any of the tracks from this CD. In fact, they played Act Together, Cherry Oh Baby, Fool To Cry, I Got A Letter.

The Rolling Stones - US Promotion Single 1974

The Rolling Stones - It's Only Rock N' Roll 
Original Full Album UK 1974