Monday, October 20

Johnny Watson - Johnny "Guitar" Watson (Good Blues Album US 1963)

Size: 81.5 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included

"Reinvention" could just as easily have been Johnny "Guitar" Watson's middle name. The multi-talented performer parlayed his stunning guitar skills into a vaunted reputation as one of the hottest blues axemen on the West Coast during the 1950s. But that admirable trait wasn't paying the bills as the 1970s rolled in. So he totally changed his image to that of a pimp-styled funkster, enjoying more popularity than ever before for his down-and-dirty R&B smashes "A Real Mother for Ya" and "Superman Lover."

Watson's roots resided within the fertile blues scene of Houston. As a teen, he played with fellow Texas future greats Albert Collins and Johnny Copeland. But he left Houston for Los Angeles when he was only 15 years old. Back then, Watson's main instrument was piano; that's what he played with Chuck Higgins' band when the saxist cut "Motorhead Baby" for Combo in 1952 (Watson also handled vocal duties).

He was listed as Young John Watson when he signed with Federal in 1953. His first sides for the King subsidiary found him still tinkling the ivories, but by 1954, when he dreamed up the absolutely astonishing instrumental "Space Guitar," the youth had switched over to guitar. "Space Guitar" ranks with the greatest achievements of its era -- Watson's blistering rapid-fire attack, done without the aid of a pick, presages futuristic effects that rock guitarists still hadn't mastered another 15 years down the line.

Watson moved over to the Bihari Brothers' RPM label in 1955 and waxed some of the toughest upbeat blues of their time frame (usually under saxist Maxwell Davis's supervision). "Hot Little Mama," "Too Tired," and "Oh Baby" scorched the strings with their blazing attack; "Someone Cares for Me" was a churchy Ray Charles-styled slow-dragger, and "Three Hours Past Midnight" cut bone-deep with its outrageous guitar work and laid-back vocal (Watson's cool phrasing as a singer was scarcely less distinctive than his playing). He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights."

Though he cut a demo version of the tune while at RPM, Watson's first released version of "Gangster of Love" emerged in 1957 on Keen. Singles for Class ("One Kiss"), Goth, Arvee (the rocking introduction "Johnny Guitar"), and Escort preceded a hookup with Johnny Otis at King during the early '60s. He recut "Gangster" for King, reaching a few more listeners this time, and dented the R&B charts again in 1962 with his impassioned, violin-enriched blues ballad "Cuttin' In."

Never content to remain in one stylistic bag for long, Watson landed at Chess just long enough to cut a jazz album in 1964 that placed him back behind the 88s. Along with longtime pal Larry Williams, Watson rocked England in 1965 (their dynamic repartee was captured for posterity by British Decca). Their partnership lasted stateside through several singles and an LP for OKeh; among their achievements as a duo was the first vocal hit on "Mercy, Mercy, Mercy" in 1967 (predating the Buckinghams by a few months).

Little had been heard of this musical chameleon before he returned decked out in funk threads during the mid-'70s. He hit with "I Don't Want to Be a Lone Ranger" for Fantasy before putting together an incredible run at DJM Records paced by "A Real Mother for Ya" in 1977 and an updated "Gangster of Love" the next year.

Bow Wow After a typically clever "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But counting this remarkable performer out was always a mistake. Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk. Sadly, in the midst of a truly heartwarming comeback campaign, Watson passed away while touring Japan in 1996.

01. Cuttin' In 03:03
02. Embraceable You  02:35
03. Broke And Lonely  02:50
04. What You Do To Me  02:23
05. Gangster Of Love  02:50
06. Highway 60  02:23
07. Those Lonely, Lonely Feelings  02:45
08. Posin'  02:40
09. That's The Chance You've Got To Take  03:10
10. I Just Wants Me Some Love  02:40
11. Sweet Lovin' Mama  02:47
12. You Can't Take It With You  02:37
+ 3 Bonus Tracks

1. Link
2. Link

Saturday, October 18

Hawkwind - At The BBC 1972 (Great Performance)

Hawkwind - Doremi Fasol Latido Album 1972

Size: 235 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Some Artwork Included

BBC Radio One Live in Concert is a 1991 live album of a 1972 concert by Hawkwind.

"It was recorded straight to quarter-inch tape – there were no overdubs and no possibility of remixing. This particular performance was also continuous for one hour which made for an interesting change over when the programme was aired since the reels of tape only lasted approximately 30 minutes each." – Jeff Griffin, BBC in Concert series producer.

This concert is still regularly aired by BBC Radio on the Live at Midnight slot on the BBC 6 Music channel . Despite Griffins' claims that remixing is not possible, the broadcast version does sound markedly different from the CD release, having greater clarity and definition on the instruments and vocals. The broadcast version also has some brutal edits, removing the first 4 minutes of "Brainstorm", and during "Earth Calling" and the end credits.

In March 2010, EMI re-issued the concert as Hawkwind: At the BBC – 1972 as a double CD; the first CD containing the original Windsong version, the second CD containing the version BBC uses for broadcast. The first CD also includes the studio session recorded for the Johnnie Walker show in August 1972, with performances of "Silver Machine" and "Brainstorm".

Hawkwind At The BBC 1972 captures the band just after the surprise of the UK number three hit single in July with the classic "Silver Machine", and before their live experience Space Ritual which was recorded on tour later in the year.
Whilst the bulk of this double CD release is made up of the live set recorded for the BBC In Concert programme, it opens with a previously unreleased session recorded for Johnnie Walker featuring a shortened version of the Doremi Fasol Latido album classic "Brainstorm" and a version of the then hit single "Silver Machine", featuring Lemmy on vocals as per the single. 

The In Concert itself, a hypnotic continuous performance, is presented in both mono and stereo versions. The mono version was previously released by Windsong on CD in 1991 and has been remastered and re-indexed to include all of the pieces originally performed, and the concert itself in its entirety.

The stereo version has long been in the domain of the bootleggers as an off-air recording known the as "Broadcast" version. 

This mix was in fact distributed by the BBC for broadcast internationally and features an edited "Brainstorm", missing approximately 4 minutes from the front of the song, a shorter "Welcome To The Future" and "Electronic No. 1" (not indexed on the previous CD release), but a longer "Countdown" introduction. Officially released for the first time, apart from being in stereo, the sound quality is superior to the mono version and the mix is generally more exciting.

Whilst the CD racks and on-line listings are full of unofficial and poor Hawkwind live recordings, this set is a prime chunk of space rock from the band at the peak of their powers and is an essential addition to the band's huge discography. 

Recorded at 28th September 1972
at The Paris Theatre London
Broadcasting 14 October 1972

Dave Brock - Guitar, Vocals
 Nik Turner - Sax, Flute, Vocals
 Del Dettmar - Synthesizer
 Dik Mik - Audio Generator, Electronics
 Lemmy - Bass, Vocals
 Simon King - Drums

Disc 1 (Live At The Paris Theatre, London on 28/09/72 - apart from tracks 1 and 2) MONO
01 - Brainstorm (Johnnie Walker Radio 1 Session) 
02 - Silver Machine (Johnnie Walker Radio 1 Session) 
03 - Countdown
04 - Born To Go
05 - The Black Corridor
06 - Seven By Seven
07 - Brainstorm
08 - Electronic No. 1
09 - Master Of The Universe
10 - Paranoia
11 - Earth Calling
12 - Silver Machine
13 - Welcome To The Future

Disc 2 (Live At The Paris Theatre, London on 28/09/72) STEREO
01 - Countdown
02 - Born To Go
03 - The Black Corridor
04 - Seven By Seven
05 - Brainstorm
06 - Electronic No. 1
07 - Master Of The Universe
08 - Paranoia
09 - Earth Calling
10 - Silver Machine
11 - Welcome To The Future

Part 1: Hawkwind 1
Part 2: Hawkwind 2
Part 1: Hawkwind 1
Part 2: Hawkwind 2
Hawkwind - In Search Of Space (March 1971)
Hawkwind - France Single 1972
Hawkwind - UK Single 1970

Saturday, October 11

Good torrent uploader at Pirate Bay

Hi all, just found this Torrent uploader at Pirate Bay: "Beolab1700"

Hundreds of good albums at: Link

I have forgot my own old (2005) uploads at Pirate Bay, some are still alive: Link

Wednesday, October 8

Assorted Bootlegs, All with Very Good SoundQuality 1970-2013 (@320)

Buddy Guy

Hi all.

Here is a bunch of assorted bootlegs in great soundquality. The Folder is 1.5GB Enjoy!!

01. Buddy Guy - Chicago WXRT FM Broadcast  2001-05-16 (2CD) (Bootleg) (@320)
02. Dark Star Orchestra - Live at Starr Hill Music Hall 2006 (3CD) (Bootleg) (@320)
03. Koko Taylor - House of Blues LA FM Broadcast 1995 (Bootleg) (@320)
04. Little River Band - Pauls Mall 1977 WBCN-FM (Bootleg) (@320)
05. Possum Jenkins - Pleasant Ridge House Concerts 2013 (2CD) (Bootleg) (@320)
06. Robert Cray Band - Center of Performing Arts 1978-11-24 (Bootleg) (@320)
07. Stone the Crows - Beat Workshop 1972-73 (Bootleg) (@320)
08. The Sweet - Rare Outtakes 1970-1977 (Bootleg) (@320)

Part 01: Link 01
Part 02: Link 02
Part 03: Link 03
Part 04: Link 04
Part 05: Link 05
Part 06: Link 06
Part 07: Link 07
Part 08: Link 08
Part 09. Link 09
Part 01: Link
Part 02: Link
Part 03: Link
Part 04: Link
Part 05: Link
Part 06: Link
Part 07: Link
Part 08: Link
Part 09. Link
Stone the Crows 1972

Friday, October 3

Velvet Opera - Ride a Hustler's Dream (Great Rock UK 1969)

Size: 109 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Elmer Gantry's Velvet Opera, at various times also known as "Velvet Opera", was a British rock band active in the late 1960s. Members of the band would later become members of The Strawbs, Hudson Ford and Stretch.

The group emerged from a soul/blues band called 'The Five Proud Walkers'. After supporting Pink Floyd on tour, they were inspired to change their approach and become a more psychedelic outfit. The band consolidated as Richard Hudson on drums, John Ford on bass, Colin Forster on lead guitar, Jimmy Horrocks (Horovitz) on organ and flute (who left early in the band's history), and Dave Terry on vocals and harmonica. Initially just calling themselves Velvet Opera, they developed their full name when Terry took to wearing a cape and preacher's hat in the style of the title character in the 1960 film adaptation of Sinclair Lewis' novel, Elmer Gantry.

They started to make club appearances in London, using electronic backing sounds, and secured a record deal with the short lived Direction Records subsidiary of CBS Records in the UK. Their first recording was the single "Flames" (November 1967) which also featured on the CBS sampler record "The Rock Machine Turns You On", and was later covered on stage by Led Zeppelin.[4] Further singles and a self-titled album followed, including the track "Mary Jane" which was taken off the BBC playlist after they realised its drug connotations,[4] although the band continued to make regular live appearances on John Peel's Radio 1 programme 'Top Gear', and other BBC radio shows.

However, the recording success of the band was limited, and Forster left when Hudson and Ford wanted to take the band in a different direction.[citation needed] Forster was replaced by Paul Brett. Elmer Gantry was the next to depart, along with Paul Brett, and the band reverted to the name "Velvet Opera". Gantry and Brett were replaced by John Joyce and a returning Colin Forster respectively, and the band released a second album, Ride a Hustler's Dream. This again failed to achieve success, and in 1970 Ford left (to be replaced by Colin Bass), subsequently followed by Richard Hudson; both of them joining The Strawbs shortly afterwards. At this point the band dissolved.

In 1971, Forster and Bass formed a new version of Velvet Opera with ex-Tintern Abbey vocalist, Dave MacTavish and drummer Mike Fincher. Short-lived, they recorded one single on the Spark Records label.

Elmer Gantry's Velvet Opera - Netherland Single 1969
Meanwhile, Terry formed his own band with ex-members of the Downliners Sect and performed in Hair. In 1974 he went on to tour with the "Fake Mac" version of Fleetwood Mac, when manager Clifford Davis claimed he owned the name "Fleetwood Mac" and promoted a new version without any original members. After the tour collapsed in litigation with the original members of Fleetwood Mac,[6] the band continued as Stretch. Later, Terry recorded with The Alan Parsons Project and sang lead vocals on the tracks "May Be a Price to Pay" on The Turn of a Friendly Card and "Psychobabble" on Eye in the Sky. He also worked with Cozy Powell and Jon Lord.

This popular UK act, which adeptly mixed soul and psychedelic/progressive styles, evolved from Jaymes Fenda And The Vulcans, one of several bands to secure a recording contract following their appearance on the televised contest, Ready Steady Win. Former Vulcans songwriter John Ford (b. 1 July 1948, Fulham, London, England; bass) joined members of R&B band Five Proud Walkers, which included Dave Terry (vocals/guitar), Colin Forster (guitar) and Richard Hudson (b. Richard William Stafford Hudson, 9 May 1948, London, England; drums). 

The new unit was named Elmer Gantry's Velvet Opera, in honour of lead singer Terry's stage garb modelled after the preacher in the 1960 movie Elmer Gantry. Their excellent 1967 debut album included the pulsating "Flames', which, despite regular appearances on BBC Radio 1"s Top Gear, failed to become a hit.

Growing disagreements over musical direction led to the departure of Gantry and Forster. The remaining members truncated their name to Velvet Opera, added Paul Brett (guitar) and John Joyce (b. 1933, England, d. February 2004, England; vocals) to the line-up, and recorded Ride A Hustler's Dream. The album lacked the purpose of its predecessor, save for the excellent "Anna Dance Square". The quartet fell apart when Hudson and Ford joined the Strawbs, with whom they remained until 1973. Having written several of the band's most commercial offerings, the duo then left to pursue their own career as Hudson-Ford. By 1974, Gantry was fronting a band which, until checked by litigation, accepted illicit bookings as "Fleetwood Mac" while the genuine article were off the road. A year later, Gantry emerged once more as singer on Stretch's solitary UK chart entry, "Why Did You Do It?", before going on work with the Alan Parsons Project and Cozy Powell. Former member Colin Forster briefly worked with a new line-up of Velvet Opera in the early 70s.

Line-up - Musicians: (1969 LP CBS 63692)
Paul Brett - Guitar 
 Richard Hudson - Drums 
 John Joyce - Guitar, Vocals 
 John Ford - Bass 

01. Ride a Hustler's Dream (0:56)
02. Statesboro Blues (3:38)
03. Money By (3:55)
04. Black Jack Davy (3:34)
05. Raise the Light (4:09)
06. Raga (5:29)
07. Anna Dance Square (3:00)
08. Depression (4:01)
09. Don't You Realize (3:36)
10. Warm Day in July (5:06)
11. Eleanor Rigby (5:54)
12. Volcano [Bonus] (2.37)
13. A Quick 'B' [Bonus] (3.04)
14. She Keeps Giving Me These Feeling [Bonus] (2.41)
15. There's A Hole In My Pocket [Bonus] (3.47)

1. Link
2. Link
Family Tree
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Sunday, September 28

Led Zeppelin - Celebration Day 2007-12-10

Size: 278 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Pictures Included

On December 10, 2007, Led Zeppelin took the stage at London's O2 Arena to headline a tribute concert for dear friend and Atlantic Records founder Ahmet Ertegun. What followed was a two-hour-plus tour de force of the band's signature blues-infused rock 'n' roll that instantly became part of the legend of Led Zeppelin. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalog including landmark tracks "Whole Lotta Love," "Rock And Roll," "Kashmir," and "Stairway To Heaven." Although 20 million people applied for tickets, the band's first headline show in 27 years was seen only by the 18,000 ticket holders who were 
fortunate enough to have secured seats through the worldwide lottery.

For someone who wasn’t fortunate enough to even be alive during Led Zeppelin’s powerful musical reign, seeing a film like Celebration Day certainly was a treat. Taken from the band’s one-off charity reunion show on December 10th, 2007 at London’s O2 Arena, this show saw the band really step it up, trying (and succeeding) to impress. In the five years since, bootlegs of the band’s rehearsals leading up to the show leaked online and you can find the rehearsal tape for Whole Lotta Love here.

Packed into a theater full of die-hard fans sporting Zeppelin apparel, everyone, especially those who hadn’t yet witnessed the live power of Led Zeppelin, was excited to finally see what the band has spent the last few months hyping up. The film began without any trailers as the theater darkened to the sound of a rabid crowd cheering. Suddenly, the screen lit up into the image of a massive projected television set sporting a video taken from a news report covering a Led Zeppelin show in Tampa, Florida. The news report introduced the band as they walked onstage to the roaring approval of the members of the crowd both at the O2 Arena as well as in the theater.

Led Zeppelin II Album Cover 1969

The band then began their hit-filled two hour set with Good Times, Bad Times, which had a much heavier feel to it with John Bonham’s son Jason sitting behind the kit. Everyone in the band was spot-on, excited to be there, and very energetic, especially Jimmy Page, who was drenched in sweat within two minutes of the first song. Segueing straight into Ramble On, all of Led Zeppelin was ready for a show. Throughout the entire set, Jimmy Page pulled out solos left and right, disproving anyone who had a thought that his age restricted him from nailing any solo thrown at him.

The turning point in the film came when John Paul Jones broke out the eery opening notes of Dazed and Confused, which eventually led into a full-on attacking solo from Jimmy Page that kept everyone’s eyes glued to the screen, watching his fingers perform intricate and seemingly effortless fretwork (although when the camera panned to his face, it seemed otherwise). It was then that Page pulled out the double-neck Gibson guitar which could only mean one thing: Stairway to Heaven. As Robert Plant stepped to the mic to sing the opening notes of the legendary ballad, everyone in the theater seemed to straighten and wake up, some even piping up and singing along with Plant. When the time came for Page’s solo, everyone was rocking in their seat. The band then concluded their main set with the epic Kashmir, which, once again, showed the pure talent of the group. From John Paul Jones’ flawless keyboard work to Robert Plant’s vocals, everything was spot-on, giving the feel that the band was still very much in their prime.

After returning to the stage for Whole Lotta Love, the film came to an end with a second encore of Rock and Roll. Throughout the entire film, Jason Bonham showed that he has what it takes to play his father’s role in the band and the show-concluding drum solo undoubtedly proved his worthy, leaving many in the theater smiling with no idea what other reaction to have and almost everybody in awe.

Celebration Day is a film that really exemplifies how Led Zeppelin will permanently have a place in the hearts of fans and always remain a rock and roll cornerstone. The film takes the opportunity to remind everybody that Zeppelin was, and always will be, one of the greatest groups that rock and roll has ever seen and that time will never hinder their pure power. Throughout the entire movie, people found themselves unconsciously tapping their foot to the beat, bobbing their head, or mouthing the words with Robert Plant as his shrill vocals cut through the surround sound speakers, hitting every note almost perfectly and leaving all in attendance with a smile on their face. So is Celebration Day worth seeing? Most definitely. No, it won’t be a life-altering experience, but it’s probably going to be the closest thing to seeing Led Zeppelin live in concert that you’re going to get. [Reviewer Unknown]

December 10, 2007, Led Zeppelin played one the of the most anticipated concerts ever, at London's O2 Arena. Reportedly there were over 20 million requests for the 16,000 tickets, and the audience came from all over the world. The band have sold over 200 million records since their debut in 1969, and that number will just continue to rise. I mention these numbers to emphasize just how big an event this performance was.

Led Zeppelin - Physical Graffiti  96 and 98 St. Mark's Place, NY, USA

The set-list has been available since the night of the show, and there have been numerous cell-phone bootleg videos of the concert posted online as well. But none of this comes close to preparing us for just how brilliant the band were that night, as captured on the newly released DVD/CD package Celebration Day.

When Led Zeppelin's drummer John Bonham died of alcohol poisoning in 1980, Jimmy Page (guitar), Robert Plant (vocals), and John Paul Jones (bass) decided to call it quits rather than attempt to carry on without him. Before the O2 concert Led Zeppelin had played a few songs at both Live Aid and at their induction into the Rock and Roll Hall of Fame. Neither performance was considered especially noteworthy though. At Live Aid, they had Phil Collins and Tony Thompson play drums, and for the Hall of Fame stint, they asked Bonham's son Jason Bonham to sit in.

It was with Jason Bonham in the drum chair that they performed the London concert, and he did an admirable job in filling in for his father. In fact, after six weeks of rehearsals, the whole band were absolutely on fire. They performed 16 songs that night, including the encores.

The concert opens with "Good Times, Bad Times," which just happened to be the first song on their 1969 self-titled debut. It sets the tone for the night perfectly, and also is a subtle display of the genius of the band in when it comes to structuring a set. As the set continues, one realizes that their talent for pacing remains perfectly intact.

"Good Times, Bad Times," is followed by "Ramble On," and "Black Dog," before Robert Plant addresses the audience with his trademark "Good evening." With this three-song introduction of classic Zeppelin tunes, the band and the audience have crossed over whatever initial trepidation surrounding the big night that may have existed. True to form, it is at this point that the group choose to up the ante.

Led Zeppelin - New Swansong Label

The fourth song is "In My Time of Dying" from the Physical Graffiti album, and it is an awe-inspiring display of musical talent. The studio version clocked in at 11:04, and was one of the most intense tracks on that sprawling masterpiece. Thirty-two years later, Led Zeppelin's courage of conviction regarding their music is unwavering, and the live version runs 11:01. Zep could have easily played a two-hour set with nothing but sure-fire crowd pleasers, but they chose to really stretch out, and this song is unbelievable.

Prior to Bonham's death, there was only one officially released concert film and album, The Song Remains the Same. It was filmed in 1973 at a concert in Madison Square Garden, and released in 1976. The show came at the tail end of the tour, and their performance was good, but not great. Physical Graffiti had not been released yet, so "In My Time of Dying" is a song I had never seen them play. At the O2 Arena, their performance is a revelation. Jimmy Page's slide work, and Plant's vocals are simply awesome. And, as he does throughout the show, Jason Bonham hits the drums with everything he has. John Paul Jones is right there too. It is an early transcendent high-point, of which there will be many more to come.

Once again, the pacing of the show is revealed to be brilliant as the band proceed from "In My Time of Dying." In what could be considered a set-within-the-set, they highlight the period of 1975-1976, and the two albums that marked (for some of us at least) their peak. The albums are the aforementioned Physical Graffiti, and the vastly overlooked Presence.

With the amazing guitar virtuosity Page displays during "In My Time of Dying" the crowd is rightfully stunned. Yet the band are just warming up. This night may have been nostalgic, but Led Zeppelin were out to do everything they could to make it much more than simply reliving the glory days. Apparently they had never performed "For Your Life" (from Presence) onstage before, as Plant introduces the song by saying "This is our first adventure with it in public" "For Your Life" is again dominated by Page's guitar, and it is a smoking blues number.

Led Zeppelin - German Single 1969

For the first time in the show, John Paul Jones trades his bass for the keyboards as he launches into another Physical Graffiti classic, "Trampled Under Foot." The band then revisit Presence for "Nobody's Fault But Mine." Although I did not recognize it at the time, both of these songs have a bit of a rockabilly flavor to them, as heard through the one-of-a-kind Led Zeppelin filter.

"No Quarter" has always been a showcase for John Paul Jones, and it remains so here. I am not sure if it qualifies as a "ballad" per se, but "No Quarter," and "Since I've Been Loving You" do slow the pace momentarily, allowing everyone to catch their breath.

That 16-minute interlude is definitely the calm before the storm to follow. "Choosing songs from ten different albums, there are ones that had to be there," says Robert Plant by way of introduction. The camera then turns to Jones, and as his bass intones the famous descending bass notes of "Dazed and Confused," and the crowd are on their feet again.

If there is one track that defines the whole black magic aura which once surrounded Zeppelin, this is it. When Page pulls out his violin bow in the middle of the song, it is almost unbelievable. I really did not expect it to happen, but that was a case of underestimating their resolve to play a true Zeppelin concert. It is a wild sight, and the sounds he gets out of it are about as "satanic" as anything I have ever heard.

Led Zeppelin - Australia EP 1969

The one-two punch comes with the follow-up, "Stairway to Heaven." The only thing missing here is Plant asking "does anyone remember laughter?" In the introduction to "Misty Mountain Hop," Plant talks about how the elder Bonhams used to sing together all the time, then mentions that Jason has inherited the talent. Jason sings back-up vocals on the tune.

With no introduction necessary, the band then delve into "Kashmir." This is another song that I had never seen them perform live, and watching them play it is fantastic. As I have mentioned, Jason Bonham does a stellar job behind the drum kit, but I think his finest moment comes during this song. The drums are such an integral part of it that John Bonham was given a songwriting credit, along with Page and Plant. Jason's playing is as ferocious as his father's was on the original.

As Plant said in his introduction to "Dazed and Confused," there are certain songs that had to be a part of the set, and "Whole Lotta Love" is another. Watching Page play some kind of crazed guitar-theramin device during this is incredible. The sounds are other-worldly, as is the sheer spectacle of him weaving his arms around the magic box to create them.

"Whole Lotta Love" was the first encore, and the second and final encore of the night is "Rock and Roll." Again, the symmetry is beautiful. "Rock and Roll" is a classic Zeppelin song which opened the concert filmed for The Song Remains the Same. It also just happens to be a great tune, and the perfect summation of what the night was about.

01."Good Times Bad Times" (John Bonham, John Paul Jones, and Jimmy Page) – 3:12 
02."Ramble On" (Page and Robert Plant) – 5:45 
03."Black Dog" (Jones, Page, and Plant) – 5:53 
04."In My Time of Dying" (Bonham, Jones, Page, and Plant) – 11:11 
05."For Your Life" (Page and Plant) – 6:40 
06."Trampled Under Foot" (Jones, Page, and Plant) – 6:20 
07."Nobody's Fault but Mine" (Page and Plant) – 6:44 
08."No Quarter" (Jones, Page, and Plant) – 9:22 
09."Since I've Been Loving You" (Jones, Page, and Plant) – 7:52 
10."Dazed and Confused" (Page; inspired by Jake Holmes) – 11:44 
11."Stairway to Heaven" (Page and Plant) – 8:49 
12."The Song Remains the Same" (Page and Plant) – 5:47 
13."Misty Mountain Hop" (Jones, Page, and Plant) – 5:08 
14."Kashmir" (Bonham, Page, and Plant) – 9:07 

First Encore 
15."Whole Lotta Love" (Bonham, Willie Dixon, Jones, Page and Plant) – 7:26 

Second Encore 
16."Rock and Roll" (Bonham, Jones, Page, and Plant) – 4:35 

[Track Review by:]

01. Good Times Bad Times (3:10) - The night starts exactly the same way Led Zeppelin's discography with the first song on the first side of their first record. The crowd explodes into a frenzy as their three idols all dressed in black focus intently. My initial thought is Plant sounds awful, not sure if he was nervous or he was not warmed up properly, but his voice did not display the distinct rawness he displayed 38 years earlier on the record. Nonetheless Page kicks into a mini solo close to the end of the song with a smirk on his face that promises a good ride for the viewer.

02. Ramble On (5:37) - With no pause we get taken to Zeppelin II and the guys are still all business. Not exactly full of the confident swagger that made them rock gods, they are starting to sound really good and Plant is still clearly the weakest link. Page kicks in his guitar magic in a fairly straightforward rendition of the song

03. Black Dog (5:18) - Jimmy Page takes off his shades and starts to get sweaty. At this point it is evident that the camera work is incredible adjusting between the four musicians and the loud fifth member (with most of them spending their time with cell phones and cameras in the air) at the appropriate times. Plant finally shows the confidence that made him the Golden God as he is clearly starting to loosen up.

04. In My Time Of Dying (11:01) - Plant acknowledges the crowd with a "Good Evening" and a big smile on his face and its time for the blues. For many this song represents the best of what Zeppelin was - thunderous re-interpretation of the delta blues. This particular song is a re-interpretation of an old blues staple called Jesus Make Up My Dying Bed (even Dylan recorded a version in 1962). As if the rusty old car was just starting to warm up, this song reflects the point where everything is firing on all cylinders and the warm up is complete. Perfectly executed this is the Zeppelin we all adore and worship. Easily within Plant's current vocal range the spotlight is on Page's slide finger and as the song picks up Bonham truly pounds the drum kit with a rage of a man on a mission. Page's guitar solo at the end is incredible and of course John Paul Jones continues to be the steady foundation that this band needs. Highlight of the DVD - Robert Plant singing "Oh My Jesus, Je, Je, Je Je ..." at 25:13 of the DVD. Go watch, words cant describe the majesty of that scene. After the song Plant starts to joke with the crowd for the first time this night and thanks them for the 1000's of emotions that the band has had the last few months.

05. For Your Life (6:08) - Zeppelin fans rejoice - a song that the band has NEVER played live before (no idea why not). True to the album version this one seems like a breeze technically after the intense previous song. "You said I was the only, With my lemon in your hand" is how it starts and continues through to another mini Page solo and while there have been suggestions he was down-tuned for this concert to compensate for Plant's voice, there is no evidence of any short cuts here. 

06. Trampled Under Foot (6:02) - A tribute to Robert Johnson's 1936 song Terraplane Blues that Plant introduces as having been recorded 1000's of times. John Paul Jones now sits on they keyboards and impressively nails his piano part. The interplay with between keys and guitar is paramount and the audience roars in appreciation. The song may have its roots in the blues, but this is the biggest dancing song of the night with its funky beat. As if to reflect the speed of the song, the camera shots alternate at dizzying speeds and not staying on a subject more than 5 seconds.

07. Nobody's Fault But Mine (6:24) - Continuing the theme of paying tribute to the old blues greats this time one is from Blind Willie Johnson who wrote similar lyrics in the 1920's and which Plant claims they heard in church in 1932 before Johnson had his first shot. Plant brings out the harmonica and plays it as needed to fill out Page's riffs. The band spends a good portion of the song feeding off each others energy in front of Bonham's drum kit, and you can clearly see the magical bond the three originals have. Jones is back on bass for this but not for long.
08. No Quarter (9:00) - As Jones takes they keys again the audience know its time to mellow out and get ready for the Zeppelin trance that used to captivate audiences in the 70's and created a communal bond that the rock concerts of today can only dream of achieving. The smoke machines roll fog off the stage and contibute to the trance. Page kicks into a tight solo halfway in the song that I am certain the audience wished would continue for another 10 minutes.

09. Since I've Been Loving You (7:35) - The slowed down and moody portion of the set continues with familiar Page licks at the beginning of the song. This song sounds very familiar to the version we heard on the Page/Plant collaborations of the mid 90's. Perfectly executed again the DVD continues to remind us of why Zeppelin is so revered by fans all over the world.

10. Dazed And Confused (11:19) - Here is the one instance where the band deviates from the album version of the songs. The song as heard on the record 6:27 but Zeppelin was notorious for extending this one during their live shows. Tonight they unfortunately did not extend the song to 30 minutes or so like they did on The Song Remains The Same movie but they gave the hardcore fans a sample of the "jam band" spirit that they were known for. Page of course brings out the violin bow for this one and makes the eerie electric distortion sounds he is known for. All the while he is standing in a laser pyramid that circles around him as the smoke machine fills his space. Magical!

11. Stairway To Heaven (8:28) - This song concludes with Plant declaring "Hey Ahmet, we did it". Of all the suffocating pressure put on the band to perform well, the epicenter of the pressure lay firmly on Stairway To Heaven. The song that defined Zeppelin for many generations, the most played song in rock radio history, the song that every Zeppelin fan knows every note to, this was the one that everyone would talk about after the show. They delivered a very solid version which features Page on that all iconic double neck guitar. The solo in this song is widely considered the best guitar solo of all time, but the wizard did not disappoint as he delivered a clean and concise solo and put the big pressure point away forever. It is odd that the whole time I was watching this song it was like watching a student to see if they did enough homework to pass the final exam. I felt guilty about this as this is Led Zeppelin, who was I to have any doubt about the greatest band in the universe. 

12. The Song Remains The Same (5:35) - Things liven up again as if the hard part of the concert was over and the celebration day continues. An uplifting song that transitions the concert while Plant keeps on the double neck from the previous song. Bonham on the drums is the highlight of this song and honestly there was nobody that had more to prove tonight than the junior Bonzo. Fairly straight forward rendition of the feel good song of the night.

13. Misty Mountain Hop (4:48) - Continuing the free spirited approach of the last song, Misty Mountain Hop begins with Plant recounting stories of Jason Bonham's youth being sung to by his parents and how he turned out to be a pretty good singer himself. Lo and behold Bonham provides Plant with backing vocals for this song. I don't believe this is something Bonzo ever did so it was very cool to hear some added power to this excellent song. Jones kept repeating the song's main rhythm to keep the beat steady.

14. Kashmir (8:48) - A highlight of the night. The guitar face Page puts on in the first few seconds of this song says it all. The boys have passed the test, they know it and the fans in attendance know it. Time for the exclamation mark in the form of a flawless, and emotional main set highlight. Plant's wail right before the line "baby, baby, I've been dying" will bring goosebumps to Zeppelin fans as he draws something deep within his soul to achieve such commanding vocal strength. The three originals fire on all cylinders but this is where Jason proves that there is a Bonham behind the kit, and only a Bonham should have the right to be there on this night. The band released this song on YouTube and you can see it below.

15. Whole Lotta Love (6:49) - After all four members take a bow at the conclusion of Kashmir they walk of stage as the main set finishes. When they come back on, there really isnt much doubt that we will hear the chords of Whole Lotta Love. It seems sped up as they rush through it to get to the main highlight which of course is the psychedelic middle part of the song where the grand wizard of the electric guitar takes his pose as green lasers shoot out from the stage. It is theramin time boys and girls where Page waves his hands in front of an antenna and distorts the electric field all round his space. Unfortunately Plant could not deliver the "loooove" scream that used to be considered his most powerful vocal display. Nonetheless the audience helps by screaming it out themselves. The song ends with another bow from the band at the front of the stage before they rush off.

16. Rock and Roll (4:19) - This is it - possibly the last performance of the new Led Zeppelin and they could not have picked a better song. The party atmosphere at the O2 must have been bitter sweet as everyone must have known their gods will only be on stage for just a few more minutes. The band nails the song and Bonham again is the highlight with a beatiful and powerful finale drum solo. Page gives him the biggest smile I have ever seen on Pagey's face and he kisses his guitar before he puts it down. The screen behind the band puts up the familiar Led Zeppelin logo and the band waves as they walk off.  Last to leave the stage is Jason Bonham .... 

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

Some Led Zeppelin Stuff for reading on a boring sunday....

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Saturday, September 20

Luther Allison - Amazingrace Evanston 1978-07-22 (Bootleg)

Size: 134 MB
Bitrate: 320
Found in Outerspace
Some Artwork

An American-born guitarist, singer, and songwriter who lived in France since 1980, Luther Allison was the man to book at blues festivals in the mid-'90s. Allison's comeback into the mainstream was ushered in by a recording contract with an American record company, Chicago-based Alligator Records. After he signed with Alligator in 1994, Allison's popularity grew exponentially and he worked steadily until his death in 1997.

Luther Allison Fillmore West Concert 1970 Poster
Born August 17, 1939, in Widener, AR, Allison was the 14th of 15 children, the son of cotton farmers. His parents moved to Chicago when he was in his early teens, but he had a solid awareness of blues before he left Arkansas, as he played organ in the church and learned to sing gospel in Widener as well. Allison recalled that his earliest awareness of blues came via the family radio in Arkansas, which his dad would play at night. Allison recalls listening to both the Grand Ole Opry and B.B. King on the King Biscuit Show on Memphis' WDIA. Although he was a talented baseball player and had begun to learn the shoemaking trade in Chicago after high school, it wasn't long before Allison began to focus more of his attention on playing blues guitar. Allison had been hanging out in blues clubs all through high school, and with his brother's encouragement, he honed his string-bending skills and powerful, soul-filled vocal technique.

It was while living with his family on Chicago's West Side that he had his first awareness of wanting to become a full-time bluesman, and he played bass behind guitarist Jimmy Dawkins, who Allison grew up with. Also in Allison's neighborhood were established blues greats like Freddie King, Magic Sam, and Otis Rush. He distinctly remembers everyone talking about Buddy Guy when he came to town from his native Louisiana. 

After the Allison household moved to the South Side, they lived a few blocks away from Muddy Waters, and Allison and Waters' son Charles became friends. When he was 18 years old, his brother showed him basic chords and notes on the guitar, and the super bright Allison made rapid progress after that. Allison went on to "blues college" by sitting in with some of the most legendary names in blues in Chicago's local venues: Muddy Waters, Elmore James, and Howlin' Wolf among them.

His first chance to record came with Bob Koester's then-tiny Delmark Record label, and his first album, Love Me Mama, was released in 1969. But like anyone else with a record out on a small label, it was up to him to go out and promote it, and he did, putting in stellar, show-stopping performances at the Ann Arbor Blues Festivals in 1969, 1970, and 1971. After that, people began to pay attention to Luther Allison, and in 1972 he signed with Motown Records. Meanwhile, a growing group of rock & roll fans began showing up at Allison's shows, because his style seemed so reminiscent of Jimi Hendrix and his live shows clocked in at just under four hours!

Although his Motown albums got him to places he'd never been before, like Japan and new venues in Europe, the recordings didn't sell well. He does have the distinction of being one of a few blues musicians to record for Motown. Allison stayed busy in Europe through the rest of the 1970s and 1980s, and recorded Love Me Papa for the French Black and Blue label in 1977. He followed with a number of live recordings from Paris, and, in 1984, he settled outside of Paris, since France and Germany were such major markets for him. At home in the U.S., Allison continued to perform sporadically, when knowledgeable blues festival organizers or blues societies would book him.

As accomplished a guitarist as he was, Allison wasn't a straight-ahead 
Chicago blues musician. He learned the blues long before he got to Chicago. What he did so successfully is take his base of Chicago blues and add touches of rock, soul, reggae, funk, and jazz. Allison's first two albums for Alligator, Soul Fixin' Man and Blue Streak, are arguably two of his strongest. His talents as a songwriter are fully developed, and he's well-recorded and well-produced, often with horns backing his band. Another one to look for is a 1992 reissue on Evidence, Love Me Papa. In 1996, Motown reissued some of the three albums worth of material he recorded for that label (between 1972 and 1976) on compact disc.

Well into his mid-50s, Allison continued to delight club and festival audiences around the world with his lengthy, sweat-drenched, high-energy shows, complete with dazzling guitar playing and inspired, soulful vocals. He continued to tour and record until July of 1997, when he was diagnosed with inoperable lung cancer. Just over a month later, he died in a hospital in Madison, WI; a tragic end to one of the great blues comeback stories. 1998's posthumous Live in Paradise captured one of his final shows, recorded on La Reunion Island in April 1997. Thomas Ruf, who was inspired by and became a friend of Allison's shortly before the bluesman's death, issued Underground on Ruf Records in 2007.

Luther Allison (August 17, 1939 – August 12, 1997) was an American blues guitarist. He was born in Widener, Arkansas, and moved with his family, at the age of twelve, to Chicago in 1951. He taught himself guitar and began listening to blues extensively. Three years later he began hanging outside blues nightclubs with the hopes of being invited to perform. He played with Howlin' Wolf's band and backed James Cotton.

His big break came in 1957 when Howlin' Wolf invited Allison to the stage. Freddie King took him under his wing and after King got his big record deal, Allison took over King's house-band gig on Chicago's west side. He worked the club circuit throughout the late 1950s and early 1960s and recorded his first single in 1965. He was signed to the Delmark Records label in 1967 and released his debut album, Love Me Mama, the following year. A well-received set at the 1969 Ann Arbor Blues Festival resulted in his being asked to perform there each of the next three years. He also toured nationwide and, in 1972, was signed to Motown Records, one of the few blues artists to do so. By the mid 1970s he began touring Europe and moved to France in 1977. Allison was known for his powerful concert performances, lengthy soulful guitar solos and crowd walking with his Gibson Les Paul. Allison lived briefly during this period in Peoria, Illinois, where he signed briefly with Rumble Records, resulting in two live recordings, "Gonna Be a Live One in Here Tonight", produced by Bill Knight, and "Power Wire Blues", produced by George Faber and Jeffrey P. Hess. Allison played the "bar circuit" in the USA during this period, spending eight months per year in Europe at high-profile venues, including the Montreux Jazz Festival. In 1992, he played as a duo with legendary French rock'n'roll star Johnny Hallyday for 18 shows in Paris, also playing during the intermission.

Allison's manager, and European agent, Thomas Ruf, founded the label Ruf Records in 1994. Signing with Ruf Records, Allison launched a comeback in association with Alligator Records. Alligator founder Bruce Iglauer convinced Allison to return to the United States. The album Soul Fixin' Man was recorded and released in 1994, and Allison toured the U.S. and Canada. He won four W.C. Handy Awards in 1994. With the James Solberg Band backing him, non-stop touring and the release of Blue Streak (featuring song "Cherry Red Wine"), Allison continued to earn more Handys and gain wider recognition. He scored a host of Living Blues Awards and was featured on the cover pages of major blues publications.

In the middle of his summer of 1997 tour, Allison checked into a hospital for dizziness and loss of coordination. It was discovered that he had a tumor on his lung that had metastasized to his brain. In and out of a coma, Allison died on August 12, 1997, five days before his 58th birthday, in Madison, Wisconsin. His album Reckless had just been released. His son Bernard Allison, at one time a member of his band, is now a solo recording artist.

He was posthumously inducted into the Blues Hall of Fame in 1998. In 2000, the Chicago Sun-Times called him "The Bruce Springsteen of the blues". He was a chief influence on many young Blues guitarists such as Chris Beard and Reggie Sears.

Allison is buried at Washington Memory Gardens Cemetery in Homewood, Illinois.


01. I Wanna Be Your Lover Man
02. Night Life
03. Messin' with the Kid
04. Ain't Nobody's Business 
05. Look on Yonder's Wall
06. Star Spangled Banner > Auld Lang Syne 
07. Mama's Little Baby
08. Johnny B Goode
09. Rock Me Baby
10. Good Time Charlie

1. Link
2. Link