Sunday, August 31

Rare 1st Album: Little Walter -The Best of Little Walter (1st Album US 1957)


Size: 87.6 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Best of Little Walter is the first LP record by American blues performer Little Walter. First released in 1958, the compilation album contains ten Little Walter songs that appeared in the Top 10 of the Billboard R&B chart from 1952 to 1955, plus two B-sides. The album was first released by Checker Records as LP-1428, which was the first LP record released by Checker, and then released on Chess Records with the same catalog number.


The album cover features a black-and-white photo portrait shot by Grammy award winning photographer Don Bronstein of Little Walter holding/playing a Hohner 64 Chromatic harmonica and liner notes by Studs Terkel, who had written Giants of Jazz. The original LP featured a black label.

Little Walter, born Marion Walter Jacobs (May 1, 1930 – February 15, 1968), was an American blues musician and singer, whose revolutionary approach to the harmonica earned him comparisons to Charlie Parker and Jimi Hendrix, for innovation and impact on succeeding generations. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica. Little Walter was inducted to the The Rock and Roll Hall of Fame in 2008 in the "sideman" category making him the first and only artist ever inducted specifically as a harmonica player.

Jacobs was born in 1930 in Marksville, Louisiana and raised in Rapides Parish, Louisiana, (although recently uncovered census data suggests he may have been born earlier, possibly as early as 1925) where he first learned to play the harmonica. After quitting school by the age of 12, Jacobs left rural Louisiana and travelled around working odd jobs and busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis. He honed his musical skills on harmonica and guitar performing with much older bluesmen such as Sonny Boy Williamson II, Sunnyland Slim, Honeyboy Edwards and others.


Little Walter - Color outtake from first album cover.
Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica work. According to fellow Chicago bluesman Floyd Jones, Little Walter's first recording was an unreleased demo recorded soon after he arrived in Chicago on which Walter played guitar backing Jones. Jacobs reportedly grew frustrated with having his harmonica drowned out by electric guitarists, and adopted a simple, but previously little-used method: He cupped a small microphone in his hands along with his harmonica, and plugged the microphone into a public address system or guitar amplifier. 

He could thus compete with any guitarist's volume. However, unlike other contemporary blues harp players such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica, or any other instrument. Madison Deniro wrote a small biographical piece on Little Walter stating that "He was the first musician of any kind to purposely use electronic distortion."


Jacobs made his first released recordings in 1947 for Bernard Abrams' tiny Ora-Nelle label, which operated out of the back room of Abrams' Maxwell Radio and Records store in the heart of the Maxwell Street market area in Chicago. These and several other early Little Walter recordings, like many blues harp recordings of the era, owed a strong stylistic debt to pioneering blues harmonica player Sonny Boy Williamson I (John Lee Williamson). Little Walter joined Muddy Waters' band in 1948, and by 1950, he was playing acoustic (unamplified) harmonica on Muddy's recordings for Chess Records. 

The first appearance on record of amplified harmonica was Little Walter's performance on Muddy's "Country Boy" (Chess 1452), recorded on July 11, 1951. For years after his departure from Muddy's band in 1952, Chess continued to hire Little Walter to play on Waters' recording sessions, and as a result his harmonica is featured on most of Muddy's classic recordings from the 1950s. As a guitarist, Little Walter recorded three songs for the small Parkway label with Muddy Waters and Baby Face Leroy Foster (reissued on CD as "The Blues World of Little Walter" from Delmark Records in 1993), as well as on a session for Chess backing pianist Eddie Ware; his guitar work was also featured occasionally on early Chess sessions with Muddy Waters and Jimmy Rogers.


Jacobs had put his career as a bandleader on hold when he joined Muddy's band, but stepped back out front once and for all when he recorded as a bandleader for Chess's subsidiary label Checker Records on 12 May 1952. The first completed take of the first song attempted at his debut session became his first hit, spending eight weeks in the number-one position on the Billboard R&B chart. The song was Juke, and is still the only harmonica instrumental ever to be a number-one hit on the Billboard R&B chart. (Three other harmonica instrumentals by Little Walter also reached the Billboard R&B top 10: Off the Wall reached number eight, Roller Coaster achieved number six, and Sad Hours reached the number-two position while Juke was still on the charts.) Juke was the biggest hit to date for Chess and its affiliated labels, and one of the biggest national R&B hits of 1952, securing Walter's position on the Chess artist roster for the next decade.

Little Walter scored fourteen top-ten hits on the Billboard R&B charts between 1952 and 1958, including two number-one hits (the second being "My Babe" in 1955), a level of commercial success never achieved by his former boss Waters, nor by his fellow Chess blues artists Howlin' Wolf and Sonny Boy Williamson II. Following the pattern of "Juke", most of Little Walter's single releases in the 1950s featured a vocal performance on one side, and a harmonica instrumental on the other. Many of Walter's vocal numbers were originals that he or Chess A&R man Willie Dixon wrote or adapted and updated from earlier blues themes. In general, his sound was more modern and uptempo than the popular Chicago blues of the day, with a jazzier conception and less rhythmically rigid approach than other contemporary blues harmonica players.


Upon his departure from Muddy Waters' band in 1952, he recruited a young band that was already working steadily in Chicago backing Junior Wells, The Aces, as his new backing band. The Aces consisted of brothers David and Louis Myers on guitars, and drummer Fred Below, and were re-christened "The Jukes" on most of the Little Walter records on which they appeared. By 1955 the members of The Aces/Jukes had each left Little Walter to pursue other opportunities, initially replaced by guitarists Robert "Junior" Lockwood and Luther Tucker, and drummer Odie Payne Others who worked in Little Walter's recording and touring bands in the '50s included guitarists Jimmie Lee Robinson and Freddie Robinson. Little Walter also occasionally included saxophone players in his touring bands during this period, among them a young Albert Ayler, and even Ray Charles on one early tour. By the late 1950s, Little Walter no longer employed a regular full-time band, instead hiring various players as needed from the large pool of local blues musicians in Chicago.

Jacobs was frequently utilized on records as a harmonica accompanist behind others in the Chess stable of artists, including Jimmy Rogers, John Brim, Rocky Fuller, Memphis Minnie, The Coronets, Johnny Shines, Floyd Jones, Bo Diddley, and Shel Silverstein, and on other record labels backing Otis Rush, Johnny Young, and Robert Nighthawk.


Jacobs suffered from alcoholism and had a notoriously short temper, which in late 1950s led to a series of violent altercations, minor scrapes with the law, and increasingly irresponsible behavior. This led to a decline in his fame and fortunes beginning in the late 1950s, although he did tour Europe twice, in 1964 and 1967. (The long-circulated story that he toured the United Kingdom with The Rolling Stones in 1964 has since been refuted by Keith Richards). The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only film/video footage of Little Walter performing that is known to exist. Footage of Little Walter backing Hound Dog Taylor and Koko Taylor on a television program in Copenhagen, Denmark on 11 October 1967 was released on DVD in 2004. Further video of another recently discovered TV appearance in Germany during this same tour, showing Little Walter performing his songs "My Babe", "Mean Old World", and others were released on DVD in Europe in January 2009, and is the only known footage of Little Walter singing. Other TV appearances in the UK (in 1964) and the Netherlands (in 1967) have been documented, but no footage of these has been uncovered. Jacobs recorded and toured only infrequently in the 1960s, playing mainly in and around Chicago.

In 1967 Chess released a studio album featuring Little Walter with Bo Diddley and Muddy Waters titled Super Blues.

A few months after returning from his second European tour, he was involved in a fight while taking a break from a performance at a nightclub on the South Side of Chicago. The relatively minor injuries sustained in this altercation aggravated and compounded damage he had suffered in previous violent encounters, and he died in his sleep at the apartment of a girlfriend at 209 E. 54th St. in Chicago early the following morning. The official cause of death indicated on his death certificate was "coronary thrombosis" (a blood clot in the heart); evidence of external injuries was so insignificant that police reported that his death was of "unknown or natural causes", and there were no external injuries noted on the death certificate. His body was buried at St. Mary's Cemetery in Evergreen Park, IL on February 22, 1968. His grave remained unmarked until 1991, when fans Scott Dirks and Eomot Rasun had a marker designed and installed.


Music journalist Bill Dahl described Little Walter as "king of all post-war blues harpists", who "took the humble mouth organ in dazzling amplified directions that were unimaginable prior to his ascendancy." His legacy has been enormous: he is widely credited by blues historians as the artist primarily responsible for establishing the standard vocabulary for modern blues and blues rock harmonica players. His influence can be heard in varying degrees in virtually every modern blues harp player who came along in his wake, from blues greats such as Junior Wells, James Cotton, George "Harmonica" Smith, Carey Bell, and Big Walter Horton, through modern-day masters Sugar Blue, Billy Branch, Kim Wilson, Rod Piazza, William Clarke, and Charlie Musselwhite, in addition to blues-rock crossover artists such as Paul Butterfield and John Popper of the band Blues Traveler. Little Walter was portrayed in the 2008 film, Cadillac Records, by Columbus Short.

Little Walter's daughter, Marion Diaz Reacco, has established the Little Walter Foundation in Chicago, to preserve the legacy and genius of Little Walter. The foundation aims to create programs for the creative arts, including music, animation and video. Stephen King's novel Under the Dome (2009) features a character named Little Walter Bushey, based on Little Walter.

Personnel: The following people contributed to "the Best of Little Walter album":

Little Walter – lead vocals, harmonica
 Muddy Waters – guitar on "Juke" and "Can't Hold Out Much Longer"
 Jimmy Rogers – guitar on "Juke" and "Can't Hold Out Much Longer"
 David Myers – guitar
 Louis Myers – guitar
 Leonard Caston – guitar on "My Babe"
 Robert Lockwood, Jr. – guitar on "My Babe"
 Willie Dixon – bass, producer
 Elgin Evans – drums on "Juke" and "Can't Hold Out Much Longer"
 Fred Below – drums
 Studs Terkel – sleeve notes

Recorded: May 12, 1952 – January 25, 1955 in Chicago, Illinois, Checker LP 1428

01. "My Babe" (Willie Dixon)  2:44
02. "Sad Hours"  3:15
03. "You're So Fine"  3:07
04. "Last Night"  2:46
05. "Blues with a Feeling (Rabon Tarrant, re-written by Jacobs)"  3:10
06. "Can't Hold Out Much Longer"  3:03
07. "Juke"  2:47
08. "Mean Old World (T-Bone Walker, re-written by Jacobs)"  2:57
09. "Off the Wall"  2:52
10. "You Better Watch Yourself"  3:04
11. "Blue Light"  3:14
12. "Tell Me Mamma" 2:47

Bonus: 
13. "Juke" (Alternate) [1952]  3:06
14. "Off the Wall" (Alternate) [1953]  2:57
15. "Last Night" (First Version) [1954]  2:55

1. Link
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2. Link
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Sunday, August 24

Dire Straits - The New Old Waldorf March 31, 1979 San Francisco, California FM Broadcast (Bootleg)



Size: 163 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included

This is a show Dire Straits did in the Old Waldorf, San Francisco. It has been broadcasted on the radio and there are many bootlegs, all with different setlists. This bootleg, created by Button Recordings, has all available songs, with best available sound (soundboard/FM), mixed together from several sources in the right order.

Additional comments: After having the bootlegs Bijou, Old Waldorf 1979 and On the road to Philadelphia, 8 tracks of this concert appeared in perfect sound quality, better than any of these previous bootlegs. All the songs are combined to make one complete bootleg of it which resulted in "The new Old Waldorf". Really a great one with the best available sound on all tracks.

Recorded in early 1979, this concert captures the original four-piece lineup of Dire Straits, before rhythm guitarist David Knopfler departed to pursue a solo career. Shortly thereafter, his brother, Mark, would take control of the band, and eventually parlay his piloting role into a successful solo career of his own.

Since no official live recording of the original band was ever released (though there have been some unofficial bootleg circulations), this five-song show is important as documentation of the beginning of Mark Knopfler's extraordinary musical talent. All the early hits are here, including "Lady Writer," "Down To The Waterline" and ,of course, "Sultans Of Swing," with Mark Knopfler's now distinctive extended guitar solo.

There is a noticeable lack of energy here, possibly because they knew the lineup was changing and simply wanted to finish the tour. It's hard to say. What's clear, however, is the fact that after Mark took over as official band leader, the group would go on to release two of the greatest studio albums of the 1980s: Making Movies and the legendary Brothers in Arms.

Dire Straits - New Old Waldorf 444 Battery Street,  San Francisco, California,  March 31, 1979
FM Broadcast

Mark Knopfler - lead guitar, lead vocals
 David Knopfler - rhythm guitar
 John Illsley - bass
 Pick Withers - drums

01.Down to the waterline
02.Six blade knife
03.Once upon a time in the west
04.Lady writer
05.Water of love
06.In the gallery
07.News
08.What´s the matter baby
09.Lions
10.Sultans of swing
11.Wild west end
12.Where do you think you´re going?
13.Eastbound train
14.Southbound again

Tracks # 1, 2, 5, 6, 8, 10, 11, 13 are taken from the new source
Track # 3 beginning from the bootleg On the road to Philadelphia, rest from Old Waldorf 1979
Track # 4 is taken from the bootleg Old Waldorf 1979
Tracks # 7, 12, 14 are taken from the bootleg Bijou
Track # 9 is taken from the bootleg On the road to Philadelphia

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Saturday, August 23

Not to be missed!!: The Blues Project - Bonds Casino, NYC March 17, 1981 FM (Bootleg)

The Blues Project 1967


Size: 297 MB
Bitrate: 320
mp3
Found in DC++ World
Some Artwork Included

Biography: One of the first album-oriented, "underground" groups in the United States, the Blues Project offered an electric brew of rock, blues, folk, pop, and even some jazz, classical, and psychedelia during their brief heyday in the mid-'60s. It's not quite accurate to categorize them as a blues-rock group, although they did plenty of that kind of material; they were more like a Jewish-American equivalent to British bands like the Yardbirds, who used a blues and R&B base to explore any music that interested them. Erratic songwriting talent and a lack of a truly outstanding vocalist prevented them from rising to the front line of '60s bands, but they recorded plenty of interesting material over the course of their first three albums, before the departure of their most creative members took its toll.


The Blues Project 1966
Live at the Café Au Go Gothe Blues Project was formed in Greenwich Village in the mid-'60s by guitarist Danny Kalb (who had played sessions for various Elektra folk and folk-rock albums), Steve Katz (a guitarist with Elektra's Even Dozen Jug Band), flutist/bassist Andy Kulberg, drummer Roy Blumenfeld, and singer Tommy Flanders. Al Kooper, in his early twenties a seasoned vet of rock sessions, joined after sitting in on the band's Columbia Records audition, although they ended up signing to Verve, an MGM subsidiary. Early member Artie Traum (guitar) dropped out during early rehearsals; Flanders would leave after their first LP, Live at the Cafe Au-Go-Go (1966).

The eclectic résumés of the musicians, who came from folk, jazz, blues, and rock backgrounds, was reflected in their choice of material. Blues by Muddy Waters and Chuck Berry tunes ran alongside covers of contemporary folk-rock songs by Eric Anderson and Patrick Sky, as well as the group's own originals. These were usually penned by Kooper, who had already built songwriting credentials as the co-writer of Gary Lewis' huge smash "This Diamond Ring," and established a reputation as a major folk-rock shaker with his contributions to Dylan's mid-'60s records. Kooper also provided the band's instrumental highlights with his glowing organ riffs.


Blues Project Article Billboard Magazine December, 1966

Projections The live debut sounds rather tame and derivative; the group truly hit their stride on Projections (late 1966), which was, disappointingly, their only full-length studio recording. While they went through straight blues numbers with respectable energy, they really shone best on the folk and jazz-influenced tracks, like "Fly Away," Katz's lilting "Steve's Song," Kooper's jazz instrumental "Flute Thing" (an underground radio standard that's probably their most famous track), and Kooper's fierce adaptation of an old Blind Willie Johnson number, "I Can't Keep from Crying." A non-LP single from this era, the pop-psychedelic "No Time Like the Right Time," was their greatest achievement and one of the best "great hit singles that never were" of the decade.


The Blues Project - US Single 1966
The Blues Project Live at Town Hall The band's very eclecticism didn't augur well for their long-term stability, and in 1967 Kooper left in a dispute over musical direction (he has recalled that Kalb opposed his wishes to add a horn section). Then Kalb mysteriously disappeared for months after a bad acid trip, which effectively finished the original incarnation of the band. A third album, Live at Town Hall, was a particularly half-assed project given the band's stature, pasted together from live tapes and studio outtakes, some of which were overdubbed with applause to give the impression that they had been recorded in concert.

Kooper got to fulfill his ambitions for soulful horn rock as the leader of the original Blood, Sweat & Tears, although he left that band after their first album; BS&T also included Katz (who stayed onboard for a long time). Blumenfeld and Kulberg kept the Blues Project going for a fourth album before forming Seatrain, and the group re-formed in the early '70s with various lineups, Kooper rejoining for a live 1973 album, Reunion in Central Park. The first three albums from the Kooper days are the only ones that count, though; the best material from these is on Rhino's best-of compilation. [AMG]


The Blues Project - 1966
### The Blues Project is a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world's first jam bands, along with the Grateful Dead.

In 1964, Elektra Records produced a compilation album of various artists entitled, The Blues Project, which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album's release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles' arrival in the United States earlier in the year signified the end of the folk and acoustic blues movement that had swept the US in the early 1960s.

Kalb's first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on the Blues Project moniker as an allusion to Kalb's first foray on record. After a brief hiatus in the summer of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals.


The Blues Project - Australian Single 1966
The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he played on the "Like a Rolling Stone" recording session for Bob Dylan's album, Highway 61 Revisited. However when he heard Mike Bloomfield who had also been added to the session, he realized he would never come close to Bloomfield's astounding ability, and he surrendered his hopes of becoming a guitarist to concentrate on organ. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately. Soon thereafter, the Blues Project gained a recording contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965.

Entitled Live at The Cafe Au Go Go the album was finished with another week of recordings in January 1966. By that time, Flanders had left the band and, as a result, he appeared on only a few of the songs on this album.

The album was a moderate success and the band toured the US to promote it. While in San Francisco, California in April 1966, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York's answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities.(Source: Rock Family Trees - television program)


The Blues Project - Avalon Ballroom
Returning to New York, the band recorded their second album in the fall of 1966, and it was released in November. Projections contained an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock. The centerpiece of the album was an 11-and-a-half minute version of "Two Trains Running," which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental "Flute Thing", written by Kooper and featuring Kulberg on flute. There is an excellent improvisation of this number live on previously unreleased video of the Monterrey Pop festival.

Soon after the album was completed, though, the band began to fall apart. Kooper quit the band in the spring of 1967, and the band without him completed a third album, Live At Town Hall. Despite the name, only one song was recorded live at Town Hall, while the rest was made up of live recordings from other venues, or of studio outtakes with overdubbed applause to feign a live sound. One song in the latter category, Kooper's "No Time Like the Right Time," would be the band's only charting single.

The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone. Kooper had formed his own band and played at the festival as well. Katz left soon thereafter, followed by Kalb. A fourth album, 1968's Planned Obsolescence, featured only Blumenfeld and Kulberg from the original lineup, but was released under the Blues Project name at Verve's insistence. Future recordings by this lineup would be released under a new band name, Seatrain.


The Blues Project - UK Single 1967
In 1968, Kooper and Katz joined forces to fulfill a desire of Kooper's to form a rock band with a horn section. The result was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not take part in any subsequent releases. Katz, on the other hand, remained with the band into the 1970s. At Monterey, Kooper performed with members of the Butterfield Blues band ( Elvin Bishop) and Harvey Brooks, bassist for the Electric Flag. Soon after , he was recorded live with Bloomfield , and with Brooks on Super Session , before doing several solo albums including one jam session with Shuggie Otis.

The Blues Project, with a modified line-up, reformed briefly in the early 1970s, releasing three further albums: 1971's Lazarus, 1972's The Blues Project, and 1973's The Original Blues Project Reunion In Central Park (which featured Kooper but not Flanders). These albums did little to excite the public and since then, the group's activity has been confined to a few sporadic reunion concerts, such as when the Blues Project played a fundraising concert at Valley Stream Central High School in New York, promoted by Bruce Blakeman with the proceeds going to the Youth Council and the US Olympic Committee.

In the period between 2001 and 2007, Roy Blumenfeld drummed in the Barry Melton Band (Melton of Country Joe & the Fish fame). [Wikipedia]

Studio & live albums:
Live at The Cafe Au Go Go (1966)
 Projections (1966)
 Live at Town Hall (1967)
 Planned Obsolescence (1968)
 Lazarus (1971)
 Blues Project (1972)
 Reunion in Central Park (1973)

Best-known lineup:
Tommy Flanders - vocals (born circa 1944) (1965-1966, 1972-1973, -present)
 Danny Kalb - guitar (born September 19, 1942, Brooklyn, New York) (1965-1967, 1969-present)
 Steve Katz - guitar, harmonica, vocals (born May 9, 1945, New York City) (1965-1967, 1973-present)
 Al Kooper - keyboards, vocals (born February 5, 1944, Brooklyn, New York) (1965-1967, 1973-present)
 Andy Kulberg - bass guitar, flute (April 30, 1944, Buffalo, New York – January 28, 2002, California) (1965-1967, 1973-2002)
 Roy Blumenfeld - drums (born May 11, 1944, Bronx, New York) (1965-1967, 1969-?)

"The Blues Project 
Bonds International Casino, NYC 
March 17,1981 FM"

Disc 1:
01. TUNING
02. GOIN' DOWN LOUISIANA
03. STEVE'S SONG
04. THAT'S ALRIGHT MAMA
05. ALBERTA
06. YOU CAN'T CATCH ME
07. CATCH THE WIND
08. FLY AWAY
09. RED HOUSE
10. NEW INSTRUMENTAL
11. TALK/INTROS
12. I LOVE YOU MORE THAN YOU'LL EVER KNOW

Disc 2: 
01. INTRO
02. I CAN'T KEEP FROM CRYING
03. JELLY JELLY BLUES
04. CHERYL'S GOING HOME
05. YOU GO AND I'LL GO WITH YOU
06. NO TIME LIKE THE RIGHT TIME
07. FLUTE THING
08. TWO TRAINS RUNNING
09. WAKE ME SHAKE ME
    ENCORE
10. WAKE ME SHAKE ME REPRISE

Part 1: Blues Project
Part 2: Blues Project
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Part 2: Blues Project
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The Blues Project - Avalon Ballroom 1966

Friday, August 22

Pictures of the day...Vertigo Label





P.F. Sloan - Songs of Our Times (1st Album Folk US 1965)



Size: 68.9 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Cutting Remaster

In 1963 he was teamed with Steve Lipkin (Steve Barri), and they became songwriting partners. Their first chart success came with Round Robin's single, "Kick That Little Foot, Sally Ann". They were particularly involved with the early years of the Dunhill Records label, writing, producing and performing on many of its releases.

The Imperial Label, which was run by its founder Lew Chudd, was sold to Al Bennett, and it was then run as a semi-independent label.Then Al Bennett, Lou Adler, Pierre Cossette and Bobby Roberts formed Dunhill Productions. (The name "Dunhill" came from Bobby Roberts, who had been a member of a tap-dancing group called The Dunhills!) Dunhill Productions then gave birth to Dunhill Records. The quality of the releases was very high, and although not all of them were successful, most of the earliest releases are prized by collectors. Incidentally, Pierre Cossette became the executive producer of the Grammy Awards show in the 1990s.

Together and separately, Sloan & Barri wrote numerous songs, most notably "Eve Of Destruction", the 1965 Billboard #1 hit for Barry McGuire, and "Secret Agent Man", the song popularised by Johnny Rivers, whilst simultaneously being in-demand session musicians. Indeed the level of proficiency reached was such that the demos they produced would frequently be better than the "polished" versions later released by other artists. In addition to releasing numerous records under various pseudonyms, he also released several excellent records under his own name. The single "Sins Of A Family" was particularly successful, charting in both the U.S. (Billboard #87), and the U.K. (Music Week #37)

In 1965, his debut album was released, "Songs Of Our Times". Then in 1966, his second album, "12 More Times" was issued. His records had rapidly became increasingly mature, culminating in the 1967 release coupling the psychedlically-tinged "Karma (A Study of Divinations) with what many consider to be his finest song, "I Can't Help But Wonder Elizabeth". In 1967, he returned to New York, and in 1968 released the album "Measure Of Pleasure"(Atco).

A seminal figure in the evolution of West Coast pop, singer/songwriter P.F. Sloan composed and produced some of the most enduring records of the 1960s. While his solo efforts remain folk-rock cult classics, they were barely promoted by longtime label Dunhill, and his subsequent exit from the company was the start of a fall from grace that culminated in a three-decade absence from the studio. Born Philip Gary Schlein in New York City on September 18, 1945, he spent the lion's share of his adolescence in Los Angeles. While browsing the Sunset and Vine music store Wallich's Music City, the 12-year-old met Elvis Presley, who agreed to an impromptu introductory guitar lesson. Within a year Sloan signed to Aladdin Records, issuing his debut single, "All I Want Is Loving," to little notice. 

The Mart label effort "She's My Girl" met a similar fate, but in 1961 he resurfaced as a staff songwriter with Screen Gems, which teamed him with fellow composer Steve Barri under the supervision of producer Gary Usher. As the Fantastic Baggys, Sloan and Barri capitalized on the budding surf craze with "Tell 'Em I'm Surfin'." They also co-wrote the Round Robin hit "Kick That Little Foot, Sally Ann," and when Screen Gems exec Lou Adler broke ranks to found his own label, Dunhill, he brought Sloan and Barri with him to write and produce. Throughout the mid-'60s, the Sloan/Barri partnership proved a hitmaking force to rival the likes of Bacharach/David or Goffin/King. Smashes like Johnny Rivers' "Secret Agent Man," the Turtles' "You Baby," and the Grass Roots' "Where Were You When I Needed You" were instrumental in defining the sound of Southern California rock & roll.

Sloan's most influential composition was the Bob Dylan-inspired "Eve of Destruction," a number one hit for Barry McGuire in the fall of 1965. The song, which drew fire from conservatives and liberals alike, nevertheless became one of the defining protest anthems of the growing counterculture movement, and its success spurred Sloan to renew his own recording career in full. His comeback effort, "Sins of a Family," a bleak, poignant tale of teen prostitution, spent less than two weeks on the pop charts in late 1965, and the LP Songs of Our Times suffered backlash from a folk-rock community that dismissed Sloan as little more than a studio hack jumping on the latest commercial trend. Moreover, Dunhill execs blanched at the thought of losing their most successful songwriter, and spent virtually nothing on promoting his solo career. 

A 1966 follow-up set, Twelve More Times, fared no better, and a frustrated Sloan demanded release from his contract. Dunhill finally agreed, but forced him to sign away all songwriting royalties past, present, and future. Sloan's talent and integrity inspired fellow pop tunesmith Jimmy Webb to write a glowing tribute, "P.F. Sloan," but he remained persona non grata on the pop charts. His 1968 Atco debut, Measure of Pleasure, tanked, and he relocated to New York City, moving in with his parents and plotting his next move. Sloan did not resurface until 1972, releasing the much-maligned Raised on Records on the tiny Mums label. In the decade to follow, he battled depression and catatonia, finally resurfacing in 1985 with a handful of New York club dates. Sloan nevertheless resisted overtures to cut a new LP until 2006, teaming with producer Jon Tiven and guests including Lucinda Williams and Frank Black to record the Hightone release Sailover.

Sloan's solo debut unveiled a singer-songwriter of a more serious, not to say Dylanesque, mindset than was evident on the material he had written for other artists up to that point (and indeed on the material that he continued to supply for acts like Johnny Rivers, Herman's Hermits and the Grass Roots after this album). At times, the Dylan influence was obvious -- "What Exactly's the Matter with Me," for instance, sounds like a pop Dylan with a heavy streak of satirical self-pity. Yet the strongest half or so of the album revealed a composer of considerable talent. Sloan's own versions of "Eve of Destruction" and "Take Me for What I'm Worth" are starker than the hit covers by Barry McGuire and the Searchers respectively, and "The Sins of a Family" is one of his best and most penetrating works. Other tracks, such as "I Get Out of Breath" and "This Is What I Was Made For," show more of the pop tunesmith in Sloan, and his underrated voice is well-suited for the earnest charm of the material.

01. Sins of a Family
02. Take Me for What I'm Worth
03. What's Exactly the Matter With Me
04. I'd Have to Be Out of My Mind
05. Eve of Destruction
06. This Mornin'
07. I Get Out of Breath
08. This Is What I Was Made For
09. Ain't No Way I'm Gonna Change My Mind
10. All the Things I Do for You Baby
11. (Goes to Show) Just How Wrong You Can Be
12. What Am I Doing Here With You

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2. Link
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Monday, August 18

As Request: David Crosby & Graham Nash w. Neil Young - Winterland FM 1972 (Bootleg)



Size: 175 MB
Bitrate: 320
mp3
Found in OuterSpace
Excellent SoundQuality A
Artwork Included (Moonwall Artwork)

GRAHAM NASH:
Nash was born in Blackpool, England during World War II. In the early 1960s he was a leading member of The Hollies, one of the UK's most successful pop groups ever. Although recognised as a key member of the group, he seldom sang lead vocals, although he did write many of the band's songs, most often in collaboration with Allan Clarke. Nash was pivotal in the forging of a sound and lyrics showing an obvious hippie influence on The Hollies' album Butterfly a collection that brought differing opinions concerning the band's musical direction to the fore.

In 1968, after a visit to the USA during which he had been introduced to David Crosby in Laurel Canyon and had begun experimenting with drugs, Nash left The Hollies at the height of their fame to form a new group with Crosby and Stephen Stills, a threesome at first, and later a foursome with Neil Young - Crosby, Stills, Nash & Young. With them, he went on to even greater worldwide success. Nash, nicknamed "Willy" by his band mates in CSNY, has been described as the glue that keeps their often fragile alliances together. A mark of this is the loyalty and support Nash showed to his best friend, Crosby, during Crosby's well documented period of drug addiction ending in the mid 1980s. Nash's solo career has often been shelved in favour of reunions on stage and in the studio with either Crosby and Stills or Crosby, Stills and Young. His own solo work shows a love of melody and ballads. His solo recordings have experimented with jazz and electronic percussion but tend not to stray too far from a pop format with well defined hook lines.

Nash became very politically active after moving to California to join with David Crosby and Stephen Stills, which would be reflected in Nash songs such as "Military Madness" and "Chicago (We Can Change the World)." His song "Immigration Man," Crosby and Nash's biggest hit as a duo (see below), arose from a tiff he had with a U.S. Customs official while trying to enter the country. Nash became an American citizen on August 14, 1978.

Starting in 1972, Nash teamed with Crosby, the two continuing as a successful recording and performing duo until the more or less permanent reformation with Stills for the CSN album of 1977. The pair reunited for another Crosby & Nash studio album in 2004, and a legitimate release of music from a 1970s Crosby-Nash tour as on a widely-circulated bootleg appeared in 1998.


In 1979, Nash co-founded Musicians United for Safe Energy. In 2005, Nash collaborated with Norwegian musicians a-ha on the songs "Over the Treetops" (penned by Paul-Waaktaar-Savoy) and "Cosy Prisons" (penned by Magne Furuholmen) for the Analogue recording.

DAVID CROSBY:
David Crosby was born in Los Angeles, California. His parents were Aliph Van Cortlandt Whitehead and Floyd Crosby, an Academy Award winning cinematographer. He attended Crane Country Day School in Montecito, California, for elementary school and Jr. High. He received his high school education at the Cate School, Carpinteria, California. In 1960 , when Crosby was 19, his parents divorced.

Originally, he was a drama student, but he dropped out of drama school to pursue a career in music. He moved toward the same Greenwich Village scene (as a member of the Les Baxter's Balladeers) Bob Dylan participated in, and even shared a mentor of Dylan's in a local scene favorite Fred Neil. With the help of producer Jim Dickson, Crosby cut his first solo session in 1963.

Graham Nash And David Crosby - France Single 1972
Early in 1964 , Crosby started performing in clubs with Roger McGuinn (then known as Jim) and Gene Clark under the name the Jet Set. They soon changed the name to the Byrds, and were joined by bassist Chris Hillman and drummer Michael Clarke (whom Crosby allegedly discovered playing bongos on the beach). They somehow managed to obtain a demo recording of Bob Dylan's "Mr. Tambourine Man", and recorded a cover version of the song featuring McGuinn's twelve string guitar and Crosby's and Clark's vocal harmonizing. The song was a massive hit, and went to #1 on the charts.

In The Byrds, while Roger McGuinn was responsible for the trademark 12 string guitar sound (which he in turn took from George Harrison on "A Hard Day's Night" and the Beatles for Sale album), Crosby was responsible for the soaring harmonies and often unusual phrasing on their songs.

In 1966, Gene Clark, who then was the band's primary songwriter, left the group due to stress. This put all the group's songwriting responsibilities in the hands of Crosby and McGuinn. Crosby took the opportunity to hone his craft, and soon blossomed into a prolific and talented songwriter. His early Byrds efforts included the classic 1966 hit "Eight Miles High", which he co-wrote with Clark and McGuinn, and its flip side, "Why" co-written with McGuinn, which showed Crosby at his hard-edged best. The song "Hey Joe" is widely credited as being popularized by David Crosby after he picked it up from Dino Valente. He taught the song to Bryan MacLean and Arthur Lee of Love, who then taught it to members of The Leaves. Since he felt responsible for having popularized the song, Crosby convinced the other members of the Byrds to cover it on Fifth Dimension. By Younger Than Yesterday, the Byrds' album of 1967, Crosby was starting to find his trademark style.

Friction existed between Crosby and the other Byrds, which came to a head specifically in 1967 over two issues: his substitution, at the invitation of Stephen Stills, for an absent Neil Young during Buffalo Springfield’s set at the famous Monterey Pop Festival in June; and the Byrds’ rejection of Crosby’s controversial "Triad" composition as either a single or an album cut on Notorious Byrd Brothers in August. It was widely reported that the other Byrds were offended by the topic (a ménage à trois). This angered Crosby so much that he began to frequently skip sessions. As a result, Crosby was dismissed from the Byrds in the fall of 1967.[1] "Triad" was recorded by Jefferson Airplane and released on their album Crown of Creation in 1968. Decades later, the Byrds' version of Triad surfaced on the 1988 Never Before release and is now available on the CD re-release of Notorious Byrd Brothers.)

Graham Nash And David Crosby - US Promo Single
Around the time of Crosby's firing, he met a recently unemployed Stephen Stills at a party at the home of Cass Elliot (Mama Cass) in California in March 1968, and the two started meeting informally together and jamming. They were soon joined by Graham Nash, who left his commercially successful group The Hollies to play with Crosby and Stills.

Their first album, Crosby, Stills & Nash of 1969 was an immediate hit, spawning two Top 40 hit singles and receiving key airplay on the new FM radio format, in its early days populated by unfettered disc jockeys prone to playing entire albums at once.

While in CSN, he wrote many important songs. These include "Guinnevere", "Almost Cut My Hair," "Long Time Gone", and "Delta". He also co-wrote "Wooden Ships" with Paul Kantner of Jefferson Airplane and Stephen Stills.

In 1969, the group was joined by Neil Young, and with him they recorded the album Déjà Vu, which went to number 1 on the charts. That same year, Crosby's longtime girlfriend Christine Hinton was killed in a car accident only days after Hinton, Crosby, and fellow girlfriend Debbie Donovan moved from Los Angeles to the Bay Area. Crosby was devastated, and he began abusing drugs much more severely than he had before. Nevertheless, he still managed to contribute "Almost Cut My Hair" and the title track "Déjà Vu". After the release of the double live album Four Way Street, the group went on a temporary hiatus to focus on their respective solo careers.

David also briefly did a stint with members from the Grateful Dead. Together they recorded "David and the Dorks", a rare live recording at the Matrix on December 20, 1970.

Neil Young - Netherlands Single 1972
The group reunited in 1973 to embark on a reunion tour. It was also around this time that they began recording a new album, entitled Human Highway. The recording, which took place at Neil Young's ranch, was very unpleasant, and marked by constant bickering. The bickering eventually became too much, and the album was cancelled. Yet they once again re-united the following year to go on a stadium tour. The tour was also full of constant bickering, though they managed to finish it without interruption. Another attempt at a new album was made, but it was cancelled early on, and only a greatest hits compilation entitled So Far was released.

In 1971, he released his first solo album If I Could Only Remember My Name, featuring contributions by Nash, Young, Joni Mitchell, along with members of Jefferson Airplane, Grateful Dead, and Santana. Panned on release by Rolling Stone, it has received more critical respect with the passage of time and is still in print.

Crosby and Graham Nash have also released several albums as a duo known as Crosby & Nash.

Some other popular songs Crosby wrote in the 1970s include "Where Will I Be?", "Carry Me", "Bittersweet", "Time After Time", "Foolish Man", and "In My Dreams".

Renewing his ties to the San Francisco milieu that had abetted so well on his solo album, Crosby participated in electronica composer Ned Lagin’s proto-ambient project Seastones, along with members of the Grateful Dead and Jefferson Starship. He also sang back up vocals on "Highway Song" from the Hot Tuna album "Burgers".

David Crosby & Graham Nash; with guest Neil Young
"Sheriff Hongisto Prisoners' Benefit"
March 26, 1972 KSAN-FM broadcast

01. Wooden Ships
02. I Used To Be A King
03. The Lee Shore
04. Harvest *
05. Only Love Can Break Your Heart *
06. talk about prison benefit
07. Southbound Train *
08. talk: intro to Crosby solo segment
09. Almost Cut My Hair
10. Page 43
11. talk: intro to Nash solo segment
12. And So It Goes
13. Immigration Man
14. Heart Of Gold *
15. The Needle And The Damage Done *
16. KSAN announcer + talk about Prison Benefit
17. Teach Your Children *
18. Military Madness *
19. Chicago *
20. talk: Bill Graham outro

* with Neil Young

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Friday, August 15

Roy Buchanan - My Fathers Place NY 1973-08-17 FM Broadcast (Bootleg)


Size: 154 MB
Bitrate: 320
mp3
Found in my Bootleg Collection
Some Artwork Included

Roy Buchanan has long been considered one of the finest, yet criminally overlooked guitarists of the blues rock genre whose lyrical leads and use of harmonics would later influence such guitar greats as Jeff Beck, his one-time student Robbie Robertson, and ZZ Top's Billy Gibbons. Although born in Ozark, AR, on September 23, 1939, Buchanan grew up in the small town of Pixley, CA. 

His father was both a farmer and Pentecostal preacher, which would bring the youngster his first exposure to gospel music when his family would attend racially mixed revival meetings. But it was when Buchanan came across late-night R&B radio shows that he became smitten by the blues, leading to Buchanan picking up the guitar at the age of seven. First learning steel guitar, he switched to electric guitar by the age of 13, finding the instrument that would one day become his trademark: a Fender Telecaster. By 15, Buchanan knew he wanted to concentrate on music full-time and relocated to Los Angeles, which contained a thriving blues/R&B scene at the time. 

Shortly after his arrival in L.A., Buchanan was taken under the wing by multi-talented bluesman Johnny Otis, before studying blues with such players as Jimmy Nolen (later with James Brown), Pete Lewis, and Johnny "Guitar" Watson. During the mid- to late '50s, Buchanan led his own rock band, the Heartbeats, which soon after began backing rockabilly great Dale ("Suzy Q") Hawkins. By the dawn of the '60s, Buchanan had relocated once more, this time to Canada, where he signed on with rockabilly singer Ronnie Hawkins. 


The bass player of Ronnie Hawkins' backing band, the Hawks, studied guitar with Buchanan during his tenure with the band. Upon Buchanan's exit, the bassist-turned-guitarist would become the leader of the group, which would eventually become popular roots rockers the Band: Robbie Robertson. Buchanan spent the '60s as a sideman with obscure acts, as well as working as a session guitarist for such varied artists as pop idol Freddy Cannon, country artist Merle Kilgore, and drummer Bobby Gregg, among others, before Buchanan settled down in the Washington, D.C., area in the mid- to late '60s and founded his own outfit, the Snakestretchers. 

Despite not having appeared on any recordings of his own, word of Buchanan's exceptional playing skills began to spread among musicians as he received accolades from the likes of John Lennon, Eric Clapton, and Merle Haggard, as well as supposedly being invited to join the Rolling Stones at one point (which he turned down). The praise eventually led to an hour-long public television documentary on Buchanan in 1971, the appropriately titled The Best Unknown Guitarist in the World, and a recording contract with Polydor Records shortly thereafter. Buchanan spent the remainder of the decade issuing solo albums, including such guitar classics as his 1972 self-titled debut (which contained one of Buchanan's best-known tracks, "The Messiah Will Come Again"), 1974's That's What I Am Here For, and 1975's Live Stock, before switching to Atlantic for several releases. But by the '80s, Buchanan had grown disillusioned by the music business due to the record company's attempts to mold the guitarist into a more mainstream artist, which led to a four-year exile from music between 1981 and 1985. 

Luckily, the blues label Alligator convinced Buchanan to begin recording again by the middle of the decade, issuing such solid and critically acclaimed releases as 1985's When a Guitar Plays the Blues, 1986's Dancing on the Edge, and 1987's Hot Wires. 

But just as his career seemed to be on the upswing once more, tragedy struck on August 14, 1988, when Buchanan was picked up by police in Fairfax, VA, for public intoxication. 

Shortly after being arrested and placed in a holding cell, a policeman performed a routine check on Buchanan and was shocked to discover that he had hung himself in his cell. Buchanan's stature as one of blues-rock's all-time great guitarists grew even greater after his tragic death, resulting in such posthumous collections as Sweet Dreams: The Anthology, Guitar on Fire: The Atlantic Sessions, Deluxe Edition, and 20th Century Masters and the live When a Telecaster Plays the Blues, which appeared in 2009. ~ Greg Prato, Rovi

Roy Buchanan, My Father's Place Roslyn, Long Island, NY 
1973-08-17, FM Broadcast

Personnel:
» Roy Buchanan - Guitar, Vocals
» Dick Heintze - Keyboards
» Robbie Magruder - Drums
» John Harrison - Bass, Vocals

01. Rodney's Song
02. CC Ryder
03. Susie Q
04. Hey Joe
05. Linda Lou
06. Johnny B. Goode
07. Bad Case of the Blues (?)
08. Green Onions
09. Pete's Blues
10. Sweet Dreams

1. My Fathers Place
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2. My Fathers Place
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