Friday, 22 July 2016

Mount Rushmore - '69 & High On (Heavy-Blues-Rock US 1969)

Size: 145 MB
Ripped By: ChrisGoesRock
Artwork Included

Mount Rushmore was a rock band in the late 1960s from San Francisco, California that played a heavy blues rock style with psychedelic elements.

The band formed in late 1966 at 1915 Oak Street, a large Victorian rooming house in the Haight-Ashbury district. In June and July 1967 they were featured on posters for shows at the Avalon Ballroom with other bands including the Quicksilver Messenger Service and Big Brother and the Holding Company. After some members including Phillips left for the band Phoenix in 1968, new members were added and the group made two albums.

Also-rans of the San Francisco psychedelic era, Mount Rushmore gigged frequently with fellow travelers Big Brother and the Holding Company, Canned Heat and Quicksilver Messenger Service, but this debut LP is evidence enough of why they aren't held in the same esteem. Mount Rushmore pumped out competent electric boogie with a boozy edge, but they coast on distortion and attitude rather than song craft or instrumental prowess, placing them firmly in the garage band tradition but not among the trendsetters that shared their bills. 

The brief liner notes introduce the band as self-proclaimed "country boys" who "dig to take their funky grey truck on the road," and they sound like hicks too, full of confidence and bluster but possessing only the simplest of skills. Opening a debut LP with Jimi Hendrix's "Stone Free" is a bold move and a curious choice, establishing the territory that the band will mine and exactly how they measure up to the gold standard (in Mount Rushmore's case, nowhere near). 

However, High On Mount Rushmore contains some tracks of interest to the dedicated psych-rock historian. "I Don't Believe In Statues" closes out side one and functions as a manifesto of sorts, an indignant outsider cry set to charging riffs that sound like an Amboy Dukes record warped by the sun. The ten-minute epic "Looking Back" scores highest in rock action, plus it features a crude but convincing space jam breakdown that boasts disoriented feedback, thunderstorm sound effects and random hippie banter floating through the atmosphere. The LP concludes with a taste of Mount Rushmore's live act, as a small but enthusiastic audience joins the band in the studio to encourage their hammier tendencies. The resultant medley includes "Dope Song," a jokey jug band-style marijuana anthem, a boneheaded, boisterous sing-along complete with kazoo and sure to irritate any hippie hater. 

High On suffers from tinny sonics that sap volume and tone and much of it sounds more like a demo than a finished album, but the low budget suits Mount Rushmore. In 2002, a European label called Lizard released a CD containing all of High On Mount Rushmore plus the sole follow up LP Mount Rushmore '69, but otherwise all of this obscure psych band's material has been difficult to find and not often sought out. Fans of The Up, Blue Cheer and other Aquarius Age punks might hear music in Mount Rushmore's clumsy jams, but a full-fledged renaissance is unlikely beyond a minority of collectors. FRED BELDIN

'69 Album
01.It's Just the Way I Feel (Glenn Smith) 4:35 
02.10:09 Blues (Glenn Smith) 5:53 
03.Toe Jam (Kimball, Fullerton, Bolan) 5:45 
04.V-8 Ford Blues (Willie Lowe) 2:35 
05.Love is the Reason (Dotzler, Phillips, Bolan, Levin, Esterlie) 3:55 
06.I'm Comin' Home (Glen Smith, Mike Bolan) 7:35 
07.King of Earrings (Warren B. Phillips) 4:00 
08.Somebody's Else's Games (Glenn Smith) 4:35

High On Album
09.Stone Free (Jimi Hendrix) 3:57 
10.Without No Smog (G. Smith, M. Bolan) 5:27 
11.Ocean (Warren B. Phillips) 4:07 
12.I Don't Believe in Statues (Warren B. Phillips) 4:08 
13.Looking Back (G. Smith, M. Bolan, T. Fullerton, T. Kimball) 9:40 
14.('Cause) She's So Good to Me (Bobby Womack) 3:35 
15.Medley: 7:23 
   Fannie Mae (B. Brown, M. Robinson) 
   Dope Song (G. Smith)

1. Mount Rushmore
2. Mount Rushmore
3. Mount Rushmore

Accolade - Accolade II (Rare Folk-Progressive Rock UK 1971)

Size: 79.8 MB
Bitrate: 256
Ripped By: ChrisGoesRock
Artwork Included

This is great! A flute and folk guitar together, similar to a well sung Jethro Tull. Don Partridge, the vocalist appears by himself later in his career. includes Brian Cresswell, Malcolm Poole, and Ian Hoyle. Wizz Jones plays acoustic guitar on four songs, and one of the songs is a Gordon Giltrap cover tune. My favorite song is 'transworld blues' on the first three listens, but I'm sure with repeated turns, this one will offer up many layers of beauty. The front cover artwork is an original painting by David Steele and attracted me to this UK prog/psych record immediately.

Maybe I'm just a sucker for flute - I don't know - but to me this is yet another excellent slice of early 70's UK psych folk. Originally released on the Regal Zonophone label in 1971. Crisp and clear male vocals, prominent flute, dreamy acoustic guitar, and occasional doses of piano, harmonica, vibraphone make for a truly enjoyable listening experience. The 11+ minute "Cross Continental Pandemonium Theatre Company" is one of the higlights of this gem. If you like flute-dominated acoustic progressive psych/folk, you can't go wrong with this.

Accolade were a light acoustic band, formed in 1969 who completely eschewed electric instruments, as they developed a folk / jazz fusion. Notable, perhaps only for the inclusion of Partridge and fellow singer Gordon Giltrap, although the latter remained for only one album. The group recorded two albums and one single, before going their separate ways in 1971.

As musical tastes changed, and the novelty value of a folk music singing, one man band, paled, Partridge retreated to his well-worn path of busking for a living. He had made a big impression in Scandinavia, and moved to live in Sweden in the early 1970s. He made two unsuccessful albums there, before ultimately returning to his homeland. 2nd album by UK band from early 70's. A well mix up of verious styles like folk, jazz, and rock, but psych folk dominated. Wizz Jones was featured on several tracks and the album also a cool return of Made In Sweden's 'Snakes In A Hole' Originally released in 1971 on Regal Zonophone. (Reviews from different sources)

Don Partridge - Vocals, Acoustic Guitar, Vibraphone
♦ Malcolm Poole - Contrabass, Fiddle
♦ Ian Hoyle - Drums
♦ Brian Cresswell - Flute, Alto Saxophone
♦ Wizz Jones - Vocals

♦ Mike Moran - Piano

01.Transworld Blues 3:22
02.The Spider to The Spy 2:33
03.Baby, Take Your Rags Off 3:17
04.Cross Continental Pandemonium Theatre Company 11:02
05.Snakes In a Hole 3:25
06.The Time I've Wasted 2:37
07.Sector Five Nine 2:20
08.If Only I'd Known 2:08
09.William Taplin 4:55
10.Long Way to Go 5:07


Night Sun - Mournin´ (Very Good German Hardrock 1972)

Size: 78.1 MB
Bitrate: 256
Ripped By: ChrisGoesRock
Artwork Included

Night Sun were a German heavy prog/metal band consisting of Bruno Schaab (vocals, bass), Walter Kirchgassner (guitar), Knut Rossler (organ, piano, trumpet, bassoon) and Ulrich Staudt (drums).

Their only album, Mournin', was released in 1972 on Polydor's Zebra label. Schaab's vocals recalled the screams of Ian Gillan from Deep Purple. The group played a loud, Deep Purple/Black Sabbath/Led Zeppelin style rock, with a characteristic "heavy progressive" instrumentation of twin guitars, organ, bass and drums. The album was produced by Konrad Plank at the Windrose Studio, Hamburg.

With their sudden shifts of rhythm structures, guitar-with-organ riffing style and some studio effects, particularly phasing, Night Sun fortunately never went too close to the ordinary boogie and rock'n'roll trap.

Their sound consisted of many elements, all of which will be of interest to fans of Thrash, Stoner, Doom, Power and Prog Metal, and their 1970's roots.

Night Sun's origins lay in the late-60's jazz band Take Five who were popular in the Rhine Neckar Area of Germany.

Take Five consisted of Werner "Steff" Stephan (vocals), Edmund Seiboth (trumpet), Knut Rössler (saxes/trombone/flute/keyboards), Freddie Münster (saxes), Frieder Schmitt (keyboards/voc), Hans Brandeis (guitar/vocals), Torsten duke (bass/vocals) and Karl-Heinz weber (drums).

Various members from this band went on to be part of Night Sun Mournin' and Kin Ping Meh.

Kin Ping Meh had a reasonably successful career through the seventies with 5 studio and 2 live LPs.

Night Sun Mournin' soon shortened their name to just Night Sun, during which time they went through various line-up changes until their 1972 recording of the Mournin' LP.

Night Sun had only moderate local success and after the leaving of Schaab and Kirchgassner in 1972, the band split in 1973.

After the demise of the group, Bruno Schaab briefly joined Guru Guru, where his contribution was notable on the track, "The Story Of Life".

01. Plastic shotgun (2:34)
02. Crazy woman (4:22)
03. Got a bone of my own (7:45)
04. Slush pan man (4:25)
05. Living with the dying (5:31)
06. Come down (5:48)
07. Blind (4:24)
08. Nightmare (3:16)
09. Don't start flying (3:07) 

1. Night Sun
2. Night Sun
3. Night Sun

Sunday, 10 July 2016

Paul Brett - Selftitled (Very Rare Folkrock UK 1972)

Size: 80.5 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Paul Brett (Sage)  began his career appearing (while still a teenager) as an uncredited backing guitarist on ROY HARPER's 1966 debut 'Sophisticated Beggar' which is generally acknowledged as contemporary British folk classic although not especially progressive when compared to some of Harper's later work into the mid-seventies and beyond. 

The same can be said of AL STEWART's 'Zero She Flies', recorded in 1969 with Brett again appearing as a nameless studio musician while other studio players such as Trevor Lucas and Gerry Conway of FOTHERINGAY do appear in the liner notes. 

Brett appeared (with credits) on the STRAWBS' 'Dragonfly' studio album which was also recorded in 1969, and cut a couple of singles with ARTHUR BROWN

That same year he played guitar on most of ELMER GANTRY'S VELVET OPERA second and final release 'Ride a Hustler's Dream', and closed out the decade as a member of the short-lived psych band FIRE, largely leading the studio effort for the now ultra-rare 'The Magic Shoemaker' LP.

After his work with the STRAWBS Brett formed his own band (PAUL BRETT SAGE) and released three studio albums between 1970-1972. That group consisted at various times of Nicky Higginbottom (flute, saxophone), Mike Piggot (later of the PENTANGLE), bassist Dick Dufall (STRAWBS, FIRE), Stuart Cowell (guitars) and percussionist Bob Voice (FIRE), among others. The band's sound ranged from contemporary to progressive folk and mildly heavy rock with occasional blues-rock and even a bit of jazz. 

Brett would go on to a lengthy solo career as a mostly 12-string guitarist, recording contemporary rock albums, along with a few progressive works including the complex guitar instrumentals 'Earth Birth' and 'Interlife'. 

In later years he would release a number of modern folk, instructional and mainstream albums including several K-Tel records. He also amassed a lengthy body of work as a session and touring musician, appearing with the likes of STEVE HILLAGE, JIMI HENDRIX, VAN DER GRAFF GENERATOR, MOTT THE HOOOPLE, STATUS QUO, FREE and many others.

Paul Brett (born 20 June 1947, Fulham, London) is an English classic rock guitarist. He played lead guitar with Strawbs (though he was never actually a member), The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve-string guitar in the 1970s.

His first twelve-string guitar suite, Earth Birth, was released on his own label, Phoenix Future, and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four-album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long-time friend and fellow twelve-string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. He is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

01. The Ant (instrumental) (2.13)
02. Mr Custer (3:04)
03. Goodtimes, Hardtimes (3.23)
04. 18 Years (2.30)
05. Handful Of Rain (4.45) 
06. Antiques, Flowers And Music Box Dancers (instrumental) (2.46)
07. The Spanish Main (4.27)
08. Jim Crow (3.15)
09. Motherless Child On A Merry-Go-Round (3.29)
10. Here Comes The Sun (2.43)
11. Who Am I ? (3.57)
12. March Of The Hedgehogs (instrumental) (3.19)


Saturday, 9 July 2016

I'm Sorry...

Hi all. I'm sorry for that i don't add music downloads like i did before. Things have changed over the years and i have no time like i had before.

I will add new music downloads when i have some hours for free, promise.

But as you see,  i have alot of links to other Bloggers with music downloads so i hope that you visit my site anyway, or?

Michigan Boogie Ann Arbor Sun, April 27, 1972
(Open picture in a new window for 100%)

Friday, 1 July 2016

Not to be missed: Black Nasty - Talking to The People (Heavy Funk'n Soul US 1973)

Size: 82.2 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Excellent heavy funk from Stax! Black Nasty were one of the heaviest groups on the label – with a rock-solid guitar-based groove that went even farther than the Bar-Kays, who were no slouch in the guitar department themselves! The grooves are all slow to midtempo, with the band coming down hard on the downbeats, jamming away in a style that sounds more like heavy Detroit Westbound than sweetly soulful Memphis. Most all cuts have vocals – sung in a shouting style by the band that works well with the tripped-out hooks of the songs. This was the only album the band ever cut, but it's become a fast favorite among those who like their funk raw. Tracks include "We're Doin Our Thing", "Rushin Sea", "Booger The Hooker", "Black Nasty Boogie", "Nasty Soul", and "Getting Funky Round Here". 

Like Rare Earth and early Funkadelic, Black Nasty took a very rock-minded approach to Detroit soul and funk -- probably too rock-minded for many program directors at black radio. And at the same time, Black Nasty was too funky and soul-oriented for FM rock radio. So Black Nasty fell through the cracks in the early to mid-'70s, although it enjoyed some commercial success after evolving into the ADC Band and recording the major funk hit of 1978, "Long Stroke." The band's only album as Black Nasty, Talking to the People, was a commercial disappointment but a creative triumph. Those who savored the Motor City funk/rock experiments of Rare Earth and early Funkadelic will find a lot to admire about gritty, hard-edged smokers like "Nasty Soul," "Getting Funky Round Here," and the single "Black Nasty Boogie" (which brings to mind John Lee Hooker's work with Canned Heat). To its credit, Black Nasty has no problem turning around and providing silky, mellow slow jams such as "Rushin' Sea" and "I Must Be in Love," both of which feature singer Audrey Matthews. It is Nasty's other lead singer, Terrance Ellis, who handles the more up-tempo gems. 

Black Nasty were a little-known but decent group in the early-'70s Detroit funk scene, following the path of the Parliament/Funkadelic crowd in mixing rock, psychedelic, soul, and funk influences. They recorded a fair album for Stax that was released in 1973, but wasn't a heavy seller. After losing their contract with Stax (which would soon go out of business anyway) in 1975, they changed into different R&B acts that would have a little more commercial success.

Black Nasty's mentor was Johnnie Mae Matthews, a singer who owned several independent Detroit R&B labels, including Northern, Reel, Audrey, Jam, Art, Big Hit, and Tank. Matthews also recorded more than two dozen singles under her own name. 

Though none were notable successes, she continued her involvement in the artistic side of the music business by encouraging her drummer son, Artwell, when he formed a band in the mid-'60s with his cousin, bassist Mark Patterson, and friends. Originally called Raw Integrated Funk, there were prominent rock elements at the outset (Ted Nugent was an early member), but under the influence of Johnnie Mae Matthews, they broadened their style to include more R&B. After putting out a cover of the Supremes' "You Keep Me Hanging' On" on Tank, they were signed to Stax, for which they recorded three singles and an album between 1971 and 1974. 

The Stax sessions (all of the singles also appeared on the album) were produced by Johnnie Mae Matthews and Sir Mack Rice, the minor but noted Detroit soul singer. Rice had recommended Black Nasty to Stax after starting work at the label as a songwriter. While their records were more promise than payoff, the album did have an interesting mix of funk with hard rock guitar, soul ballads on which Johnnie Mae Matthews' teenage daughter Audrey took lead, and some socially conscious compositions that reflected black urban life of the early '70s. After the album made little impact, Stax dropped Black Nasty, which changed their name to Nazty and recorded a couple of singles for Excello. After some personnel changes, the group became ADC Band, getting an R&B Top Ten hit with "Long Stroke" in 1978 and recording as late as the mid-'80s.

01. Talking To The People  02:43
02. I Must Be In Love  03:42
03. Nasty Soul  03:38
04. Getting Funky Round Here  02:43
05. Black Nasty Boogie  05:46
06. Where Doin´ Our Thing  03:45
07. I Have No Choice  03:35
08. It´s Not The World  03:35
09. Rushin´ Sea  03:36
10. Booger The Hooker  03:25

1. Black Nasty
2. Black Nasty
3. Black Nasty

Sunday, 26 June 2016

Pictures For Today....

Back off a bit and the mood shifts with each other, scary...

There are several ways for steal a car...

Saturday, 25 June 2016

dBpoweramp Reference 16.0 Created for Audio Professionals

Audio conversion perfected, effortlessly convert to mp3, FLAC, Apple lossless and more. dBpoweramp Music Converter™ has become the standard tool for audio conversions, over 30 million users world trust their converting to dBpoweramp.

mp3 Converter
Convert mp3, m4a (iTune

& iPod), WMA, WAV, AIFF, AAC, FLAC, Apple Lossless (ALAC) to name a few.

High Speed Conversions
Look for a mp3 converter which encodes using all CPU cores simultaneously, get the job done in double quick time.

No Malware
Free converters come with a little extra (a spying toolbar, Trojan, malware, or virus), dBpoweramp has never bundled in 15 years, those wanting an mp3 converter, get just that and only that. No Trojan, no malware, no viruses.

Batch Convert
Large numbers of files with 1 click, filter on mp3 or other file type.

DSP Effects

Process the audio with Volume Normalize, or Sample / Bit Rate Conversion. dBpoweramp is a fully featured mp3 Converter.

dBpoweramp integrates into Windows Explorer, an mp3 converter that is as simple as right clicking on the source file; Convert To. Popup info tips, Edit ID-Tags are all provided.

It is safe to say, no other audio program converts more multi-format audio files than dBpoweramp, we have spent 15 years perfecting format-compatibility and conversion stability. If converting FLAC to mp3, wma to mp3, or wav to mp3, dBpoweramp is the right choice.


  • New visual style, high DPI aware, 200% and 300% compatible 
  • Configure dBpoweramp repurposed as dBpoweramp Control Centre, only elevates on changes to shell settings Configuration, if proxy server is enabled but no proxy server is set, it is disabled. 
  • DSP Effects included as standard in all installs, DSP version number is now dBpoweramps version number 
  • dBpoweramp Shell Tag Editor - looks up art with PerfectTUNES 
  • Naming Section total rewrite Naming Added new values [track_unpad] [track_total_unpad] forunpadded track number and count 
  • Naming [IFEQUALS] check will match from multiple stored values, such as one match from 3 genres 
  • Naming added [REPLACE] function 
  • Naming added [WORD] function to limit word count
dBpowerAMP Music Converter:

  • Can add or remove CPU Cores from converting whilst converting Nearly instant when converting 1000's of files if the file naming does not require ID Tags reading for filenames 
  • Works with DSP effect 'conditional encoding' to allow programmable actions on files depending on their settings (such as copy 1:1 mp3, not encode) 
  • Option to precache read the source file, more for non-ssd systems, improves read performance by 100% 
  • New option (in configuration) 'Filename restricted characters' 
  • When finalizing DSP Effects (such as 100K RG album gains being written), the display is now responsive 
  • dBpoweramp Codec Central Link: Codec Central
  • "Spoon's" Setting Guide, Link: Spoon's Setting Guide

dBpoweramp Music Converter Reference 16.0

1, 16.0
2. 16.0
3. 16.0

Would be glad for some comment about this ripper. I have not found any better ripper than this one.

Lars Ulrich (Metallica) Talking & Play Songs by Swedish Broadcast Saturday June 25, 2016, 24.00-01.00

     Lars Ulrich in Swedish Radio 6 hours ago

MUSICIAN, SONGWRITER, DRUMMER - “Summer" is a Swedish radio show where a person is given free hands to speak about whatever they want and play their own choice of music.

- I am more comfortable speaking in English after my 35 years in the USA, but I can still speak Danish and some Swedish: Systembolaget, Sportspegeln and Kungliga Tennishallen, for example! I am going to talk about life, work, and the music that got me on the right track in life.

About Lars Ulrich:

Lars Ulrich has for the last 35 years been the drummer in the heavy metal band Metallica, which he also founded together with James Hetfield in 1981.

The band has sold over 110 million records and been awarded nine Grammys and numerous other awards. In 2013, Metallica played concerts on every single continent in the world, including Antarctica.

This spring, Metallica released a special live recording from 2003, recorded in the Bataclan concert hall in honor of the victims of the 2015 Paris terrorist attacks. All proceeds from the live album goes to charity.

He is son to the Danish tennis player and jazz musician Torben Ulrich and saxophone player Dexter Gordon was Ulrich’s godfather.

Lars Ulrich is also an avid collector of modern art.

1. Lars Ulrich
2. Lars Ulrich
3. Lars Ulrich



Monday, 20 June 2016

Bobby Williams - Anybody Can be a Nobody (Soul US 1976)

Size: 64.6 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Invluded
Source: Japan 24-Bit Remaster

Soul/funk LP from 1976 with the incredible crossover soul tune "You need love like I do". 

The cliché says that imitation is the sincerest form of flattery, but few muster the sincerity of Bobby Williams -- a James Brown acolyte with a style and energy comparable to the Godfather himself, Williams transcends his faux-funk origins with grooves that are undeniably genuine. His second LP, 1976's Anybody Can Be a Nobody, moves past the low-budget grit of his debut Funky Superfly with a sound evoking the silky-smooth sensibilities of Miami funk. 

Williams is more of a singer than a shouter this time around, and while some listeners may miss the gutbucket grooves of his previous disc, the record's maturation and sophistication are convincing.

One of the all time indie funk classics of the 1970's, obscure vocalist Bobby Williams' gave James Brown a run for the money when he released "Funky Super Fly" in 1974. 

The style of the album recalls James Brown at his funkiest, but with a sound that's even grittier featuring a tight horn section and some heavy funk jamming that really gets in the groove and stays there. 

On his second LP, 1976's "Anybody Can Be a Nobody," Williams moves past the grit of "Funky Super Fly" to reveal a more sophisticated style evocative of Curtis Mayfield mixed with the smooth stylings of Miami funk to produce a more mature sound, showing that he can be more of a singer than a shouter. 

Copies of the original LP fetches big bucks on the rare groove collector's market and fans of the album will be delighted to see it make its long overdue debut in the digital realm. All selections newly remastered.

01. Anybody Can Be A Nobody   05:00
02. You Need Love Like I Do  05:09
03. Portrait Of My Stepfather   04:40
04. These Arms Of Mine   04:00
05. Think I'd Better Rest   02:45
06. I Will Sing For You   04:15
07. Drop It On Me   03:32
08. Everybody Needs Love Sometime  05:09


Monday, 13 June 2016

Guns 'N' Roses - (some songs from) Appetite For Democracy (US 2014)

Size: 143 MB
Bitrate: 320
Found in DC++ World
Artwork Included

The Chinese Democracy Tour was a worldwide concert tour by hard rock band Guns N' Roses to promote the group's long-delayed album Chinese Democracy.

The tour began in 2001. That year the band played three U.S. dates and a Brazilian one, while their 2002 tour included Asian, North American and a few European dates. The band did not tour again until May 2006, when it toured North America again and performed a major tour of Europe. The band's tour continued in 2007 with shows in Australia, New Zealand, Japan and Mexico.

Their first show after the 2008 release of Chinese Democracy was in Taiwan on December 11, 2009. In the same month the group played South Korea for the first time, as well as two dates in Japan. Since 2010 the tour has continued with concerts in North America, South/Central America, Europe and Australia. As of late 2010, the entire tour had attracted a total audience of about 4,000,000 people. The ten-year tour came to a close on the final day of 2011, with a New Year's Eve show in Las Vegas.

Rumors started in February that Guns N' Roses would perform Spain and Italy in June, and continued through the year with comments from Irving Azoff about a Summer Stadium Tour but nothing happened.

On November 10, 2009 after speculation about shows in Japan, the band announced on their MySpace four dates in Asia and thirteen in Canada. More dates were added later for South America and Europe.

On August 15, 2010, a cancellation notice for the remaining shows of the tour was posted on Rose's Twitter. The statement would later be refuted on the official Guns N' Roses Twitter and Facebook, with claims that the tweets were being looked into. Several hours later, the band confirmed that Axl's account had been hacked, and the band would in fact continue the tour.

Following the events that took place at the Reading Festival where the organizers pulled the plug on their set because they passed the curfew time, Axl Rose released the following message via his Twitter account:

“Our start times at the Reading and Leeds festivals factually had nothing to do with us as the previous bands (who were great by the way) came off stage when they did and we went on within' our contracted and documented changeover time period.
Whatever other nonsense anyone's choosing to write would appear intentionally false.  Having the fans or our show penalized for how the event was run or simply the natural flow of events those evenings and for such minimal amount of overtime along with distortions and falsehoods by media, the promoter and or event organizers regarding the events seems a bit draconian and more than unfair to the fans.

A simple question: If you are aware of our changeover time, the average length of our show and the general nature of how these types of festivals run all of which are no big secrets...why book us?

Is it simply because the lineup on our nights at both festivals sold well? So it's a cash grab with no respect for the fans or the band and somehow an unwanted inconvenience for the cities and law enforcement? If we're not wanted and just being used to line someone else's pockets or for fictitious tabloid fodder at the fans and our expense we're fine with going elsewhere. God forbid we would force ourselves on anyone. It's not that kinda party.

I didn't organize, arrange, authorize, have knowledge of or was even consulted about our being booked for these shows till after the fact nor did I choose to work with anyone I'm aware of other than our manager who was involved in arranging these dates. 

Yet it would appear we're amazingly often legally obligated to honor such arrangements whether against our will or better judgment. That's simply and unfortunately how this business often works with the artist and imo seems is legally supported to benefit managers, agents, promoters and ticket vendors.

With how the fans and we were treated in the past I had what I feel were legitimate and now proven justified apprehensions. Yet we gave 100% and from where we stood it seemed as if the both the fans (who rocked!) and our camp were having fun and making the most of things.

Why (and what would appear intentionally) risk having it go bad for everyone? Imo that's where true recklessness and negligence at both the fans and our expense would seem to be.

Anyway...thanks again to all the fans who made our nights!!



01. Chinese Democracy  03.34
02. Welcome To The Jungle  05.20
03. It's So Easy  03.15
04. Mr. Brownstone  04.32
05. Rocket Queen  07.14
06. Better   05.08
07. Motivation  03.15]
08. You Could Be Mine  06.45
09. Sweet Child O' Mine   05.38
10. Nightrain   05.40
11. Used To Love Her  03.08
12. Paradise City   07.47

1. GNR 2014
2. GNR 2014
3. GNR 2014

Sweet - Strung Up (Live + Studio) Japan Edition 1975)

Size: 156 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Strung Up is a 1975 double live/compilation album by Sweet released by RCA Records in 1975. The first disc contains seven songs recorded live during a concert at the Rainbow Theatre, London on 21 December 1973. The second one contains ten selections of their songs recorded since 1973, including three songs that have not been released previously on any album, ("Burn On The Flame" and "Miss Demeanour") but only one ("I Wanna Be Committed") is brand new. The album also includes a unique mix of "Action" that comes to an abrupt end, and does not include the final decaying echo of the shorter single and longer Give Us a Wink album versions.

Strung Up was not originally released in the United States. In Japan it was released by Capitol Records under the title Anthology. In Italy it was released as 2 separate albums - the studio set entitled Strung Up (released 1975) and the live set entitled Live In England (1976).

By late 1975, the Sweet were no more the power in pop land that they had once seemed to be. It was nine months since they broke away from songwriters Nicky Chinn and Mike Chapman, with whom they'd enjoyed almost unfettered success -- since that time, only "Fox on the Run" had suggested that the Sweet's own songwriting prowess was even vaguely capable of competing with the masters, and two further singles ("Action" and "The Lies in Your Eyes") had emerged as the band's worst performing efforts since their very earliest days. Time, then, to dig into the vault and see what could be done to salvage the situation -- time, then, for Strung Up, a double album comprised of three-year-old live material plus a mishmash of old and new studio work. 

The concert recordings are the revelation. For all their reputation as mere purveyors of whatever their puppet masters offered them, the Sweet had developed into one of the most exciting live bands on the mid-'70s U.K. circuit, as sonically dynamic as they were visually alluring. Not for nothing had the band's sexually charged stage show been banned from one of the country's leading ballroom chains; not for nothing did Ritchie Blackmore join them on-stage in California one night. No matter how far their crown slipped in chart terms, in concert the Sweet would never let you down and, though the Strung Up tapes dated back to 1973 and a phenomenal show at the London Rainbow, they had not dated in the slightest. 

The studio cuts are less alluring, concentrating in the main on the self-composed B-sides that the band had long insisted upon, a few recent singles ("The Six Teens," "Fox on the Run," and "Action"), and a couple of songs laid down during the sessions for the band's last studio LP, Desolation Boulevard. In modern terms, it's the kind of compilation that would form the basis for a tremendous box set; at the time, however, it spoke more of the uncertainty with which the band's record label, if not the bandmembers themselves, viewed the future. And, tellingly, it sank like a stone.

Live album:
01. "Hellraiser" Nicky Chinn, Mike Chapman  03:51
02. "Burning"/"Someone Else Will"  05:41
03. "Rock 'n' Roll Disgrace"  04:08
04. "Need a Lot of Lovin'"  02:52
05. "Done Me Wrong Alright"  08:06
06. "You're Not Wrong for Lovin' Me"  03:10
07. "The Man with the Golden Arm" Elmer Bernstein, Sylvia Fine  07:50

Compilation album: 
08. "Action"  03:43 
09. "Fox on the Run"  03:22
10. "Set Me Free" Scott  03:56
11. "Miss Demeanour"  03:26
12. "Ballroom Blitz"  Chinn, Chapman  04:00
13. "Burn on the Flame"  03:34
14. "Solid Gold Brass"  05:27
15. "The Six Teens"  Chinn, Chapman  03:58
16. "I Wanna Be Committed"  Chinn, Chapman  04:01
17. "Blockbuster"  Chinn, Chapman  03:12

Bonus Track:
18. "A.C.D.C."

1. Sweet 1975
2. Sweet 1975
3. Sweet 1975