Size: 164 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Some Artwork Included Janis Joplin was born in Port Arthur, Texas, on January 19, 1943, to Dorothy Bonita East (February 15, 1913 – December 13, 1998), a registrar at a business college, and her husband, Seth Ward Joplin (April 19, 1910 – May 10, 1987), an engineer at Texaco. She had two younger siblings, Michael and Laura. The family attended the Church of Christ. The Joplins felt that Janis always needed more attention than their other children, with her mother stating, "She was unhappy and unsatisfied without [receiving a lot of attention]. The normal rapport wasn't adequate." As a teenager, she befriended a group of outcasts, one of whom had albums by blues artists Bessie Smith, Ma Rainey and Lead Belly, whom Joplin later credited with influencing her decision to become a singer. She began singing in the local choir and expanded her listening to blues singers such as Odetta, Billie Holiday and Big Mama Thornton.
Primarily a painter while still in school, she first began singing blues and folk music with friends. While at Thomas Jefferson High School, she stated that she was mostly shunned. Joplin was quoted as saying, "I was a misfit. I read, I painted, I didn't hate niggers." As a teen, she became overweight and her skin broke out so badly she was left with deep scars which required dermabrasion. Other kids at high school would routinely taunt her and call her names like "pig", "freak", "nigger lover" or "creep". Among her classmates were G. W. Bailey and Jimmy Johnson. Joplin graduated from high school in 1960 and attended Lamar State College of Technology in Beaumont, Texas, during the summer and later the University of Texas at Austin, though she did not complete her studies. The campus newspaper The Daily Texan ran a profile of her in the issue dated July 27, 1962, headlined "She Dares to Be Different". The article began, "She goes barefooted when she feels like it, wears Levis to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break into song, it will be handy. Her name is Janis Joplin."
Cultivating a rebellious manner, Joplin styled herself in part after her female blues heroines and, in part, after the Beat poets. Her first song recorded on tape, at the home of a fellow University of Texas student in December 1962, was "What Good Can Drinkin' Do". She left Texas for San Francisco ("just to get away from Texas", she said, "because my head was in a much different place") in January 1963, living in North Beach and later Haight-Ashbury. In 1964, Joplin and future Jefferson Airplane guitarist Jorma Kaukonen recorded a number of blues standards, further accompanied by Margareta Kaukonen on typewriter (as a percussion instrument). This session included seven tracks: "Typewriter Talk", "Trouble in Mind", "Kansas City Blues", "Hesitation Blues", "Nobody Knows You When You're Down and Out", "Daddy, Daddy, Daddy" and "Long Black Train Blues", and was later released as the bootleg album The Typewriter Tape. Around this time, her drug use increased, and she acquired a reputation as a "speed freak" and occasional heroin user. She also used other psychoactive drugs and was a heavy drinker throughout her career; her favorite beverage was Southern Comfort.
In early 1965, Joplin's friends in San Francisco, noticing the physical effects of her intravenous methamphetamine habit (she was described as "skeletal" and "emaciated"), persuaded her to return to Port Arthur, Texas. In May 1965, Joplin's friends threw her a bus-fare party so she could return home. Five years later, Joplin told Rolling Stone magazine writer David Dalton the following about her first stint in San Francisco: "I didn't have many friends and I didn't like the ones I had." For at least six months after she returned to her parents' home in Port Arthur, she regularly corresponded by mail with Peter de Blanc, with whom she had been romantically involved in San Francisco. De Blanc, a year and ten months her junior, was a well-educated New Yorker. Shortly after he and Joplin both moved away from San Francisco and their beatnik lifestyle, de Blanc was hired by IBM to work with computers at the company's location in East Fishkill, New York, and Joplin's letters reached him at his New York home.
Back in Port Arthur in the spring of 1965, Joplin changed her lifestyle. She avoided drugs and alcohol, adopted a beehive hairdo, and enrolled as an anthropology major at Lamar University in nearby Beaumont, Texas. During her time at Lamar University, she commuted to Austin to perform solo, accompanying herself on guitar. One of her performances was at a benefit by local musicians for Texas bluesman, Mance Lipscomb, who was suffering from major health problems. Another of her performances was reviewed in the Austin American-Statesman. Joplin became engaged to Peter de Blanc in the fall of 1965. Now living in New York where he worked with IBM computers, he visited her, wearing a blue serge suit, to ask her father for her hand in marriage. Joplin and her mother began planning the wedding. De Blanc, who traveled frequently, terminated plans for the marriage soon afterwards. Just prior to joining Big Brother and the Holding Company, Joplin recorded seven studio tracks in 1965. Among the songs she recorded was her original composition for her song "Turtle Blues" and an alternate version of "Cod'ine" by Buffy Sainte-Marie. These tracks were later issued as a new album in 1995 entitled This is Janis Joplin 1965 by James Gurley. Janis Joplin - 1963-xx-xx San Francisco California Coffee Gallery 1353 Grant Avenue North Beach Line-up (unconfirmed) ★ Janis Joplin - vocals ★ Larry Hanks - acoustic guitar, vocals ★ Billy Roberts - acoustic guitar, banjo, vocals, harmonica. ★ OR possibly: Roger Perkins - acoustic guitar & vocals instead of Roberts 01. Leaving' This Morning (K.C. Blues) 02. Daddy, Daddy, Daddy 03. Careless Love 04. Bourgeois Blues 05. Black Mountain Blues 06. Gospel Ship 07. Stealin' Bonus Album: 01. What Good Can Drinkin' Do (Joplin) - 2:49 02. I Bring the News performed by Joplin / Catherine Curtain - 2:43 03. Down on Me performed by Big Brother & the Holding Company - 2:04 04. I'm Somebody Important performed by Catherine Curtain - 1:39 05. Women Is Losers performed by Big Brother & the Holding Company - 2:03 06. Our First Record Is Finally Out performed by Catherine Curtain - 1:11 07. Piece of My Heart performed by Big Brother & the Holding Company - 4:14 08. I'm Sorry, Sorry performed by Catherine Curtain - :51 09. A Happening performed by Catherine Curtain - 2:02 10. Summertime (Gershwin/Gershwin/Heyward) - 3:58 11. He's a Beatle, Mother performed by Catherine Curtain - 1:35 12. Ball and Chain performed by Big Brother & the Holding Company - 9:26 13. I May Just Be a Star Someday performed by Catherine Curtain - 2:01 14. A Woman Left Lonely performed by Joplin, Janis & the Full Tilt Boogie... - 3:27 15. Twenty-Five performed by Catherine Curtain - 1:29 16. Try (Just a Little Bit Harder) performed by Joplin, Janis & Her Kozmic Blues Band - 3:55 17. Did I Tell You About My Reviews? performed by Catherine Curtain - 1:07 18. Little Girl Blue performed by Joplin, Janis & Her Kozmic Blues Band - 3:48 19. Twenty-Seven (Hall/Hall/Joplin) - 2:18 20. Me and Bobby McGee performed by Joplin, Janis & the Full Tilt Boogie... - 4:29 21. Mercedes Benz (Joplin/McClure/Neuwirth) - 2:12 22. The Last Letter: Really Rushin' Through performed by Catherine Curtain - 1:44 23. Get It While You Can performed by Joplin, Janis & the Full Tilt Boogie... - 3:23
Steven Gene Wold (born 1941), commonly known as Seasick Steve, is an American blues musician. He plays mostly personalized guitars, and sings, usually about his early life doing casual work.
Wold was born in Oakland, California. When he was four years old, his parents split up. His father played boogie-woogie piano and Wold tried to learn when he was five or six, but could not. At the age of eight, he learned to play the guitar from K. C. Douglas, who worked at his grandfather's garage, later realising that he had been taught the blues. Douglas wrote the song "Mercury Blues" and had played with Tommy Johnson in the early 1940s. Wold left home at 13 to avoid abuse at the hands of his stepfather, and lived rough and on the road in Tennessee, Mississippi and elsewhere, until 1973.
In the 1960s, Wold started touring and performing with fellow blues musicians, and had friends in the music scene including Joni Mitchell. Since then, he has worked, on and off, as a session musician and studio engineer. In the late 1980s, while living in Olympia, near Seattle, he worked with many indie label artists. In the 1990s he continued to work as a recording engineer and producer, producing several releases by Modest Mouse including their 1996 debut album This Is a Long Drive for Someone with Nothing to Think About.
At one time, living in Paris, Wold made his living busking, mostly on the metro. After moving to Norway in 2001, Wold released his first album, entitled Cheap, recorded with The Level Devils as his rhythm section, with Jo Husmo on stand-up bass and Kai Christoffersen on drums. His debut solo album, Dog House Music was released by Bronzerat Records on November 26, 2006, after he was championed by an old friend, Joe Cushley, DJ on the Balling The Jack blues show on London radio station Resonance FM.
Wold made his first UK television appearance on Jools Holland's annual Hootenanny BBC TV show on New Year's Eve 2006. He performed a live rendition of "Dog House Boogie" on the "Three String Trance Wonder" and the "Mississippi Drum Machine". After that show his popularity exploded in Britain, as he explained in an interview:
"I can't believe it, all of the sudden I'm like the cat's meow!"
He was well received in the UK, winning the 2007 MOJO Award for Best Breakthrough Act and going on to appear at major UK festivals such as Reading, Leeds and Glastonbury. In 2007 he played more UK festivals than any other artist.
Wold toured early in 2008, playing in various venues and festivals in the UK. He was joined on stage by drummer Dan Magnusson. KT Tunstall also dueted with Wold at the London Astoria in January 2008. Wold also played many other festivals throughout the world in 2008, including Fuji Rock in Japan, East Coast Blues & Roots Music Festival in Australia, also in April 2008, and Roskilde in Denmark.
Wold's major-label debut, I Started Out with Nothin and I Still Got Most of It Left was recorded with Dan Magnusson on drums, was released by Warner Music on September 29, 2008, and features Ruby Turner and Nick Cave's Grinderman.
He has toured the UK extensively since 2007 being supported by Duke Garwood, Gemma Ray, The Sugars, Billie the Vision and the Dancers in January 2008, Amy LaVere in October 2008, Melody Nelson at the Brighton Dome on 7 October, and Joe Gideon & The Shark in January 2009. His tours in October 2008 and January 2009 were all sold out and included performances at the Royal Albert Hall, the Edinburgh Queen's Hall, the Grand Opera House in Belfast, the Apollo in Manchester, the City Hall in Newcastle and the London Hammersmith Apollo.
In 2009, Wold was nominated for a Brit Award in the category of International Solo Male Artist, That same year, BBC Four broadcast a documentary of Wold visiting the southern USA entitled Seasick Steve: Bringing It All Back Home. On January 21, Wold hosted "Folk America: Hollerers, Stompers and Old Time Ramblers" at the Barbican in London, a show that was also televised and shown with the documentary on BBC Four as part of a series tracing American roots music.
In an interview with an Australian magazine, Wold attributes much of his unlikely success to his cheap and weather-beaten guitar, "The Trance Wonder" and reveals the guitar's mojo might come from supernatural sources.
"I got it from Sherman, who is a friend of mine down in Mississippi, who had bought it down at a Goodwill store. When we were down there last time he says to me, 'I didn't tell you when you bought it off me, but that guitar used to be haunted'. I say, 'What are you talking about, Sherman?'. He says, 'There’s 50 solid citizens here in Como who'll tell you this guitar is haunted. It's the darnedest thing – we’d leave it over in the potato barn and we'd come back in and it would be moved. You'd put it down somewhere and the next morning you’d come back and it would have moved. When you took that guitar the ghost in the barn left'. He told me this not very long ago and I said to him, 'Sherman! Why didn't you tell me this before?' and he said, 'Well the ghost was gone – I didn't want it around here no more!"
On January 3, 2010, Wold appeared on the popular BBC motoring show Top Gear as the Star In A Reasonably Priced Car. He was the last star to drive in the blue Chevrolet Lacetti.
In February 2010, Wold was nominated for a Brit Award in the category of International Solo Male Artist for the second consecutive year.
In 2010, Wold made numerous festival appearances throughout the summer, including the Pyramid Stage at the Glastonbury Festival, the main stage at V Festival, the main stage at the Hop Farm Festival and many more.
In February 2011, Wold signed to Play It Again Sam to release his new album with the exception of the US, where it will be released on Third Man Records. Subsequently his new album You Can't Teach an Old Dog New Tricks was released on his new labels and it was announced that former Led Zeppelin bassist John Paul Jones had played on the new album, and performed alongside Wold to promote it. This caused some to believe that he will tour with Wold as a part of his backing band, joining his then-current drummer Dan. John Paul Jones did indeed appear onstage to play with Wold at the Isle of Wight 2011 festival and on the main stage of Rock Werchter 2011.
On 16 August 2014 he was the headline act at Beautiful Days in Exeter, UK, and on the 24th August he headlined at 'Victorious Festival' in Southsea, Portsmouth, UK.
Wold owns and plays several obscure and personalized instruments.
The Three-String Trance Wonder
This is a normal guitar that resembles a GHI Guitar made in Japan in the 1960s. It has an old Harmony pickup added with duct tape, and is tuned to G, A and B using an E string in the A position, a D in the G position and a G in the B position. At his gigs, he often tells the story that he bought it for US$75 in this condition in Como, Mississippi, from a man named Sherman, who later told him he only paid US$25 for it the day before. Wold vowed never to add another string, and that he would tour the world telling his story of how Sherman ripped him off. All in good fun as Sherman Cooper is a good buddy, who gave him the guitar having had it nailed to the wall as a decoration. A lot of the time he also adds, while picking up or putting away the guitar, that it is the "...biggest piece of shit in the world, I swear." In a BBC interview Wold claimed that the guitar was found by a friend, just with the three strings on it, and he decided to keep it that way.
When on the TV show Top Gear, presenter Jeremy Clarkson commented that Wold's car history of over 100 cars included a Morris Minor. Wold then presented a four-string guitar that his friend Davey had made out of two old hubcaps from a Minor 1000 joined back-to-back and his wife's broomstick. Wold then played it a little in the episode. Clarkson replied that it was the best use of a Morris Minor he had ever seen.
A similar guitar was made out of Hudson Terraplane hubcaps, one of them given to him by Jack White, referring to "Terraplane Blues" by Robert Johnson.
The Mississippi Drum Machine
A small wooden box that is stomped upon, providing percussion. It is decorated with a Mississippi motorcycle registration plate ("MC33583"), and a small piece of carpet.
When asked about his nickname, Wold has said: "because it's just true: I always get seasick". When he was ill on a ferry from Norway to Copenhagen, later in his life, a friend began playfully using the name and, despite Wold not rising to it for a while, it stuck. When asked about his name on British Sunday morning television show, Something for the Weekend, he replied, "I just get sick on boats". On Top Gear, when asked about his name, Wold replied "Well, I guess I just don't like boats!"
Wold had two children with his first wife: Sevrin and Ivan. Sevrin is the lead singer in a rock band called Peratus. Wold married his second wife in 1982 and together they have three adult sons. Wold has problems putting down roots in one place, and he and his wife have lived in 59 houses to date. They currently live in Norway and the UK.
One of Wold's sons, Didrik, is an illustrator who is responsible for designing all of his father's album artwork, merchandise, print ads, and websites. His youngest son, Paul Martin Wold, played drums on Dog House Music and first made a guest appearance with him on percussion at the Astoria in January 2008. He has since performed with Wold frequently, playing washboard, shakers, tambourine, floor tom and occasionally guitar. He also works as Steve's guitar-tech. Paul Martin Wold, aka "Wishful Thinking", released his debut album A Waste of Time Well Spent on November 2, 2009, and showcased a selection from the album whilst touring the UK with his father.
Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in life than other musicians. A storytelling singer reviving traditional country blues, Wold spent his childhood in California, but left home at 14. As a hobo, he traveled for several years, jumping trains and working odd jobs. After drifting around the U.S. and Europe, he finally ended up in Norway.
Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television, and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he'd finally released some official material. His first solo album, Doghouse Music, out in late 2006, was performed almost entirely by Wold. Another record, Cheap, was recorded with the Swedish rhythm section the Level Devils.
An amorous seven-track Valentine's Day EP called Songs for Elisabeth (six of the cuts were culled from previous releases) arrived in 2010. With a rustic and at time almost punk-blues approach to his material, Wold increasingly merged country blues trance boogie with a street-holler voice that makes Tom Waits seem like a mainstream crooner, and the best of his songs carry a hard-earned wisdom that can only come from living on the street one block over from the edge of civility. He released the stark and powerful You Can't Teach an Old Dog New Tricks in 2011, and returned in 2013 with his sixth offering, Hubcap Music, which featured guest appearances from Jack White and Led Zeppelin bassist John Paul Jones. In 2015, Seasick Steve showed that his blues power was still running strong with the release of the album Sonic Soul Surfer.
Dog House Music (2006)
I Started Out with Nothin and I Still Got Most of It Left (2008)
Size: 230MB Bitrate: mp3 Found in DC++ World Some Artwork Included Moby Grape is the rock band Moby Grape's eponymous 1967 debut album. Coming from the San Francisco scene, their reputation quickly grew to immense proportions, leading to a bidding war and a contract with Columbia Records. The album peaked at #24 on the Billboard 200 albums chart in September 1967.
Production began on Moby Grape in Los Angeles in March 1967. Produced by David Rubinson, it took just six weeks, and $11,000, from March 11 to April 25, to record all thirteen tracks and a fourteenth that was intended for the album but for which lyrics were never written ("Rounder").
The cover photograph is by noted rock photographer Jim Marshall. On the original release, Don Stevenson is shown "flipping the bird" (making an obscene gesture) on the washboard. It was airbrushed out on subsequent pressings, but the UK re-issue on Edsel/Demon restored it. The flag behind Skip Spence is actually a United States flag that Columbia Records decided to obscure through airbrushing, presumably due to the political climate of the times. On the original release, the flag is colored red. When the cover was revised to remove the offending finger mentioned above, the flag was changed from red to black, again presumably due to possible political interpretations (the association of the color red with communism). The Edsel vinyl (1984) and CD (1989) re-issues restored the photo to its original state, with Don Stevenson's displayed finger and an un-airbrushed United States flag. Other CD re-issues use the cover from the first pressing, with the finger intact and the flag tinted red.
Released on June 6, 1967, Columbia chose also to place ten of the thirteen songs on five singles released on the same day: "Fall on You"/"Changes", "Sitting By the Window"/"Indifference" (2:46 edit), "8:05"/"Mister Blues", "Omaha"/"Someday" and "Hey Grandma"/Come in the Morning". Of these five, only "Omaha" and "Hey Grandma" charted.
Nevertheless, as Gene Sculatti and Davin Seay write in their book San Francisco Nights, Moby Grape "remains one of the very few psychedelic masterpieces ever recorded." Justin Farrar considered that "(i)t's no understatement to hail the group's 1967 debut as the ancestral link between [sic] psychedelia, country rock, glam, power pop and punk." In addition, the 1983 Rolling Stone Record Guide said their "debut LP is as fresh and exhilarating today as it was when it exploded out of San Francisco during 1967's summer of love." In 2003, the album was ranked number 121 on Rolling Stone magazine's list of the 500 greatest albums of all time. Noted rock critic Robert Christgau listed it as one of The 40 Essential Albums of 1967. As reviewed by Mark Deming, "Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands.
While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good." In 2008, Skip Spence's song "Omaha" was listed as number 95 in Rolling Stone's "100 Greatest Guitar Songs of All Time". The song was described there as follows: "On their best single, Jerry Miller, Peter Lewis and Skip Spence compete in a three-way guitar battle for two and a quarter red-hot minutes, each of them charging at Spence's song from different angles, no one yielding to anyone else. " Writing in 1967, shortly after the album's release, Crawdaddy! creator Paul Williams described "Omaha" as "the toughest cut on the album (and) one of the finest recorded examples of the wall-of-sound approach in rock. It surges and roars like a tidal wave restrained by a seawall." Personnel ♦ Peter Lewis – rhythm guitar, vocals ♦ Bob Mosley – bass, vocals ♦ Jerry Miller – lead guitar, vocals ♦ Skip Spence – rhythm guitar, vocals ♦ Don Stevenson – drums, vocals 01. "Hey Grandma" Jerry Miller, Don Stevenson 02:43 02. "Mr. Blues" Bob Mosley 01:58 03. "Fall on You" Peter Lewis 01:53 04. "8:05" Miller, Stevenson 02:17 05. "Come in the Morning" Mosley 02:20 06. "Omaha" Skip Spence 02:19 07. "Naked, If I Want To" Miller00:55 08. "Someday" Miller, Stevenson, Spence02:41 09. "Ain't No Use" Miller, Stevenson 01:37 10. "Sitting by the Window" Lewis 02:44 11. "Changes" Miller, Stevenson 03:21 12. "Lazy Me" Mosley 01:45 13. "Indifference" Spence 04:14 MOBY GRAPE (KSAN Live Bonus Production ) Avalon Ballroom 1967 14. "It Depends On You" 07:34 15. "Changes" 04:23 16. "Leavin'" 01:57 17. "Grape Jam with Big Brother... 05:12
Extra Bonus: MOBY GRAPE - FALL ON AMSTERDAM 1969-02-12 01. I'm Not Willing 05:23 02. Trucking Man 02:07. 03. Sitting By The Window 03:40 04. Fall On You 02:23 05. Murder In My Heart For The Judge 05:13 06. Untitled Blues 04:57 07. Omaha 05:38 08. If You Can't Learn From My Mistakes05:11 09. Hey Grand Ma 04:53 10. Omaha Reprise 05:49
Canned Heat is the 1967 debut album by Canned Heat. It was released shortly after their appearance at the Monterey Pop Festival, and features performances of several blues covers. This debut long-player from Canned Heat was issued shortly after their appearance at the Monterey International Pop Music Festival. That performance, for all intents and purposes, was not only the combo's entrée into the burgeoning underground rock & roll scene, but was also among the first high-profile showcases to garner national and international attention.
The quartet featured on Canned Heat (1967) includes the unique personnel of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Bob "The Bear" Hite (vocals), and Frank Cook (drums). Cook's tenure with the Heat would be exceedingly brief, however, as he was replaced by Aldolfo "Fido" Dela Parra (drums) a few months later. Although their blues might have suggested that the aggregate hailed from the likes of Chicago or Memphis, Canned Heat actually formed in the Los Angeles suburb of Topanga Canyon, where they were contemporaries of other up-and-coming rockers Spirit and Kaleidoscope. Wilson and Hite's almost scholarly approach created a unique synthesis when blended with the band's amplified rock & roll. After their initial studio sessions in April of 1967 produced favorable demos, they returned several weeks later to begin work in earnest on this platter.
The dearth of original material on Canned Heat was less of a result of any songwriting deficiencies, but rather exemplifies their authentic renderings of traditionals such as the open-throttled boogie of "Rollin' and Tumblin'" -- which is rightfully recognized as having been derived from the Muddy Waters arrangement. Similarly, a rousing reading of Robert Johnson's "Dust My Broom" is co-credited to Elmore James. Blues aficionados will undoubtedly notice references to a pair of Howlin' Wolf classics -- "Smokestack Lightning" as well as "I Asked for Water (She Gave Me Gasoline)" -- as part of the rambling "Road Song." While decidedly more obscure to the casual listener, Eddie "Guitar Slim" Jones "Story of My Life" is both a high point on this recording, as well as one of the fiercest renditions ever committed to tape. Until a thorough overhaul of Canned Heat's catalog materializes, this title can be found on the Canned Heat/Boogie With Canned Heat (2003) two-fer that couples this title with their 1968 follow-up.
A hard-luck blues band of the '60s, Canned Heat was founded by blues historians and record collectors Alan Wilson and Bob Hite. They seemed to be on the right track and played all the right festivals (including Monterey and Woodstock, making it very prominently into the documentaries about both) but somehow never found a lasting audience. Certainly their hearts were in the right place. Canned Heat's debut album -- released shortly after their appearance at Monterey -- was every bit as deep into the roots of the blues as any other combo of the time mining similar turf, with the exception of the original Paul Butterfield band. Hite was nicknamed "The Bear" and stalked the stage in the time-honored tradition of Howlin' Wolf and other large-proportioned bluesmen.
Wilson was an extraordinary harmonica player, with a fat tone and great vibrato. His work on guitar, especially in open tunings (he played on Son House's rediscovery recordings of the mid-'60s, incidentally) gave the band a depth and texture that most other rhythm players could only aspire to. Henry Vestine -- another dyed-in-the-wool record collector -- was the West Coast's answer to Michael Bloomfield and capable of fretboard fireworks at a moment's notice. Canned Heat's breakthrough moment occurred with the release of their second album, establishing them with hippie ballroom audiences as the "kings of the boogie." As a way of paying homage to the musician they got the idea from in the first place, they later collaborated on an album with John Lee Hooker that was one of the elder bluesman's most successful outings with a young white (or black, for that matter) combo backing him up. After two big chart hits with "Goin' Up the Country" and an explosive version of Wilbert Harrison's "Let's Work Together," Wilson died under mysterious (probably drug-related) circumstances in 1970, and Hite carried on with various reconstituted versions of the band until his death just before a show in 1981, from a heart seizure. Personnel: ♣ Bob Hite – vocals ♣ Alan Wilson – rhythm and slide guitar, vocals, harmonica ♣ Henry Vestine – lead guitar ♣ Larry Taylor – bass ♣ Frank Cook – drums Additional Musician ♣ Ray Johnson (brother of Plas Johnson) – piano 01. "Rollin' and Tumblin'" (Muddy Waters) – 3:11 02. "Bullfrog Blues" (Canned Heat) – 2:20 03. "Evil Is Going On" (Willie Dixon) – 2:24 04. "Goin' Down Slow" (James Oden) – 3:48 05. "Catfish Blues" (Robert Petway) – 6:48 06. "Dust My Broom" (Robert Johnson, Elmore James) – 3:18 07. "Help Me" (Sonny Boy Williamson II) – 3:12 08. "Big Road Blues" (Tommy Johnson) – 3:15 09. "The Story of My Life" (Guitar Slim) – 3:43 10. "The Road Song" (Floyd Jones) – 3:16 11. "Rich Woman" (Dorothy LaBostrie, McKinley Millet) – 3:04 Bonus: Canned Heat, WBCN Studios Boston, MA, 1972-02-22 Source: FM, Quality: A -=Disc One=- 01.Back On The Road Again 02.Talking 03.Chicago Bound 04.Talking 05I Don't KNow What I'll Do With Myself 06.Talking 07.I Feel So Bad 08.Sneakin' Around 09.Talking 10.Big City (splice) 11.Big City pt.2 12.Talking 13.My Love For You Won't Grow Cold -=Disc Two=- 01.Framed 02.Talking 03.Hill Stomp 04.Talking 05.Thats Alright 06.Talking 07.Let's Work Together 08.Let's Work Together pt.2 09.Talking 10.A Long Way From L.A 11.Talking 12.Have You Ever Loved A Women? 13.Radio AD for Canned Heat at the Electric Ballroom,Dallas,TX
Size: 140 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Some Artwork Included Source: Japan 24-Bit Remaster (Not the Bonus Tracks) Barry Goldberg Story: Beginnings. My mother sang and played piano, we used to play duets, then I heard Meade Lux Lewis on the radio and started playing boogie woogie by ear at 5 yrs old. First band was in high school, Denny Lee And The Ramblers. Mike Bloomfield had the rival band and we would compete for sweet 16 party gigs. That’s when I first met him. Influences were Meade Lux, Little Richard, Jerry Lee Lewis, Fats Domino. Each time period has had memorable moments, but the early blues, and rock ‘58 through ‘64 was the most fun.
Not a business yet! Sitting in for Otis Spann, and playing with Muddy. Michael and I on the West side of Chicago, playing with Howlin’ Wolf. Playing on Charlie Musselwhite’s “Stand Back” album with Harvey Mandel, and last year’s Chicago Blues Festival Reunion with Sam Lay, Nick Gravenites, Harvey Mandel, Charlie Musselwhite, and Corky Siegel. Also San Francisco Blues Festival with Steve Miller and James Cotton. And time you play with great musicians you are influenced by them. There is a level of greatness, they bring you up to, musically,and spiritually. I miss that with Michael. Actually when I was 5 and started playing piano, my aunt bought me a drum set, and I Muddy Waters was magical, James Cotton can really blow, nobody can shake a string like Michael Bloomfield or Otis Rush. Charlie Musselwhite, and Harvey Mandel are inspirational, I love Nick Gravenites singing, Tracy Nelson and Marcy Levy vocals, Michael Bloomfield’s intensity was unbelieveable. Steve Miller’s Texas shuffle, Buddy Miles powerful drumming. Mick Taylor’s slide playing, Bob Dylan’s funky rhythm guitar, Duane Allman’s slide, Jimi Hendrix’s all around amazing chops.
Playing “Hey Joe” with him! I always wanted to play with Elmore James! Top five albums: Phil Spector’s Greatest Hits, Blonde On Blonde, here’s Little Richard, Chicago Blues Anthology on Chess, Best of Muddy Waters. The Jerry Lee Lewis’ Greatest Hits on Sun. The band I am playing with at blues festivals: Harvey Mandel, Zach Wagner on guitars, Don Heffington, Sam Lay – drums, Marcy Levy, Nick Gravenites, Tracy Nelson – vocals, Corky Siegel, sometimes Charlie Musselwhite on harp, Rick Reed – bass. The old blues scene is almost gone. Most of the great masters are in blues heaven, but there is nothing like the power of playing the blues, and the ones that are left must keep that alive! It is synonymous as life itself. The people in Europe have always picked up on American jazz and blues more then the American people and have traditionally supported and respected the music and the artists more. That’s unfortunate, because its right here in their own backyard. I like Harvey Mandel, Charlie Musselwhite, White Stripes, Soledad, James Cotton, Jimmy Smith, Johnnie Johnson. I would tell the people of Macedonia to embrace the blues, because it is real and true and free! It helps you when you need it. When you’re up, or when you’re down the blues is always there to help you through! You can have a good time with the blues, it can be your friend when you’re down! You can always count on the blues! We would love to bring the Chicago Blues Reunion to Europe and Macedonia. Maybe there is a way. Dear Vasja, it’s always nice to hear from people who appreciate your work. Thank you for your interest, and love for the blues, blues forever, Barry Goldberg.
Charlie Musselwhite Story: Harmonica wizard Norton Buffalo can recollect a leaner time when his record collection had been whittled down to only the bare essentials: The Paul Butterfield Blues Band and Stand Back! Here Comes Charley Musselwhite's South Side Band. Butterfield and Musselwhite will probably be forever linked as the two most interesting, and arguably the most important, products of the "white blues movement" of the mid- to late '60s -- not only because they were near the forefront chronologically, but because they both stand out as being especially faithful to the style. Each certainly earned the respect of his legendary mentors. No less than the late Big Joe Williams said, "Charlie Musselwhite is one of the greatest living harp players of country blues. He is right up there with Sonny Boy Williamson, and he's been my harp player ever since Sonny Boy got killed." It's interesting that Williams specifies "country" blues, because, even though he made his mark leading electric bands in Chicago and San Francisco, Musselwhite began playing blues with people he'd read about in Samuel Charters' Country Blues -- Memphis greats like Furry Lewis, Will Shade, and Gus Cannon. It was these rural roots that set him apart from Butterfield, and decades later Musselwhite began incorporating his first instrument, guitar. Musselwhite was born in Kosciusko, Mississippi in 1944, and his family moved north to Memphis, where he went to high school. Musselwhite migrated to Chicago in search of the near-mythical $3.00-an-hour job (the same lure that set innumerable youngsters on the same route), and became a familiar face at blues haunts like Pepper's, Turner's, and Theresa's, sitting in with and sometimes playing alongside harmonica lords such as Little Walter, Shakey Horton, Good Rockin' Charles, Carey Bell, Big John Wrencher, and even Sonny Boy Williamson. Before recording his first album, Musselwhite appeared on LPs by Tracy Nelson and John Hammond and duetted (as Memphis Charlie) with Shakey Horton on Vanguard's Chicago/The Blues/Today series
When his aforementioned debut LP became a standard on San Francisco's underground radio, Musselwhite played the Fillmore Auditorium and never returned to the Windy City. Leading bands that featured greats like guitarists Harvey Mandel, Freddie Roulette, Luther Tucker, Louis Myers, Robben Ford, Fenton Robinson, and Junior Watson, Musselwhite played steadily in Bay Area bars and mounted somewhat low-profile national tours. It wasn't until the late '80s, when he conquered a career-long drinking problem, that Musselwhite began touring worldwide to rave notices. He became busier than ever and continued releasing records to critical acclaim. His two releases on Virgin, Rough News in 1997 and Continental Drifter in 2000, found Musselwhite mixing elements of jazz, gospel, Tex-Mex, and acoustic Delta blues. After signing with Telarc Blues in 2002, he continued exploring his musical roots by releasing One Night in America. The disc exposed Musselwhite's interest in country music with a cover version of the Johnny Cash classic "Big River," and featured guest appearances by Kelly Willis and Marty Stuart. Sanctuary, released in 2004, was Musselwhite's first record for Real World. After extensive touring globally, he returned to the studio for its follow-up, the back-to-basics Delta Hardware, recorded in Mississippi. The set was hard-edged and raw blues and featured one live track, the hip-shaking "Clarksdale Boogie," recorded in front of a small but enthusiastic audience at Red's Juke Joint in that very town. Musselwhite returned to Alligator in 2009 and got down to business and cut The Well in Chicago, an all-original program that featured a guest duet appearance from Mavis Staples on the track "Sad Beautiful World." The song references the murder of his 93-year-old mother during a burglary in her home. Harvey Mandel Story: In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite.
Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai. Recorded live in 1966 at the legendary Big John’s, a swinging Blues club in Chicago’s old town. "Together Records" released this concert 1971, USA. Along with MANDEL and GOLDBERG this recording features CHARLIE MUSSELWHITE on harmonica, ROY RUBY on bass, MORRIS MCKINLEY on drums, and on guitar BOBBY JONES. Personnel: ★ Bass – Roy Ruby ★ Drums – Maurice McKinley ★ Guitar – Dave Brian, Harvey Mandel ★ Harmonica – Charlie Musselwhite ★ Organ – Barry Goldberg ★ Saxophone – Cliff Davis ★ Vocals – Bobby Jones, The Day Jobbers 01. Slow Down I'm Gonna Lose You 03:04 02. I Loved And Lost 04:18 03. Big Boss Man 05:09 04. Funk 05:35 05. Aunt Lilly 02:09 06. You Got Me Crying 03:25 07. Times I've Had 02:12 08. Hoochie Cooche Man 03:32 Bonus Tracks: 09. Barry Goldberg & Friends - One More Mile [Bonus] 10. Charlie Musselwhite - Sundown [2006 Bonus Track] 11. Charlie Musselwhite - Blues For Yesterday [2006 Bonus Track] 12. Charlie Musselwhite - Key to the Highway Live [Bonus] 13. A.B. Skhy w. C. Musselwhite - Thinking It Over [Bonus 1969] 14. A.B. Skhy w. C. Musselwhite - Sweet Little Angel [Bonus 1969]