Sunday, December 14

Van Der Graaf Generator - Pawn Hearts (Progressive Rock UK 1971)

Size: 129 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Pawn Hearts is the fourth album by English progressive rock band Van der Graaf Generator, released in October 1971. The album reached number one on the Italian album charts.

The original vinyl release in the United States and Canada (for example on Buddah Records) contained a fourth track, squeezed between "Lemmings" and "Man-Erg", which was the band's arrangement of the BBC Radio 1 opening and closing theme. This instrumental, called "Theme One", was originally composed by George Martin and released on record in 1967. In Europe, where Pawn Hearts only contained the three tracks, "Theme One" was released as a single in February 1972, with the song "W" as its b-side.

Later North American reissues used the European version of the album, without "Theme One". The 2005 remastered CD contains versions of both "W" and "Theme One" that both are different from the North American album and the European single.

Two of the released versions of "Theme One" appear to have the same backing tracks, but feature completely different overdubs and mixes. These can be found on the compilation CD First Generation – 1968–1971 and the remastered Pawn Hearts. There is also a third version (an entirely different studio take) of "Theme One" included on the 2003 various artists compilation CD The Best Prog Rock Album in the World... Ever.

Pawn Hearts was originally conceived as a double album somewhat along the lines of Pink Floyd's album Ummagumma. The first half of this concept was the album as it came to be released, but the second half was to be divided between personal projects and live-in-studio versions of older Van der Graaf Generator songs like "Killer" and "Octopus".

When the Van der Graaf Generator catalogue was remastered for reissue in 2005, several of the tracks from the missing half of the album were found and added as bonus tracks. A live, in-studio version of "Squid/Octopus" was added to the H to He, Who Am the Only One reissue, while the Pawn Hearts reissue contains three of the band members' personal projects, "Angle of Incidents", "Ponker's Theme", and "Diminutions", credited to Evans, Jackson, and Banton, respectively.

The title of the album resulted from a spoonerism by Jackson, who said one time: "I'll go down to the studio and dub on some more porn hearts", of course meaning to say 'horn parts'. [Wikipedia]

Van Der Graaf Generator's third album, Pawn Hearts was also its second most popular; at one time this record was a major King Crimson cult item due to the presence of Robert Fripp on guitar, but Pawn Hearts has more to offer than that. The opening track, "Lemmings," calls to mind early Gentle Giant, with its eerie vocal passages (including harmonies) set up against extended sax, keyboard, and guitar-driven instrumental passages, and also with its weird keyboard and percussion interlude, though this band is also much more contemporary in its focus than Gentle Giant. 

Van Der Graaf Generator - Advertise Poster 1971
Peter Hammill vocalizes in a more traditional way on "Man-Erg," against shimmering organ swells and Guy Evans' very expressive drumming, before the song goes off on a tangent by way of David Jackson's saxes and some really weird time signatures -- plus some very pretty acoustic and electric guitar work by Hammill himself and Fripp. The monumental "Plague of Lighthouse Keepers," taking up an entire side of the LP, shows the same kind of innovation that characterized Crimson's first two albums, but without the discipline and restraint needed to make the music manageable. 

The punning titles of the individual sections of this piece (which may have been done for the same reason that Crimson gave those little subtitles to its early extended tracks, to protect the full royalties for the composer) only add to the confusion. As for the piece itself, it features enough virtuoso posturing by everyone (especially drummer Guy Evans) to fill an Emerson, Lake & Palmer album of the same era, with a little more subtlety and some time wasted between the interludes. 

The 23-minute conceptual work could easily have been trimmed to, say, 18 or 19 minutes without any major sacrifices, which doesn't mean that what's here is bad, just not as concise as it might've been. 

But the almost operatic intensity of the singing and the overall performance also carries you past the stretches that don't absolutely need to be here. The band was trying for something midway between King Crimson and Genesis, and came out closer to the former, at least instrumentally. 

Hammill's vocals are impassioned and involving, almost like an acting performance, similar to Peter Gabriel's singing with Genesis, but the lack of any obviously cohesive ideas in the lyrics makes this more obscure and obtuse than any Genesis release.[AMG]

♫♪ Peter Hammill – lead vocals, acoustic and slide guitar, electric piano, piano
♫♪ Hugh Banton – Hammond and Farfisa organs, piano, mellotron, ARP synthesizer, bass pedals, bass guitar, backing vocals
♫♪ Guy Evans – drums, tympani, percussion, piano
♫♪ David Jackson – alto, tenor, and soprano saxophones, flute, and backing vocals

Additional personnel:
♫♪ Robert Fripp – electric guitar ("Man-Erg" [5:55–7:10] and "A Plague of Lighthouse Keepers" [8:10–10:20 and near the end of the song])

01. "Lemmings (Including Cog)" – 11:37
02. "Man-Erg" – 10:20
03. "A Plague of Lighthouse Keepers" – 23:04, including
- Eyewitness" (2:25)
- Pictures/Lighthouse" (Hammill, Banton) (3:10)
- Eyewitness" (0:54)
- S.H.M." (1:57)
- Presence of the Night" (3:51)
- Kosmos Tours" (Evans) (1:17)
- (Custard's) Last Stand" (2:48)
- The Clot Thickens" (Hammill, Banton, Evans, Jackson) (2:51)
- Land's End (Sineline)" (Jackson) (2:01)
- We Go Now" (Jackson, Banton) (1:51)

Bonus Tracks:
04. "Theme One" (George Martin) – 2:55
(A different mix from the version on the US and Canadian LPs or the UK single.)
05. "W" (first version) – 5:04
(The February 1972 single used the second version.)
06. "Angle of Incidents" (Evans) – 4:48
07. "Ponker's Theme" (Jackson) – 1:28
08. "Diminutions" (Banton) – 6:00
09. "Necromancer" [BBC Live UK 1968] - 04:02
10. "What Ever Would Robert Have Said" [Beat Club 1970] - 05:54

1. Link
2. Link

Wednesday, December 10

Family - Music in a Doll's House (1st Album UK 1968) + Extra BBC Bonus Tracks

Size: 93.9 MB
Bitrate: 256
Ripped By ChrisGoesRock
Source: Japan 24-Bit Remaster

Music in a Doll's House is the debut album by progressive rock group Family, released on 19 July 1968. The album, co-produced by Dave Mason of Traffic, features a number of complex musical arrangements contributing to its ambitious psychedelic sound.

The Beatles had originally intended to use the title A Doll's House for the album they were recording during 1968. The release of Family's similarly titled debut then prompted them to adopt the minimalist title The Beatles for what is now more commonly referred to as The White Album due to its plain white sleeve.

"Old Songs, New Songs" features a cameo from the Tubby Hayes group.

This album was initially issued in the US using the UK import and sold in the US as a domestic album (with an extra piece of cardboard to stiffen up the sleeve). Around the time the second album was issued in the US, US pressings of this album started to appear.

The non-LP single "Scene Through the Eye of a Lens" b/w "Gypsy Woman" not withstanding, Music in a Doll's House (1968) is the debut full-length release from the earliest incarnation of Family, featuring Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/ cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals). 

Their highly original sound has often been compared to Traffic, which may be in part due to the production skills of Jimmy Miller and Dave Mason, the latter also contributing the organic and rootsy rocker "Never Like This." Additionally, neither band was overtly psychedelic or progressive, contrasting them from the other burgeoning combos such as Soft Machine, Pink Floyd, and Caravan. 

Family's deceptively involved arrangements are coupled with an equally unique blend of Chapman's commanding vocals driving through the jazz and folk-rooted tunes. "The Chase" is a spirited opener that immediately establishes their unmistakable vibe, which is furthered on the sides "Old Songs for New Songs" and the aggressive rocker "Peace of Mind." The antithesis can be heard on the rural-flavored "Mellowing Grey" and "Winter," or perhaps the almost blatantly trippy "See Through Windows." 

BIOGRAPHY: Family were an English rock band that formed in late 1966 and disbanded in October 1973. Their style has been characterised as progressive rock, as their sound often explored other genres, incorporating elements of styles such as folk, psychedelia, acid, jazz fusion and rock and roll. The band achieved recognition in the United Kingdom through their albums, club and concert tours and appearances at festivals.

The band's rotating membership throughout its relatively short existence led to a diversity in sound throughout their different albums. Family are also often seen as an unjustly forgotten act, when compared with other bands from the same period and have been described as an "odd band loved by a small but rabid group of fans". Despite most of their recordings being issued in the US, the band never achieved any appreciable success there. 

Family formed in Late 1966 in Leicester, England from the remaining members of a group that was previously known as The Farinas and later briefly The Roaring Sixties, whose sound was grounded in R&B. The Farinas originally consisted of John "Charlie" Whitney, Tim Kirchin, Harry Ovenall (born Richard Harry Ovenall, 12 September 1943, Peterborough, Cambridgeshire) and Jim King, forming at Leicester Art College in 1962. Ric Grech replaced Kirchin on bass in 1965 and Roger Chapman joined the following year on vocals. The American record producer Kim Fowley suggested they call themselves "The Family" as they regularly wore double-breasted suits in performances, giving themselves a mafia appearance, a look they soon abandoned in favour a more casual dress code. They played the famous Marquee Club regularly and other London clubs including The Hundred Club and the famous Sybilla's in Swallow Street where they met Henrietta Guinness who introduced them into society. On meeting Mim Scala who they had known before, Mim asked if there was anything he could do for them. Because they were looking for material at the time, and probably a producer, Harry Ovenall asked Mim if he could arrange for Jimmy Miller to produce the first single which Mim duly did, and also introduced them to John Gilbert, who from then on took over managing the band. Thanks to Jimmy Miller, Steve Winwood and other members of Traffic participated in the recording. Shortly after the recording and before the release, Harry Ovenall voiced his concern over the movement away from their black musical roots i.e. blues, R&B, soul. 

In fact around 1965 The Farinas had publicity cards saying "Farinas Soul and Roll". The single seemed to be going towards psychedelia, emphasised by the use of a phono fiddle borrowed from an Oxford Street busker, and played by Ric Grech. His concerns also included the role of management in the band. A meeting of the band was called, during which it was suggested that Harry's heart was no longer in the band and as a consequence he walked away from the band. Contrary to several reports he was not asked to leave the band. Family's debut single "Scene Through The Eye of a Lens/Gypsy Woman", produced by Jimmy Miller and released by Liberty Records in October 1967, was not a success. Drummer Harry Ovenall was replaced by Rob Townsend.

The band signed with the Reprise Records label (the first UK band signed directly to UK and US Reprise) and their debut album Music in a Doll's House, was recorded during early 1968. Jimmy Miller was originally slated to produce it but he was tied up with production of The Rolling Stones' album Beggar's Banquet and he is credited as co-producer on only two tracks, "The Breeze" and "Peace of Mind". The bulk of the album was produced by former Traffic member Dave Mason, and recorded at London's Olympic Studios with engineers Eddie Kramer and George Chkiantz. Mason also contributed one composition to the album, "Never Like This", the only song recorded by Family not written by a band member, and the group also backed Mason on the b-side of his February 1968 single "Just For You".

Family made their London debut at the Royal Albert Hall in July 1968, supporting Tim Hardin. Alongside Pink Floyd, Soft Machine, The Move and The Nice, Family quickly became one of the premier attractions on the burgeoning UK psychedelic/progressive "underground" scene. Their lifestyle and exploits during this period provided some of the inspiration for the 1969 novel, Groupie, by Jenny Fabian (who lived in the group's Chelsea house for some time) and Johnny Byrne. Family featured in the book under the pseudonym, 'Relation'.

Music in a Doll's House was released in July 1968 and charted at No. 35 in the UK to critical acclaim, thanks to strong support from BBC Radio 1's John Peel. Now widely acknowledged as a classic of British psychedelic rock, it showcased many of the stylistic and production features that are archetypal of the genre. The album's highly original sound was characterised by Chapman's vocals, rooted in the blues and R&B, combined with several unusual instruments for a rock band, courtesy of the presence of multi-instrumentalists Grech and King, including saxophones, violin, cello and harmonica.

Family's 1969 follow-up, Family Entertainment, toned down the psychedelic experimentation of their previous offering to some extent, reaching No. 6 in the UK Albums Chart, and featured the single "The Weaver's Answer", although the group reportedly had no control over the mixing and choice of tracks, or the running order of the songs.

With the UK success of Family's first two albums, the band undertook a tour of the United States in April 1969, but it was beset by problems. Halfway through the tour, Grech unexpectedly left the band to join the new supergroup Blind Faith; on the recommendation of tour manager Peter Grant, Grech was replaced by John Weider, previously of Eric Burdon and The Animals. 

A further setback occurred during their first concert at Bill Graham's Fillmore East, whilst sharing the bill with Ten Years After and The Nice – during his stage routine, Chapman lost control of his microphone stand, which flew in Graham's direction, an act Graham took to be deliberate; Chapman performed the following shows with his hands by his sides, and by the end of the tour he had lost his voice; Family's reputation in the US never recovered and they ultimately never achieved great recognition there.

Returning to the UK, the band performed at The Rolling Stones' Hyde Park gig and the Isle of Wight Festival that summer. In late 1969, Jim King was asked to leave Family due to "erratic behaviour" and was replaced by multi-instrumentalist John "Poli" Palmer.

Roger Chapman – lead vocals, harmonica, tenor saxophone
 John "Charlie" Whitney – lead guitar, steel guitar
 Jim King – tenor and soprano saxophone, harmonica, vocals
 Ric Grech – bass guitar, violin, cello, vocals
 Rob Townsend – drums, percussion

 Dave Mason – producer, mellotron
 Jimmy Miller – co-producer on "The Breeze" and "Peace of Mind"
 John Gilbert – executive producer
 Eddie Kramer – engineer
 George Chiantz – second engineer
 Peter Duval – album design
 Julian Cottrell – front cover photography
 Jac Remise – back cover photography

01. "The Chase"  02:16
02. "Mellowing Grey"  02:48
03. "Never Like This" (Dave Mason)  02:20
04. "Me My Friend"   02:01
05. "Variation on a theme of Hey Mr. Policeman" (instrumental) 00:25
06. "Winter"  02:26
07. "Old Songs New Songs"  04:18
08. "Variation on a theme of The Breeze" (instrumental) 00:39
09. "Hey Mr. Policeman" (Whitney, Ric Grech, Chapman) 03:14
10. "See Through Windows"  03:44
11. "Variation on a theme of Me My Friend" (instrumental)  (Whitney)  00:22
12. "Peace of Mind"  02:26
13. "Voyage"  03:31
14. "The Breeze"  02:52
15. "3 x Time"  03:35

Bonus Tracks:
16. "Scene Through the Eye of a Lens [Bonus Track]  02.52
17. "Gypsy Woman [Bonus Track]  03.25

This is the first volume containing Family's previously unreleased BBC Radio 1 sessions. Featured here are several versions of tracks never before available on CD. This includes the only official release of their interpretation of the old blues number, 'I Sing Um The Way I Feel'.

Covering the period from late 1968 up to mid-1969 these recorded sessions are mastered from the original BBC transcription tapes and feature one of Britain's finest bands playing in the studio, but with an extra edge that is normally only captured at live performances.These 16 tracks are almost wholly composed of BBC versions of songs from Family's first three albums, though one ("Holding the Compass") didn't turn up until their fourth LP; another ("No Mule's Fool") was a 1969 single; and another, "I Sing 'Um the Way I Feel," was a J.B. Lenoir blues tune the band never put on their official records. Some of this material has come out on bootlegs, but the sound on this is notably superior -- it's quite good for a BBC archive release from any era, in fact. 

And while the arrangements don't differ too drastically from the studio versions, these performances are excellent. There's a bit of a loose live feel, but they demonstrate that the band -- unlike some others of the early progressive rock era -- were capable of re-creating their intricate, disciplined rock-blues-jazz-folk-miscellany interplay in a live setting, without sacrificing any of their gritty energy. Some of these renditions predate the release of the studio versions, sometimes by quite a bit; in the case of "Holding the Compass," in fact, the lyrics would change by the time it made it onto the Anyway album. Some might lament the absence of some particular favorites from their early days; there's no "Hey Mr. Policeman," for example. But really there's nothing to complain about considering the strong selection of songs here, which include such highlights of their early repertoire as "See Through Windows," "Drowned in Wine," the distressingly haunting folk-rockish "The Weaver's Answer," and the wistful "Observations From a Hill." 

BBC Radio 1968-69 Extra Bonus Tracks:
(Previously unreleased BBC Radio 1 Sessions never before available.)

Recorded 3.9.68 Saturday Club Session:
01. "See Through Windows"  04.05 [1968] 
02. "Weaver's Answer"  04.52 [1968]   
03. "Breeze"  02.38 [1968]

Recorded 11.11.68 Top Gear:  
04. "Second Generation Woman"  02.36 [1968]    
05. "Observations from a Hill"  02.57 [1968]   
06. "Dim"  02.23 [1968]

Recorded 3.3.69 Symonds On Sunday:   
07. "Holding the Compass"  02.31 [1969]    
08. "Procession"  02.45 [1969]   
09. "How Hi the Li"  03.06 [1969]

Recorded 11.3.69 Top Gear:   
10. "Love Is a Sleeper"  03.50 [1969]  
11. "I Sing 'Um the Way I Feel"  04.34 [1969]   
12. "Song for Me"  07.48 [1969] 

Recorded 28.7.69 Top Gear:  
13. "Drowned in Wine"  04.15 [1969]   
14. "Wheels"  06.54 [1969]   
15. "No Mule's Fool  03.05    
16. "Cat and the Rat  02.52

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

Friday, December 5

Van Der Graaf Generator - H to He, Who Am The Only One (Progressive Rock UK 1970)

Size: 135 MB
Bitrate: 256
Ripped by ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

H to He, Who Am the Only One is the third album by the British progressive rock band Van der Graaf Generator. It was released in 1970.

During the recording of the album, bassist Nic Potter quit the band. Organist Hugh Banton offered to play bass guitar on the two tracks that had not yet been finished. In concert, Banton would play bass pedals to substitute for the lack of a bassist à la Ray Manzarek, but he would continue to record bass guitar parts on subsequent albums. H to He, Who Am the Only One also featured Robert Fripp of King Crimson playing lead guitar on one track, "The Emperor In His War Room". Fripp would collaborate again with Van der Graaf Generator on their next album, Pawn Hearts.

The album contains several references to modern physics: "H to He" in the title refers to "the fusion of hydrogen nuclei to form helium nuclei"; c in 'Pioneers over c.' refers to the speed of light.

The foreboding crawl of the Hammond organ is what made Van Der Graaf Generator one of the darkest and most engrossing of all the early progressive bands. On H to He Who Am the Only One, the brooding tones of synthesizer and oscillator along with Peter Hammil's distinct and overly ominous voice make it one of this British band's best efforts. Kicking off with the prog classic "Killer," an eight minute synthesized feast of menacing tones and threatening lyrics, the album slowly becomes shadowed with Van Der Graaf's sinister instrumental moodiness. 

With superb percussion work via Guy Evans, who utilizes the tympani drum to its full extent, tracks like "The Emperor in His War-Room" and "Lost" are embraced with a blackened texture that never fades. The effective use of saxophone (both alto and tenor) and baritone from David Jackson gives the somberness some life without taking away any of the instrumental petulance. H to He is carpeted with a science fiction theme, bolstered by the bleak but extremely compelling use of heavy tones and the absence of rhythms and flighty pulsations. 

This album, which represents Van Der Graaf in their most illustrious stage, is a pristine example of how dark progressive rock should sound. 

BIOGRAPHY: An eye-opening trip to San Francisco's Haight-Ashbury during the summer of 1967 inspired British-born drummer Chris Judge Smith to compose a list of possible names for the rock group he wished to form. Upon his return to Manchester University, he began performing with singer/songwriter Peter Hammill and keyboardist Nick Peame; employing one of the names from Judge Smith's list, the band dubbed itself Van der Graaf Generator (after a machine which creates static electricity), eventually earning an intense cult following as one of the era's preeminent art rock groups.

The Aerosol Grey Machine Despite the early involvement of Judge Smith and Peame, the group found true success as a vehicle for Hammill, whose dark, existentialist lyrics made him the focus of considerable attention. After the release of the 1968 single "People You Were Going To," Judge Smith left Van der Graaf Generator, which by then consisted of Hammill, keyboardist Hugh Banton, bassist Keith Ellis and drummer Guy Evans. The group soon split, and in 1968 Hammill entered the studio, ostensibly to record a solo album; however, he ultimately called in his ex-bandmates for assistance, and when The Aerosol Grey Machine appeared, it did so under the Van der Graaf Generator name.

The Least We Can Do Is Wave to Each Other Although Ellis was replaced by Nic Potter and woodwind player David Jackson, the reconstituted group continued on for 1969's Least We Can Do Is Wave to Each Other. After 1970's H to He, Who Am the Only One, Potter departed; the Generator recorded one more LP, 1971's Pawn Hearts, before Hammill left for a solo career, putting an end to the group. After five solo efforts, however, Hammill again re-formed Van der Graaf Generator in 1975 for Godbluff. Following a pair of 1976 albums, Still Life and World Record, Banton and Jackson exited; as simply Van der Graaf, the band recorded The Quiet Zone with new violinist Graham Smith. After a 1978 live set, Vital, the group officially disbanded, although most members made appearances on Hammill's subsequent solo records.

Present Twice during the '90s, Van der Graaf reunited for one-off gigs, and in 2005 released a reunion album, Present. Without Jackson, the trio of Hammill, Banton, and Evans recorded Trisector, which appeared in 2008. They appeared in concert frequently during 2009, and released another studio album, A Grounding in Numbers, in 2011. An album of studio jams and outtakes, titled ALT, followed one year later.

Peter Hammill - lead vocals, acoustic guitar, piano (3) 
 Hugh Banton - organs, oscillator, piano, bass (2,5), vocals 
 Guy Evans - drums, tympani, percussion 
 David Jackson - saxes, flute, vocals 

 Nic Potter - bass (1,3,4)
 Robert Fripp - electric guitar (3) 

01. Killer (8:07)
02. House With No Door (6:03)
03. The Emperor In His War-Room (9:04)
- a) The Emperor
- b) The Room
04. Lost (11:13)
- a) The Dance In Sand And Sea
- b) The Dance In The Frost
05. Pioneers Over C. (12:05)

Bonus tracks:
6. Squid 1, Squid 2, Octopus [Trident Studios Unreleased] (15:24)
7. The Emperor In His War-Room [first version] (8:50)

1. Link
2. Link

Thursday, November 27

A Bunch of Rock Recordings Alive 1967-2006

Size: 1.1GB
Bitrate: 320                                                              
Various Artist
Found Everywhere
Very Good SoundQuality
Some Artwork Included


★★★ Cream - Swedish Radio Sessions 1967 (Bootleg) ★★★

Live Session, Konserthuset, Stockholm, Sweden 
3 March 1967. Broadcast on Swedish Radio.

♣ Ginger Baker
♣ Jack Bruce
♣ Eric Clapton

01. NSU  04:24
02. Steppin' Out 03:55
03. Traintime  05:53
04. Toad  07:34
05. I'm So Glad  05:17


★★★ Edgar Broughton Band - Live At Rockpalast 2006 (Bootleg) ★★★

01. Introduction
02. Evening Over Rooftops
03. Anthem
04. Speak Down The Wire
05. The Moth
06. Why Can't Somebody Love Me
07. Refugee
08. Momma's Reward
09. American Boy Soldier
10. Home Fit For Heroes
11. Dr Spock
12. Love In The Rain
13. Revelations
14. Hotel Room
15. Last Electioneer
16. Out Demons Out 
17. Backstage Talk
18. Green Lights (Acoustic) 


★★★ Janis Joplin & The Kozmic Blues Band - 1969-04-01 (Bootleg) ★★★

Janis Joplin & The Kozmic Blues Band 
April 1, 1969 Amsterdam, Netherland

★ Janis Joplin - Vocals
★ Sam Andrew - Guitar
★ Brad Cambell - Bass
★ Richard Kermode - Organ
★ Terry Hensley - Trumpet
★ Terry Clements - Tenor Sax
★ Roy Markowitz - Drums
★ Cornelius "Snooky" 
★ Flowers - Baritone Sax

01. Instrumental
02. Maybe
03. Summertime
04. Try (Just A Little Bit Harder)
05. Can't Turn You Loose
06. Combination of the Two
07. Ball and Chain
08. Piece of My Heart


★★★ Jethro Tull - Aragon Ballroom 1970-08-16 (Bootleg) ★★★ 

Jethro Tull 1970-08-16  
Aragon Ballroom, Chicago 
Illinios, USA

01. Intro 1:35
02. My sunday feeling 4:58
03. My God 11:07
04. To cry you a song 6:19
05. with you there to help me 13:19
06. Sossity-reasons for waiting 6:44
07. Nothing is easy 6:28
08. Dharma for one 10:08
09. MC 0:21
10. We used to know-for a thousand mothers 12:54


★★★ Nazareth - BBC Radio Sessions 1973-74 FM (Bootleg) ★★★ 

Nazareth - BBC Radio Sessions 1973/74
Re-broadcast on Alan "Fluff" Freeman's Saturday Rock Show

01. Razamanaz
02. Night Woman
03. Broken Down Angel
04. Vigilante Man
05. Shapes Of Things
06. Silver Dollar Forger
07. Glad When You're Gone
08. Jet Lag
09. Light My Way

Runtime: 44:43
Produced by Roger Glover


★★★ Nils Lofgren - The Stone Pony, Asbury Park 1985-11-01 (Bootleg) ★★★

Nils Lofgren. Stone Pony Asbury Park, NJ
November 1, 1985, WNEW 102.7 FM Broadcast

01. DJ Introductions 
02. Beggars Day 
03. Secrets In The Street 
04. Dreams Die Hard 
05. Little Bit O'Time
06. Sun Hasn't Set On This Boy Yet 
07. Code Of The Road 
08. Moon Tears 
09. Cry Tough 
10. New Holes in Old Shoes 
11. No Mercy 
12. Big Tears Fall 
13. Any Time At All 
14. Empty Heart 
15. Like Rain 
16. Moon Tears 
17. Sweet Midnight 
18. Flip Ya Flip 
19. I Don't Want To Talk About It 
20. Back It Up 
21. Shine Silently 
22. I Came To Dance 
23. DJ Radio Credits  


★★★ Rory Gallagher - BBC Radio Sessions 1970-74 FM (Bootleg) ★★★ 

Rory Gallagher - BBC Radio Sessions 1970-74 
Alan Fluff Freeman's FM Saturday Rock Show 

01. Tattood Lady
02. Cradle Rock
03. A Million Miles Away
04. For The Last Time
05. Laundromat
06. It Takes Time
07. I Fall Apart
08. Used To Be
09. Crest Of A Wave
10. Messing With The Kid
11. I Could Of Had Religion
12. They Don't Make Them Like You
13. Back On My Stomping Ground


★★★ The Jimi Hendrix Experience - 'Diggin' In the Dust' 1969-70 (Bootleg) ★★★ 

Jimi Hendrix - "Diggin' In The Dust"
A collection of best quality unreleased 
studio recordings 1969-70

01. Izabella I       
02. Message to Love        
03. Crash Landing        
04. Freedom        
05. Bleeding Heart        
06. Dolly Digger        
07. Power of Soul        
08. Izabella II        
09. Stepping Stone        
10. Easy Blues        
11. Earth Blues 

Part 1: Link
Part 2: Link
Part 3: Link
Part 4: Link
Psrt 5: Link
Part 6: Link
Part 7: Link
Part 1: Link
Part 2: Link
Part 3: Link
Part 4: Link
Psrt 5: Link
Part 6: Link
Part 7: Link

Friday, November 21

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

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

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

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

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

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

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

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

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

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

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


November 6, 1970
Fillmore West, San Francisco

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

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

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

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

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

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

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

Part 1: Fillmore Tapes
Part 2: Fillmore Tapes
Part 3: Fillmore Tapes
Part 1: Fillmore Tapes
Part 2: Fillmore Tapes
Part 3: Fillmore Tapes
click on picture forr 100% sixe