Saturday, 28 May 2016

Guns 'N' Roses - Early Assorted Demos, Outtakes & More

Size: 394 MB
Bitrate: 320
Found at Various Places
Some Artwork Included

Guns N' Roses is an American hard rock band from Los Angeles formed in 1985. The classic lineup, as signed to Geffen Records in 1986, consisted of vocalist Axl Rose, lead guitarist Slash, rhythm guitarist Izzy Stradlin, bassist Duff McKagan, and drummer Steven Adler. The current lineup consists of Rose, Slash, McKagan, keyboardists Dizzy Reed and Melissa Reese, guitarist Richard Fortus and drummer Frank Ferrer. The band has released six studio albums, accumulating sales of more than 100 million records worldwide, including shipments of 45 million in the United States, making Guns N' Roses one of the world's best-selling bands of all time.

Guns N' Roses' debut album, Appetite for Destruction (1987), reached number one on the Billboard 200 a year after its release, on the strength of "Sweet Child o' Mine", the group's only single to reach number one on the Billboard Hot 100. The album has sold approximately 30 million copies worldwide, including 18 million units in the United States, making it the best-selling debut album of all time in the US, as well as the eleventh best-selling album in the United States. The success of the debut was followed by the eight-song album G N' R Lies (1988) which reached number two on the Billboard 200. The twin albums Use Your Illusion I and Use Your Illusion II (1991) debuted at number two and number one on the Billboard 200 and have sold a combined 35 million copies worldwide, including 14 million units in the United States. The cover album "The Spaghetti Incident?" (1993) was the band's last studio album to feature Slash and McKagan.

After more than a decade of work and several lineup changes, Guns N' Roses released the long-awaited album Chinese Democracy (2008) which, at an estimated $14 million in production costs, is the most expensive rock album to ever be produced in music history. It debuted at number three on the Billboard 200 but undersold industry expectations, despite mostly positive critical reception. Classic era members Slash and McKagan both rejoined the band in 2016.

Guns N' Roses has been credited with reviving the mainstream popularity of rock music, at a time when popular music was dominated by dance music and glam metal. Its late 1980s and early 1990s years have been described as the period in which the group brought forth a "hedonistic rebelliousness" reminiscent of the early Rolling Stones, a reputation that had earned the group the nickname "the most dangerous band in the world". The band's classic lineup, along with later members Reed and drummer Matt Sorum, was inducted into the Rock and Roll Hall of Fame in 2012, in its first year of eligibility.

Hollywood Rose:
Hollywood Rose was an American hard rock group formed in 1983 and is best known as the precursor group for what would eventually become Guns N' Roses. The group was founded by Axl Rose, Izzy Stradlin and Chris Weber while they were aided during live shows by Rick Mars, Johnny Kreis, Steve Darrow and Andre Troxx. Rose, Stradlin and Weber, along with Kreis, recorded a five-song demo in 1984. However, after a number of lineup changes, which includes Weber and Kreis being replaced by Slash and Steven Adler (both then of Road Crew) respectively as well the departure of Stradlin, the group disbanded the same year.

Hollywood Rose reunited briefly in 1985 with Rose, Stradlin, Weber and Darrow (Sonic Medusa, Rat Salad, Super Heroines, Decadents) returning and adding former L.A. Guns drummer Rob Gardner to the group. L.A. Guns founder Tracii Guns eventually replaced Weber. They changed their name to Guns N' Roses (combining the names of L.A. Guns and Hollywood Rose) with L.A. Guns bassist Ole Beich replacing Darrow. Eventually Guns, Gardner and Beich were replaced by former Hollywood Rose members Slash, Adler and their former Road Crew band mate Duff McKagan with this lineup becoming known as the "classic lineup" of Guns N' Roses.

The five-song demo, recorded in 1984, was released in 2004 with the title The Roots of Guns N' Roses. A number of Hollywood Rose songs were included on the Guns N' Roses albums Live ?!*@ Like a Suicide (1986), Appetite for Destruction (1987), Live from the Jungle (1987), and G N' R Lies (1988).

Formation (1983):
Prior to forming, guitarist Chris Weber was introduced to Lafayette native Izzy Stradlin, in the parking lot of the Rainbow Bar and Grill, by friend Tracii Guns, who was leading the first incarnation of L.A. Guns at this time, after Weber expressed an interest in forming a band. Soon afterwards, Weber and Stradlin started writing material and, at the suggestion of Stradlin, recruited his childhood friend, former Rapidfire and L.A. Guns singer Axl Rose, then known as Bill Rose. At the suggestion of Rose, the group called themselves AXL, with Rose adopting Axl as his first name. They played their first gig at The Orphanage in North Hollywood and played a few more shows before changing their name to Rose. The group soon changed their name, for the final time, to Hollywood Rose when Weber discovered that the name Rose was already being used by a New York band.

During the group's live shows, they were aided by bassists Rick Mars, Andre Troxx and Steve Darrow along with drummer Johnny Kreis who remained the only consistent member of the group outside of Rose, Stradlin and Weber.

After borrowing money from Weber's father, the group recorded a five-song demo in Hollywood in 1984. After playing a number of more shows, they appeared at the Music Machine in '84. Weber accidentally hit Rose with the headstock of his guitar. Rose stormed off and eventually fired Weber from the band with former Road Crew guitarist Slash joining the group. Unhappy at the firing of Weber, Stradlin left the group when Slash first came to rehearse, going on to join London. Slash's Road Crew band mate Steven Adler also replaced drummer Kreis during this time. The group continued to play more shows before eventually disbanding, playing their final show at The Troubadour in 1984. Rose went on to front L.A. Guns while Slash auditioned for Poison at the suggestion of former guitarist Matt Smith.

The group reunited, briefly, with Rose, Stradlin, Weber and Darrow returning along while L.A. Guns drummer Rob Gardner also joined the group. Weber, who left to move to New York City, was soon replaced by Tracii Guns. The group changed their name to Guns N' Roses (combining the names of L.A. Guns and Hollywood Rose) with the lineup consisting of Axl Rose, Tracii Guns, Izzy Stradlin, Ole Beich[15] (also formerly of L.A. Guns) and Rob Gardner. Beich was eventually replaced by Duff McKagan (formerly of Fastbacks, The Fartz, 10 Minute Warning and Road Crew) while Guns left the group (after a falling out with Rose), being replaced by Slash. McKagan went on to book shows taking place between Sacramento and Seattle, which was dubbed "The Hell Tour". During this time, Gardner quit the group and was replaced by Steven Adler with this lineup becoming known as the "classic lineup" of Guns N' Roses.

A number of Hollywood Rose songs would be included on a number of releases by Guns N' Roses such as "Anything Goes" (from Appetite for Destruction), "Reckless Life" and "Move to the City" (both from Live ?!*@ Like a Suicide and G N' R Lies) as well as "Shadow of Your Love" (from Live from the Jungle). In 1998, former guitarist Weber sued Axl Rose, claiming that he co-wrote two songs he was not credited for, "Shadow of Your Love" and "Back Off Bitch" (from Use Your Illusion I).

The US release of their 1st album

Appetite for Destruction: 
Guns N' Roses' debut album Appetite for Destruction was released July 21, 1987. The album underwent an artwork change after the original cover design by Robert Williams, which depicted a surrealist scene in which a dagger-toothed monster vengefully attacks a robot rapist, was deemed too controversial. The band stated the original artwork was "a symbolic social statement, with the robot representing the industrial system that's raping and polluting our environment." The revised cover was done by Andy Engell, based on a design by tattoo artist Bill White Jr., who had designed the artwork for a tattoo Rose had acquired the previous year. The artwork featured each of the five band members' skulls layered on a cross.

In the U.S., "Welcome to the Jungle" was issued as the album's first single, with an accompanying music video. Initially, the album and single lingered for almost a year without performing well, but when Geffen founder David Geffen was asked to lend support to the band, he obliged, personally convincing MTV executives to play "Welcome to the Jungle" during the network's after-hours rotation. Even though the video was initially only played once at 4 a.m. on a Sunday, heavy metal and hard rock fans took notice and soon began requesting the video and song en masse. 

The song, written in Seattle, was about Los Angeles. The music video took place in New York. According to Rose, the inspiration for the lyrics came from an encounter he and a friend had with a homeless man while they were coming out of a bus into New York. Trying to put a scare into the young runaways, the man yelled at them, "You know where you are? You're in the jungle baby; you're gonna die!" The song was featured in the 1988 Dirty Harry film The Dead Pool, starring Clint Eastwood, and members of the band had a cameo appearance in the film.

Disc 1:
01. Ain't Goin' Down
02. Get In The Ring
03. Don't Damn Me
04. Sentimental Movie (Duff on lead vocals)
05. Think About You
06. Welcome To The Jungle
07. Yesterdays
08. Mama Kin
09. Back Off Bitch
10. Heartbreak Hotel
11. Just Another Sunday
12. West Coast Junkie
13. Welcome To The Jungle (Take 2)
14. Instrumental Jam
15. You're Crazy
16. Crash Diet
17. Shadow Of Your Love

Disc 2:
19. Reckless Life
20. My Way Your Way (Anything Goes)
21. Get In The Ring
22. Double Talkin' Jive
23. Don't Damn Me
24. Bad Apples
25. Dead Horse
26. Coma
27. Garden Of Eden
28. Sympathy For The Devil
29. Whole Lotta Rosie
30. Move To The City
31. Jumping Jack Flash
32. Move To The City
33. You're Crazy
34. Don't Damn Me #1

Disc 3:
35. Studio Medley (24 Minutes)

Part 1: Link 1
Part II: Link 2
Part III: Link 3
Part 1: Link 1
Part II: Link 2
Part III: Link 3
Part 1: Link 1
Part II: Link 2
Part III: Link 3

Wednesday, 25 May 2016

The Astronauts - Competition Coupe (Rare Surf US 1964)

Size: 55.7 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

For their second long-player, the Astronauts got distinctly more ambitious, and with good results. The harmony singing, while no match for the Beach Boys or Jan & Dean, is a lot better this time out, especially on the title track and "Our Car Club" (which are a lot of fun to begin with). And their playing is bolder as well, with the result being that the group's second album still makes good listening five decades later. 

As with its predecessor, this record is never boring, and it never settles down. For this album, they rely on Duane Eddy alumnus Steve Douglas for a lot of the material, and it mostly all works, with only a few moments that are less than bracing -- and one Roger Christian/Steve Douglas composition, "Chevy Scarfer," was already a lovingly nostalgic doo wop homage in 1964 that holds up even better in that vein in the 21st century. The playing is still better than the singing, but it's all amazingly worthwhile, and deeply evocative of its era.

The Astronauts were an American rock and roll band, who had a minor hit in 1963 with "Baja" and remained successful for several years, especially in Japan. They have been described as being, "along with...(the) Trashmen, the premier landlocked Midwestern surf group of the '60s." For most of their career, the band members were Rich Fifield, Jon "Storm" Patterson, Bob Demmon, Dennis Lindsey, and Jim Gallagher.

The Astronauts developed out of a group, The Stormtroopers, which was originally formed at Boulder High School, Boulder, Colorado in 1956 by Jon "Storm" Patterson (vocals, guitar), Robert Graham "Bob" Demmon (11 February 1939 – 18 December 2010) (guitar), and Brad Leach (drums). In 1961, they became The Astronauts after adding Richard Otis "Rich" Fifield (vocals, guitar) and Dick Sellars (guitar), the change of band name recognising the fascist connotations of the previous name and to pay tribute to local hero, astronaut Scott Carpenter. Patterson switched to bass, Leech was replaced on drums by Jim Gallagher, and soon afterwards Sellars left to join the US Navy, being replaced by Dennis Lindsey. 

With a line-up of Demmon, Patterson, Fifield, Lindsey and Gallagher, the band gained a strong local reputation, toured as far as Chicago and Dallas, Texas, and released their first single, "Come Along Baby", in 1962, on the small Palladium label. They were signed to RCA Records after a record company executive was impressed by their performance at a local night club, the Tulagi.

Their first single on RCA was "Baja", an instrumental written by Lee Hazlewood originally for his friend, guitarist Al Casey. Released by The Astronauts in early 1963, the track was described as "a typical surf instrumental with a reverberation-heavy twangy guitar and driving drumbeat", and reached # 94 on the Billboard Hot 100 for just one week, the pinnacle of their US chart career. 

However, they released a succession of further singles on RCA, in an attempt by the record company to emulate the success of the Beach Boys and other surf music-related groups in the charts at the time. According to reviewer Richie Unterberger, "the group shone brightest on their instrumentals, which used mounds of Fender reverb and two rhythm guitars; when they sang, the results were much less successful." 

Japan Single 1964
Patterson and Fifield shared lead vocals, and the band recorded songs by Roger Christian, Gary Usher, Dick Dale and Henry Mancini, among others. Fifield, the lead guitarist, used a Fender Jazzmaster on the recordings, with an early prototype reverb unit personally loaned to the group by Leo Fender. Their 1965 song "Tomorrow's Gonna Be Another Day was covered by The Monkees in 1966.

As well as a succession of singles and EPs, the band released four LPs over nine months, starting in May 1963: Surfin' with The Astronauts – which reached # 61 on the Billboard 200 album chart – Everything Is A-OK! (recorded live at the Club Baja in Denver, Colorado), Competition Coupe, and The Astronauts Orbit Campus (recorded live in Boulder).

They appeared several times on the Hullabaloo TV show, and have the distinction of appearing in more beach party movies than any other surf band: Surf Party, Wild on the Beach, Wild Wild Winter and Out of Sight. 

Regarding the band's performance in 1964's Surf Party, the book Pop Surf Culture states “The Astronauts bang out a thick, reverb-laden instrumental called ‘Firewater,’ and their theme song ‘Surf Party’ happens to be one of the best surf instrumentals ever recorded.” (See Filmography, below)

In 1964, their record company discovered that they had a growing fan base in Japan, where they outsold The Beach Boys and toured with The Ventures. Five albums and three singles made the top 10 there, with "Movin'" – retitled as "Over The Sun" – reaching number one in the country.

In all, they recorded nine albums. Gallagher and Lindsey were drafted for Vietnam before the last album, Travelin' Men in 1967, and were replaced by Mark Bretz and Rod Jenkins respectively. Demmon also left, being replaced by Robert Carl McLerran, before Fifield and Patterson finally decided to end the band name after a tour of Asia in 1968.

01. Little Ford Ragtop  02:07
02. Competition Coupe  02:21
03. The Hearse  02:18
04. '55 Bird  01:52
05. Devil Driver's Theme  02:11
06. Happy Ho-Daddy  02:16
07. Our Car Club  02:25
08. Devil Driver  02:11
09. Chevy Scarfer  01:57
10. 4:56 Stingray  02:00
11. El Aguila (The Eagle)  02:00
12. 650 Scrambler  01:54

1. Link
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3. Link

Sunday, 22 May 2016

Ted Nugent - King Biscuit Flower Hour 1977-01-22

Size: 219 MB
Bitrate: @320
Found in Pluto
Artwork Included

Best remembered for their 1968 acid rock classic "Journey to the Center of the Mind," Detroit's Amboy Dukes also introduced the world to the Motor City Madman, guitarist Ted Nugent. The group's roots date to 1965, a period when a teenage Nugent was living in Chicago; there he formed the first incarnation of the Amboy Dukes, borrowing the moniker from a recently disbanded Detroit band who themselves took the name from an infamous exploitation novel of the period. When Nugent returned to Southeastern Michigan in 1967, he assembled a new Dukes lineup including vocalist John Drake, his former bandmate in the Lourds, as well as rhythm guitarist Steve Farmer, bassist Bill White, keyboardist Rick Lober, and drummer Dave Palmer. Famed for its snarling closer, an incendiary cover of Them's "Baby Please Don't Go," the group emerged as one of the hottest attractions on the Detroit club circuit.

Journey to the Center of the Mind Still, when the Amboy Dukes' self-titled debut LP appeared on the Mainstream label in 1967, it was the group's originals that became the focus -- while Nugent handled the music, Farmer penned the drug-fixated lyrics, adding a psychedelic sensibility to an otherwise proto-metal sound. After a series of lineup shifts that saw White and Lober exit in favor of bassist Greg Arama and keyboardist Andy Solomon, in 1968 the Dukes issued Journey to the Center of the Mind, riding the title track into the U.S. Top 20. Vocalist Rusty Day replaced Drake in time for 1969's Migration, which failed to equal the success of its predecessor; Marriage on the Rocks, issued later that same year, was also a disappointment, and after 1971's Survival of the Fittest Nugent dismissed Day and Solomon after Palmer left the group to accept an engineering gig. After recording a handful of albums as Ted Nugent & the Amboy Dukes, he finally dropped the group's name altogether and mounted a solo career.

Throughout his lengthy career, guitar wildman Ted Nugent has reveled in the controversy and criticism that always seems to follow in his path. While there's no denying his exceptional talent on the six-string, his knack for penning arena rock anthems, or his standing as one of rock's top live acts, it's his non-musical endeavors that have caused the most condemnation from his detractors (his pro-right wing beliefs, pro-gun advocacy, appreciation of hunting animals, etc.). But by the same token, Nugent is a family man and one of the few hard rockers who has admirably stuck by his lifelong anti-drugs and -drink stance throughout his career.

Journey to the Center of the Mind Born on December 13, 1948, in Detroit, Michigan, Nugent became interested in rock & roll early in the game, picking up the guitar as a youngster, while his disciplinarian father passed his beliefs down to Nugent. In the '60s, Nugent formed his first bands (including Royal High Boys and Lourdes), drawing inspiration from such British blues-rockers as the Rolling Stones and the Yardbirds. But it wasn't until the formation of the Amboy Dukes that the Nuge got his first taste of stardom (it was also around this time that Nugent began playing a Gibson Byrdland guitar, a model that would be instantly associated with him throughout his career). 

The other members of the group didn't exactly share Nugent's clean-living lifestyle, as proven by their psychedelic hit single "Journey to the Center of the Mind," which Nugent claimed he didn't know at the time was about being "under the influence." The band managed to issue several albums throughout the late '60s -- 1967's self-titled debut, 1968's Journey to the Center of the Mind, and 1969's Migration -- as the group fit in well with other high-energy rock bands that emerged from the Motor City, the MC5 and the Stooges in particular.

Call of the Wild With bandmembers coming and going at an alarming rate, Nugent remained the only constant member -- eventually officially changing the band's name to Ted Nugent & the Amboy Dukes by the '70s, and issuing 1971's Survival of the Fittest, 1973's Call of the Wild, and 1974's Tooth, Fang & Claw. While none of these releases exactly stormed the charts, Nugent and his cohorts remained an in-demand concert draw, as he also set up "guitar duels" on-stage around this time (battling with MC5's Wayne Kramer and Mahogany Rush's Frank Marino, among others).

Free-for-All By the mid-'70s, Nugent decided to finally ditch the Amboy Dukes name and set out on his own, assembling a first-rate backing band that included second guitarist/vocalist Derek St. Holmes, bassist Rob Grange, and drummer Cliff Davies. By 1975, the new band was signed to Aerosmith's management company (Leber & Krebs), as well as the same record company, Columbia, resulting in the release of Nugent's self-titled debut in November of the same year. The band immediately struck a chord with the heavy metal/hard rock crowd from coast to coast, due to the band's over the top stage show. But the bandmembers' relationship with Nugent was rocky at best -- Nugent wanted complete control of the band, while the others wanted it to be more of a democracy. The end result was St. Holmes leaving the band prior to the sessions of their sophomore effort, 1976's Free-for-All (which saw a then-unknown singer by the name of Meat Loaf filling in for the departed singer).

Cat Scratch FeverSt. Holmes returned, however, in time for the album's ensuing tour, and by the release of 1977's Cat Scratch Fever (which spawned the hit single title track), Nugent and company were one of the top rock bands in the U.S. -- storming the charts and selling out arenas coast to coast. By now, Nugent had assumed the stage persona of a caveman -- hitting the stage dressed in nothing but a skimpy loincloth and knee-high boots, and would often begin his show by swinging out on a rope à la Tarzan (!). Like other rock acts of the '70s (Kiss, Cheap Trick, Peter Frampton, etc.), Nugent used a live album -- 1978's classic Double Live Gonzo! -- to catapult his career to the next level of stardom. But despite all the success, the members of his band began deserting him one by one over the course of such albums as 1978's Weekend Warriors, 1979's State of Shock, and 1980's Scream Dream. To add insult to injury, Nugent found himself bankrupt around this time, due to several failed business ventures and poor management.

Intensities in 10 CitiesNugent continued to tour and crank out albums throughout the '80s (including such forgettable releases as Intensities in 10 Cities, Nugent, Penetrator, Little Miss Dangerous, and If You Can't Lick 'Em...Lick 'Em), but it appeared as through the Nuge was trying to keep pace with the burgeoning pop-metal crowd instead of sticking to the raw and raging rock that brought him success in the first place. Nugent also tried his hand at acting around this time, appearing as a drug dealer in an episode of the hit TV series Miami Vice in 1986. By the end of the decade, Nugent joined the rock supergroup Damn Yankees (joining former Night Ranger bassist/singer Jack Blades, former Styx guitarist/singer Tommy Shaw, and drummer Michael Cartellone) -- resulting in the quartet's self-titled debut in 1990, which became a surprise hit due to their Top Ten power ballad "High Enough." But ultimately, the union proved to be short-lived; after only one more album (1992's lackluster Don't Tread), the band called it quits.

Spirit of the WildNugent returned to his solo career, issuing his best album in over a decade, 1995's back-to-basics Spirit of the Wild, while several archival releases turned up throughout the '90s: 1993's three-disc box set Out of Control, 1997's Live at Hammersmith '79, as well as his first three albums reissued with added tracks and newly remastered sound in 1999 by the Epic/Legacy label (also issued at the same time was the first truly comprehensive compilation of the Amboy Dukes, the 18-track Loaded for Bear). 

The Nuge was also the subject of an interesting VH1 Behind the Music episode. He continued to tour well into the 21st century (landing the opening slot on Kiss' Farewell U.S. Tour in 2000), and issued the third live collection of his career, Full Bluntal Nugity, in 2001. That same year, the Nuge penned his own autobiography, the perfectly titled God, Guns, & Rock n' Roll. His Spitfire-issued 12th long-player, Craveman, dropped in 2002, followed by Love Grenade in 2007. He next embraced the digital realm by releasing the two-disc, 30-track MP3 online song bundle Happy Defiance Day Everyday over the 4th of July weekend in 2010. In 2014 Nugent released his 14th studio album, Shutup & Jam!, which featured a guest appearance from Sammy Hagar.

In addition to music, Nugent has gotten involved in politics, hosting a number one morning radio show in Detroit; has run his own hunting camp and issues instructional videotapes (as well as the Ted Nugent Spirit of the Wild PBS video series); owns his own hunting supply store; has been appointed to the Board of Directors of the National Rifle Association; writes columns regularly for a number of different magazines; and even sells his very own beef jerky (called Gonzo Meat Biltong)!

Ted Nugent
KBFH "King Biscuit Flower Hour" 
Radio FM January 22, 1977
Freeman Coliseum
San Antonio, Texas

Disc 1
01.  Stranglehold
02.  Just What the Doctor Ordered
03.  Free For All
04.  Snakeskin Cowboys
05.  Cat Scratch Fever
06.  Wang Dang Sweet Poontang
07.  A Thousand Knives (Very Rare)
08.  Dog Eat Dog
09.  Stormtroopin'

Disc 2
01.  Hey Baby
02.  Great White Buffalo
03.  Guitar Solo
04.  Hibernation
05.  Motor City Madhouse

Part 1: TN1
Part 2: TN2
Part 1: TN1
Part 2: TN2
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Part 2: TN2

Wednesday, 11 May 2016

B.B. King - My Kind of Blues (Great Album US 1960)

Size: 67 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

My Kind of Blues is the sixth studio album released by B. B. King in 1960 A remastered and expanded edition was released in Japan 2006.

According to his biographer, Charles Sawyer, this is King's personal favorite among his recordings. Unlike most of his albums from this period (which are mostly collections of singles), this was recorded in one session and takes him out of his usual big-band setting, using only bass, drums, and piano for accompaniment. 

The result is a masterpiece: a sparse, uncluttered sound with nothing to mask King's beautiful guitar and voice. "You Done Lost Your Good Thing Now" (its unaccompanied guitar intro is a pure distillation of his style), "Mr. Pawn Broker," "Someday Baby" (R&B Top Ten, 1961), "Walkin' Dr. Bill," and a great version of "Drivin' Wheel" are highlights.

Released around August, 1960 as B.B.'s seventh Crown album. It apparently emanated from a single session about 3 March 1960 with legendary pianist Lloyd Glenn, probably Ralph Hamilton on bass and drummer Jesse Sailes providing spare but sympathetic backing. Glenn was a key to some of the best small group recordings by T-Bone Walker, Lowell Fulson and B.B., and this album remains a highlight. Although B.B. has taken at best an "aw shucks" approach towards other highly regarded later albums such as LIVE AT THE REGAL and BLUES IS KING, he has named MY KIND OF BLUES as a personal favorite. It shows in the music. 

The minimalist backdrop and Glenn's empathy as the primary foil gives B.B. free rein as he soars from the elaborate solo introduction to You Done 

Lost Your Good Thing Now through an update of My Own Fault covered closely by Otis Rush for Vanguard, the shuffle Mr Pawn Broker which epitomizes the status of this LP as a basic template for the sound of Anson Funderburgh and the Rockets, and a programme of mostly classic blues by Doctor Clayton (one of B.B.'s biggest influences on his vocals and repertoire), Cecil Gant, Roosevelt Sykes, Memphis Minnie and others.

Sawyer, this is King's personal favorite among his recordings. 

Unlike most of his albums from this period (which are mostly collections of singles), this was recorded in one session and takes him out of his usual big-band setting, using only bass, drums, and piano for accompaniment. 

The result is a masterpiece: a sparse, uncluttered sound with nothing to mask King's beautiful guitar and voice. "You Done Lost Your Good Thing Now" (its unaccompanied guitar intro is a pure distillation of his style), 

"Mr. Pawn Broker," "Someday Baby" (R&B Top Ten, 1961), "Walkin' Dr. Bill," and a great version of "Drivin' Wheel" are highlights. 

01. "You Done Lost Your Good Thing Now" (B. B. King, Joe Josea) - 05:15
02. "Mr. Pawnbroker" (King, Jule0s Taub) - 03:16
03. "Understand" (Cecil Gant) - 2:39
04. "Someday Baby" (Lightnin' Hopkins) - 02:54
05. "Driving Wheel" (Roosevelt Sykes) - 02:52
06. "Walking Dr. Bill" (Doctor Clayton) - 03:41
07. "My Own Fault" (King) - 03:34
08. "Fishin' After Me" (Robert Petway) - 02:29
09. "Hold That Train" (Clayton) - 03:58
10. "Please Set the Date" (Minnie McCoy) - 02:49

1. Link
2. Link
3. Link

Tuesday, 10 May 2016

Black Sabbath - Sabotage (Classic Album UK 1975, Highly Rated)

Size: 86.3 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Sabotage is the sixth studio album by English rock band Black Sabbath, released in July 1975. It was recorded in the midst of litigation with their former manager Patrick Meehan and the stress that resulted from the band's ongoing legal woes infiltrated the recording process, inspiring the album's title. It was co-produced by guitarist Tony Iommi and Mike Butcher.

Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, London. The title Sabotage was chosen because the band were at the time being sued by their former management and felt they were being "sabotaged all the way along the line and getting punched from all sides", according to Iommi. Iommi credits those legal troubles for the album's angry, heavier sound. 

In 2001, bassist Geezer Butler explained to Dan Epstein, "Around the time of Sabbath Bloody Sabbath, we found out that we were being ripped off by our management and our record company. So, much of the time, when we weren't onstage or in the studio, we were in lawyer's offices trying to get out of all our contracts. 

We were literally in the studio, trying to record, and we'd be signing all these affidavits and everything. That's why it's called Sabotage – because we felt that the whole process was just being totally sabotaged by all these people ripping us off." In his autobiography I Am Ozzy, singer Ozzy Osbourne confirms that "writs were being delivered to us at the mixing desk" and that drummer Bill Ward "was manning the phones." In the liner notes to the 1998 live album Reunion, Butler claimed the band suffered through 10 months of legal cases and admitted, "music became irrelevant to me. It was a relief just to write a song."

Tony Iommi later reflected, "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." According to the book How Black Was Our Sabbath, "The recording sessions would usually carry on into the middle of the night. Tony Iommi was working really hard on the production side of things with the band's co-producer Mike Butcher, and he was spending a lot of time working out his guitar sounds. Bill, too, was experimenting with the drums, especially favouring the 'backwards cymbal' effect." Osbourne, however, was growing more frustrated with how long Sabbath albums were now taking to record, writing in his autobiography that "Sabotage took about four thousand years."

Sabotage is a mix of heavy, powerful songs and softer experimental tunes, such as "Supertzar" and "Am I Going Insane (Radio)". In 2013 Mojo observed, "Opener 'Hole in the Sky' and the crunching 'Symptom of the Universe' illustrate that, for all their problems, Sabbath's power remained undimmed on what was what many consider one of their finest offerings." In the article "Thrash Metal - An Introduction" in University Times Magazine, Vladimir Rakhmanin cites "Symptom of the Universe" as one of the earliest examples of thrash metal, a heavy metal subgenre which emerged in the early 1980s. 

Tony Iommi describes the song's dynamics in his autobiography Iron Man: "It starts with an acoustic bit. Then it goes into the up-tempo stuff to give it that dynamic, and it does have a lot of changes to it, including the jam at the end." The final part of "Symptom of the Universe" evolved from an in-studio improvisation, created very spontaneously in a single day and the decision was made to use it in that song. 

The London Philharmonic Choir was brought in to perform on the song "Supertzar". When vocalist Ozzy Osbourne arrived at the studio and saw them, he thought he was in the wrong studio and left. The title of the pop-leaning "Am I Going Insane (Radio)" caused some confusion due to the "(Radio)" part, which led people to believe the song was a radio cut or radio version. However, this is the only version of the song: the term "radio-rental" is rhyming slang for "mental".

"The Writ" is one of only a handful of Black Sabbath songs to feature lyrics composed by vocalist Ozzy Osbourne, who typically relied on bassist Geezer Butler for lyrics. The song was inspired by the frustrations Osbourne felt at the time, as Black Sabbath's former manager Patrick Meehan was suing the band after having been fired. The song viciously attacks the music business in general and is a savage diatribe directed towards Meehan specifically ("Are you Satan? Are you a man?"), with Osbourne revealing in his memoir, "I wrote most of the lyrics myself, which felt a bit like seeing a shrink. All the anger I felt towards Meehan came pouring out." During this period, the band began to question if there was any point to recording albums and touring endlessly "just to pay the lawyers".

The brief instrumental "Don't Start (Too Late)" is an acoustic guitar showpiece for Iommi, titled for tape operator David Harris who often despaired at Sabbath being prone to start playing before he was ready.

Sabotage was released on 27 June 1975 and peaked at number 7 in the United Kingdom and at number 28 in the United States. It was certified Silver (60,000 units sold) in the UK by the BPI on 1 December 1975 and Gold in the US on 16 June 1997, but was the band's first release not to achieve platinum status in the US. For the second time, a Black Sabbath album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as Allmusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate". Guitarist Yngwie Malmsteen told Nick Bowcott of Guitar Player in 2008 that the riff to "Symptom of the Universe" was the first Tony Iommi riff he ever heard and that "Tony's use of the flat fifth would have got him burned at the stake a couple hundred years ago."

The band toured the US in support of Sabotage in 1975, which included a filmed appearance for the prestigious series Don Kirshner's Rock Concert at the Santa Monica Civic Auditorium. Sabbath played "Killing Yourself To Live", "Hole In The Sky", "Snowblind", "War Pigs" and "Paranoid". During Iommi's guitar solo during "Snowblind", plastic snowflakes were dropped from above on the audience and the band, a gimmick used during the band's live shows during this period. According to the book How Black Was Our Sabbath, "The audience was limited to just a couple thousand fans, and it seemed like the whole of LA got wind of it." Due to the band's expanding use of orchestras and other new sounds in the studio, the tour in support of Sabotage was the first in which Black Sabbath used a full-time keyboardist onstage, Gerald "Jezz" Woodroffe. Black Sabbath toured with openers Kiss, but were forced to cut the tour short in November 1975, after vocalist Osbourne was injured in a motorcycle accident. "Allmusic Rating: ★★★★ +Half 

The Band:
 Ozzy Osbourne – lead vocals
 Tony Iommi – all guitar, piano, synthesizer, organ, harp
 Terry "Geezer" Butler – bass guitar
 Bill Ward – drums, percussion (piano and backing vocals on "Blow on a Jug")

01. "Hole in the Sky"  04:00
02. "Don't Start (Too Late)" (Instrumental)  00:49
03. "Symptom of the Universe"  06:29
04. "Megalomania"  09:46
05. "The Thrill of It All"  05:56
06. "Supertzar" (Instrumental with vocalising choir)  03:44
07. "Am I Going Insane (Radio)"  04:17
08. "The Writ"  08:46

Some versions of Sabotage contain a short hidden track entitled "Blow on a Jug" at the end of "The Writ", recorded at very low volume.

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The Blues Project - Live at The CAFE AU GO GO 1966 (2CD) (Mono/Stereo) (SHM-CD)

Size: 226 MB
Bitrate: 256
Ripped by: ChrisGosRock
Artwork Inckluded

Live at The Cafe Au Go Go is the debut album by the American band The Blues Project, recorded live during the Blues Bag four-day concert on the evenings of November 24-27, 1965 at the Cafe Au Go Go in New York City. The band scaled down their usual lengthy arrangements for the album due to time constrictions and record label wariness.

Although Tommy Flanders (who'd already left the band by the time this debut hit the streets) is credited as sole vocalist, four of the then-sextet's members sang; in fact, Danny Kalb handles as many leads as Flanders (four each), Steve Katz takes center stage on Donovan's "Catch the Wind," and Al Kooper is featured on "I Want to Be Your Driver." The band could be lowdown when appropriate (Kalb's reading of "Jelly, Jelly"), high energy (Muddy Waters' "Goin' Down Louisiana" sounds closer to Chuck Berry or Bo Diddley), and unabashedly eclectic (tossing in Donovan or Eric Andersen with no apologies). Kalb's moody take on "Alberta" is transcendent, and the uptempo arrangement of "Spoonful" is surprisingly effective. 

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 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.

France EP 1966
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 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 Cafe au Go Go:

The Cafe au Go Go was a Greenwich Village night club located in the basement of 152 Bleecker Street. The club featured many well known musical groups, folksingers and comedy acts between the opening in February 1964 until closing in October 1969. Originally owned by Howard Solomon who sold the club in June 1969, to Moses Baruch who closed the club in October 1969. Howard Solomon became the manager of singer Fred Neil.

The club was the first New York venue for the Grateful Dead. Richie Havens and the Blues Project were weekly regulars, and the Stone Poneys featuring Linda Ronstadt played frequently. Jimi Hendrix sat in with blues harp player James Cotton there in 1968. Van Morrison, Tim Hardin, Tim Buckley, Joni Mitchell, Judy Collins, Howlin' Wolf, Muddy Waters, John Lee Hooker, Oscar Brown, Jr., the Youngbloods, the Siegel-Schwall Blues Band, John Hammond, Jr., The Paul Butterfield Blues Band, Michael Bloomfield, Jefferson Airplane, Cream, The Chambers Brothers, Canned Heat, The Fugs, Odetta, Country Joe and the Fish, all played there. Blues legends Lightnin' Hopkins, Son House, Skip James, Bukka White, and Big Joe Williams performed at the club after being "rediscovered" in the '60s. Before many rock groups began performing there, the au Go Go was an oasis for jazz (Bill Evans, Stan Getz), comedy, and folk music.

Comedian Lenny Bruce and the club's owner, Howard Solomon, were arrested there on obscenity charges in 1964. In April 1964, Bruce appeared twice at the Cafe Au Go Go with undercover police detectives in the audience. On both occasions, he was arrested after leaving the stage, the complaints pertaining to his use of various obscenities, club owner Howard Solomon was arrested too.

A three-judge panel presided over his widely publicized six-month trial, with Bruce and club owner Howard Solomon both found guilty of obscenity on November 4, 1964. The conviction was announced despite positive testimony and petitions of support from Woody Allen, Bob Dylan, Jules Feiffer, Allen Ginsberg, Norman Mailer, William Styron, and James Baldwin – among other artists, writers and educators, and from Manhattan journalist and television personality Dorothy Kilgallen and sociologist Herbert Gans. Bruce was sentenced, on December 21, 1964, to four months in the workhouse; he was set free on bail during the appeals process and died before the appeal was decided. Solomon later saw his conviction overturned; Bruce, who died before the decision, never had his conviction stricken in his lifetime.

On December 23, 2003, 37 years after his death, Bruce was granted a posthumous pardon for his obscenity conviction by New York Governor George Pataki,[10] following a petition filed by Ronald Collins and David Skover with Robert Corn-Revere as counsel, the petition having been signed by several stars such as Robin Williams. It was the first posthumous pardon in the state's history. Pataki said his act was "a declaration of New York's commitment to upholding the First Amendment."

In 1964, Solomon brought in a large group of singers and musicians from an off-Broadway show and christened them the Au Go Go Singers, to rival the Bitter End Singers across the street at The Bitter End Cafe. Solomon managed the group until their breakup in late 1965.

The Au Go Go Singers included Kathy King (who later toured with Bobby Vinton and appeared in the Broadway show, Oh Calcutta and currently works as Kathrin King Segal), Jean Gurney, Michael Scott (who later performed with the Highwaymen and the Serendipity Singers), Rick (Frederic) Geiger (who eventually was accepted into a light opera company in California), Roy Michaels (who later performed with Cat Mother & the All Night Newsboys and toured with Jimi Hendrix), Nels Gustafson, Bob Harmelink, and soloists Stephen Stills and Richie Furay. (Gustafson and Harmelink had been in an earlier trio with Furay, but quit show business after the demise of the Au Go Go Singers.)

It was also at the Cafe Au Go Go that a new folk/rock group, The Company, was formed from some remnants of the Au Go Go Singers: Geiger, Michaels, Scott & Gurney (who together before the Au Go Go Singers performed as the Bay Singers, a popular group in Boston & New York City), and Stills. Immediately after the Au Go Go Singers breakup, the Rollins and Joffe Talent Agency - managers of Dick Cavett, Woody Allen, and other notables - heard a reunion of the Bay Singers at the Cafe Au Go Go and offered the group a six-week Canadian tour. Rollins and Joffe did not originally include Stills on the tour, but Stills made it known to the Bay Singers that he wanted to join their group and the tour. 

Very comfortable in performing their arrangements and songs they perfected on their radio show and performances before joining the Au Go Go Singers, and knowing that Jack Rollins and Charlie Joffe offered the tour based on the Singers' performance, most of the Bay Singers were hesitant to add another member, but ultimately gave in to Stills. 

The new quintet switched to amplified instruments, took about a week to learn new material (some under the direction of the former Au Go Go Singers arranger, Jim Friedman), named their new group The Company, and then headed for Ontario. While on tour the group first met local boy Neil Young, who was performing with the Squires, as the opening act for The Company. After leaving Canada The Company played at Mr. Kelly's in Chicago where Woody Allen was headlining. In less than a year after the group broke up, Stills, Young, Richie Furay, and two others formed the Buffalo Springfield.

Howard Solomon not only had The Au Go Go Singers, but had also booked comedians such as George Carlin and Lenny Bruce, who had regular stints at Cafe Au Go Go that would last either from one or two days to three weeks. Lenny Bruce's performances at the Go Go were controversial. On more than one occasion the Cafe Au Go Go was raided by the police because of the obscenities that had been used during his performances. 

By 1966, the police and the courts had managed to silence Lenny Bruce and taught him a lesson that he should not use "foul language" or disrespect the church and the law. Eventually bankrupting him just before his death that year. Though the police had managed to silence Lenny Bruce, George Carlin continued to do his controversial comedy. Carlin eventually went on to have his own trouble with the law. Controversy arose because of the use of obscenities in his counter-culture routine known at the "Seven Dirty Words". Both Lenny Bruce and George Carlin were two of the most influential stand-up comedians of their time and they along with many others had come out of the Cafe Au Go Go.

When the Cafe au Go Go finally locked its doors for good, the now-famous Stephen Stills was a featured performer at the gala closing.


 Danny Kalb - Lead Guitar, Vocals
 Al Kooper - Organ
 Steve Katz - Rhythm Guitar
 Roy Blumenfeld - Drums
 Andy Kulberg - Bass
 Tommy Flanders - Vocals
 Val Valentin - engineer

Disc 1 (Stereo)

01. "Goin' Down Louisiana" (Muddy Waters)
02. "You Go, I'll Go With You" (Willie Dixon)
03. "Catch the Wind" (Donovan)
04. "I Want to Be Your Driver" (Chuck Berry)
05. "Alberta" (Traditional)
06. "The Way My Baby Walks" (Andy Kulberg)
07. "Violets of Dawn" (Eric Andersen)
08. "Back Door Man" (Willie Dixon, Chester Burnett)
09. "Jelly Jelly Blues" (Billy Eckstine, Earl Hines)
10. "Spoonful" (Willie Dixon)
11. "Who Do You Love" (Ellas McDaniel)

Bonus Tracks

12. "Hoochie Coochie Man"
13. "Parchman Farm"
14. "Have You Ever Had The Blues"
15. "Alberta" (Alternate Version)

Disc 2 (Mono)

01. "Goin' Down Louisiana" (Muddy Waters)
02. "You Go, I'll Go With You" (Willie Dixon)
03. "Catch the Wind" (Donovan)
04. "I Want to Be Your Driver" (Chuck Berry)
05. "Alberta" (Traditional)
06. "The Way My Baby Walks" (Andy Kulberg)
07. "Violets of Dawn" (Eric Andersen)
08. "Back Door Man" (Willie Dixon, Chester Burnett)
09. "Jelly Jelly Blues" (Billy Eckstine, Earl Hines)
10. "Spoonful" (Willie Dixon)
11. "Who Do You Love" (Ellas McDaniel)

Bonus Tracks

12. "Bright Lights, Big City"
13. "Who Do You Love" (Alternate Vesrion)
14. "Violets of Dawn" (Studio Version)
15. "Back Door Man" (Studio Version)

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