Sunday, April 13

Marc Benno & The Nightcrawlers - Crawlin (Great Bluesrock US 1973)

Size: 99.3 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The album recorded in 1973 @ sunset sound Studio Hollywood for A&M

Marc Benno brought a treasure for his Japanese fans!

The recordings which never released for last 32 years....
Marc Benno recorded 7 songs with his band The Nightcrawlers featuring Stevie Ray Vaughan, Doyal Bramhall etc. at Sunset Sound Studio inHollywood for A&M Records in 1973. But A&M decided not to release the record.

This is the special album with the 7 songs and plus another 5 songs of the studio sessions tracks with SRV (G),RussKrunker(Dr.) Mike Utley(key.) Lee Skiar(B.) etc.

This historic document seems to have escaped the attention of all but the most hardcore and curious Stevie Ray Vaughan fan. The story goes like 1973, Texas singer, songwriter, guitarist, and piano player Marc Benno had spent better than a decade as an all-star studio pro, lending his talents to recordings by folks like Rita Coolidge and the Doors. Benno recorded a pair of albums with friend and fellow session-player Leon Russell as the Asylum Choir, Benno subsequently launching his solo career with a self-titled album in 1970, Russell hooking up with singer Joe Cocker before discovering mid-decade stardom.

Benno had put together a Texas-styled blues-rock band that included bassist Tommy McClure (who had played with Coolidge and Jim Dickinson, among others), drummer Doyle Bramhall, keyboardist Billy Etheridge, and a hot-shot young guitarist by the name of Stevie Vaughan (the "Ray" would be added later). Benno and the Nightcrawlers were managed by rock 'n' roll heavyweight Dee Anthony, and put on tour opening for the J. Geils Band and Humble Pie (which featured its own hot-shot fretburner in Peter Frampton). Benno and the band recorded what was to become their debut album for A&M Records, but when the label soured on blues-rock, Crawlin – which included Vaughan's first recordings – was put on the shelf and remained unreleased until 2009 when Blue Skunk Music resurrected the album.

As shown by the funky album-opening "Last Train," Benno had his finger firmly on the pulse of the soul-and-blues-infused rock sound of the early 1970s, the song's foot-shufflin' beat paired with twangy, chicken-scratched guitar solos and a chaotic mix that works in spite of the mess of instruments. By turns, the New Orleans-flavored "Coffee Cup" sounds like Dr. John, Benno's growling vocals and spry piano-pounding displaying the undeniable musical link between Texas blues and Louisiana's more jazz-influenced style.

The lively "Take Me Down Easy" mines turf similar to what Delaney and Bonnie and Friends were exploring at the time, cleverly mixing blues, rock, gospel and country into an inspired whole, some hot guitar licks sizzling in the background beneath Benno's energetic honky-tonk piano and an overall spirited instrumental jangle. Running in the other direction, "Hot Shoe Blues" blends a 1940s-styled jump-blues aesthetic with rollicking keyboards, red-hot guitar runs, and mile-a-minute echoed vocals to create an exhausting and entertaining musical romp. The title song is virtually an instrumental, barely-audible gang-vocals rising and falling beneath an innovative soundtrack that displays some of Stevie Vaughan's early talents.

Benno considered Stevie Ray Vaughan (or "Little Stevie" as he was often known at the time) to be the Nightcrawlers' secret weapon, a young guitarist of unusual skill and vision that could liven up any performance with his instrument. Crawlin includes four "bonus tracks," songs cut by Benno in anticipation of a solo release that would feature Vaughan's maturing guitarplay at its center. Using a variety of L.A. session pros and friends like bassist Lee Sklar, drummer Russ Kunkel, and keyboardists Gordon DeWitty and Mike Utley, these songs add more of a pop sheen to Benno's writing while not forsaking the artist's blues foundation.

"Friends" is a gospel-tinged soft-rocker that features some beautifully emotional Stevie Ray slide-guitar licks alongside Benno's testifying vocals and gentle piano play. By contrast, "Whole Thang" is a short, sharp shocker with scorching guitar solos riding low in the mix, Benno's bouncy electric piano creating an irresistible melody on top of which Vaughan weaves his magic; given a proper release in the mid-1970s, the song could have been a big hit and brought SRV to stardom that much quicker. "World Keeps Spinnin" is another Dr. John soundalike, with bits of sharp guitar and an underlying funky heartbeat while "Long Ride Home" is a dark, rich instrumental track and the stand-out on Crawlin, Vaughan and Benno swapping guitar licks while the band choogles along in the background with a rock-solid rhythm.

Jim Morrison & Marc Benno
Marc Benno's Crawlin is a mixed bag, derived as it is from disparate sources and circumstances. The four bonus tracks are better-written and better-produced than the seven songs from a previous recording, and they feature Stevie Ray Vaughan in a much more prominent role. What the earlier songs lack in sonic quality and overall construction they more than make up for in energy and enthusiasm, Benno finally afforded the opportunity to chase stardom on his own terms.

While the earlier material on Crawlin, quite honestly, wasn't ready for primetime...I'll blame it on sub-par production that seemingly robs the performances of their edge and vitality...there's no doubt that Benno and the Nightcrawlers were on to something, and listening to these songs today one can't help but wonder what might have been. 

You'll find the material to be representative of the era of its creation, entertaining but not particularly innovative, and of interest mostly to hear Benno's underrated piano playing and Stevie Ray's first tentative steps towards blues-rock stardom.

After suffering the indignities of the record biz – Benno was subsequently dropped by his high-profile manager (who hitched his star exclusively to Frampton's fortunes) – and seeing his recordings buried in a vault somewhere in Hollywood, Marc Benno regrouped and re-dedicated himself to the blues. He spent years touring as second guitarist for the legendary Lightnin' Hopkins, honing his skills and learning the blues from a master. Benno continues to make music, fusing blues, rock, jazz, and pop music into his own original creation in spite of the industry, and Crawlin is a perfect example of his unique vision and talent.

The Nightcrawlers: 
Marc Benno - Guitar and Vocal
 Stevie Ray Vaughan - Lead Guitar
 Doyal Bramhall - Drum and Vocals
 Billy Ethridge- Keyboards
 Tommy McClure - Bass

*Session Recording with:
 Marc Benno - Guitar, Piano and Vocal
 Stevie Ray Vaughan- Lead Guitar / Russ Krunkel- Drums
 Johnny Perez - Drums / Mike Utley-Keyboards
 Gordon Dewitty-Hammond B3 Organ / Lee Skiar- Bass

01. Last Train  02:04
02. Coffee Cup  03:19
03. 8 Ball  06:22
04. Take Me Down Easy  03:23
05. Love is Turnin Green  05:36
06. Hot Shoe Blues  02:09
07. Crawlin  03:22
08. Friends*  04:33
09. Whole Thang*  01:57
10. Slammer Jammer*  04:35
11. World Keep Spinnin*  02:51
12. Long Ride Home*  04:48

*Bonus Tracks Please note and understand there are some noise on Track 10 due to the old recording material.

1. Link
2. Link
3. Link

Friday, April 11

The Jimi Hendrix Experienced - August 27, 1967

The Jimi Hendrix Experienced - August 27, 1967
(open picture on picture in a new window
for 100% size.)

Monday, April 7

OK, because you will have more, here is some more Pop-Spots...

Bob Dylan - Highway 61 Revisited (Gramercy Park West New York)

Bob Dylan - Subterranean Homesick Blues (Behind London's Savoy Hotel)

Bob Dylan - The Freewheelin' (Jones Street and West 4th Street, New York)

Bob Dylan (Jacob Street West 2nd, New York City)

Crosby, Stills & Nash (815 Palm Avenue, West Hollywood, California 1969)

David Bowie - Ziggy Stardust (23 Heddon Street, West of Carnaby street, London)

Foghat - Fool For The City - Back (Outside of 232 East 11th Street between second and Third Avenues,, New York.)

Neil Young - After the Gold Rush (Corner of Sullivan Street and West 3rd Street)

Ramones - Selftitled 1976 (Albert's Garden, East 2nd Street, Bowery Avenue)

Simon & Garfunkel - Wednesday Morning (New York Subway Fifth Avenue and 53rd Street)

The Doors - Morrison Hotel  (1246 South Hope Street, Los Angeles)

The Doors - Strange Days (Sniffen Court (150-158 East 36th Street, between Lexington Ave and Third Ave, New York)

The Who - The Kids Are Alright (Carl Schurz Monument 116th Street Morningside Heights New York)

The Who - The Who Sings My Generation 1965 (Across the street from Big Ben in London)

Velvet Underground - Live at Max's Kansas City (Park Avenue South between 17th and 18th Street.)

Velvet Underground - Live at Max's Kansas City (Park Avenue South between 17th and 18th Street.) '

Thats all i have, search for "pop-Spots at "google" for more.

Sunday, April 6

Some Pop-Spots...

Bo Diddley - Have a Guitar, Will Travel (Brooklyn, 368 Livingston Street 1960)

Crosby, Stills, Nash & Young - Déjà Vu (backyard of David Crosby's rental house Novato, California 1970)

Foghat - Fool For The City 1975 (Outside of 232 East 11th Street between second and Third Avenues,, New York.)

Grateful Dead - Workingmans Dead (1199 Evans Avenue - Hunter's Point - San Francisco)

Corner of 8th Avenue and West 23rd Street in Manhattan, looking uptown
(Thank you Joe Non Papa)

Ramones - Rocket to Russia (Outside the back door of CBGB'S)

The Doors - Morrison Hotel (1246 South Hope Street, Los Angeles)

Saturday, April 5

Mike Bloomfield - Record Plant, Sausalito, 1973-04-22 (Bootleg)

Size: 115 MB
Bitrate: 320
Found in...
Some Artwork

Mark Naftalin (born August 2, 1944) is an American blues keyboardist, composer, and record producer.

Born in Minneapolis, Minnesota, United States, Naftalin is the son of former Minneapolis mayor Arthur Naftalin; he is married to third wife Ellen Naftalin. His son is the San Francisco Bay Area artist, David Normal.

He moved to Chicago in 1961, and graduated from the University of Chicago in 1964, where he performed on piano at campus "twist parties," popular at the time. It was at these parties that Naftalin first played with blues harmonica player Paul Butterfield and guitarist Elvin Bishop, the nucleus of what was to become the Paul Butterfield Blues Band.

He is known for his role, from 1965-1968, in the Paul Butterfield Blues Band. On certain albums by this group he is credited as "Naffy Markham". In the late 1960s, after the first four Butterfield albums, Naftalin went out on his own, settling in the San Francisco Bay Area. There he put together the Mark Naftalin "Rhythm & Blues Revue" and has been active in blues and rock recording sessions, solo gigs and revue shows, and as a producer of concerts, festivals and radio shows. He also played with Mike Bloomfield as a duo and in a band (most often called Mike Bloomfield & Friends) from the late 1960s through the mid-1970s, and hosted Mark Naftalin's Blue Monday Party, a weekly blues show (1979-1983) that featured over 60 blues artists and groups and was the scene of 86 live radio broadcasts and three TV specials.

Naftalin has produced the Marin County Blues Festival (1981-2000), and has been the associate producer of the Monterey Jazz Festival's "Blues Afternoon" (1982-1991). His weekly radio show, Mark Naftalin's Blues Power Hour has been on the air almost continuously since 1979 on San Francisco's radio KALW-FM.

Naftalin co-founded the Blue Monday Foundation and, in 1988, started his own label, Winner Records, which has issued recordings by artists including Paul Butterfield and Percy Mayfield. He continued to perform, both solo and in an ensemble, in the Bay area and elsewhere, often with longtime associate slide guitarist, Ron Thompson.

Naftalin has also recorded with many blues players including John Lee Hooker, Otis Rush, Percy Mayfield, Lowell Fulson, Big Joe Turner, James Cotton, Mike Bloomfield, Jake Walker and Van Morrison, and as a sideman on over 100 albums.

Mike Bloomfield: 
1973 BEGAN WITH Michael Bloomfield getting involved with one of several ill-fated projects. For the first time in four years, he agreed to participate as a leader on a recording session. His longtime friend, guitarist and singer John Hammond, asked him to collaborate on an album of blues and funk. Hammond had also gotten Dr. John to sign on, and had scheduled studio sessions for January. Michael, intrigued by the opportunity to work with the New Orleans pianist, agreed to play though he was leery of getting involved in another “supergroup.”

The sessions didn't go smoothly, however, and Hammond eventually replaced some of the sidemen. Dr. John wasn't happy either, and though he and Mike had good times together at Reed St., he eventually went home to New Orleans. The remainder of the album was completed by the principals overdubbing their various parts. Columbia issued the result as "Triumvirate" in June of 1973, just as the company's president, Clive Davis, was being investigated by the FBI for embezzling funds.

Hammond arranged for the trio to tour in support of the album, and he had high hopes for a commercial breakthrough. But after he, Bloomfield and Dr. John had completed just one appearance – a Los Angeles performance that was that was also carried on TV's "In Concert" – Davis was fired and all of Columbia's projects were put on hold.

The "Triumvirate" tour was cancelled and the record received almost no promotion. Critics had panned the album anyway, faulting it for its flat, overproduced sound and undistinguished performances. Many reviewers were particularly disappointed that Bloomfield seemed not to find his solo voice. For Michael, it was another unpleasant instance of hype and its ensuing expectations – a circumstance he was now more determined than ever not to repeat.

In the spring of 1973, Bloomfield took a group to New York City for an appearance at the newly-opened Bottom Line. At the same time, he was working on a second solo album for Columbia, as was specified in his original contract with the label. Working with Nick Gravenites, Mark Naftalin and other members of his Friends aggregation, Michael concentrated on his writing skills and labored to produce a recording of high quality and broad appeal. Joining the band for the first time was a bass player and singer named Roger Troy. Nicknamed "Jellyroll," Troy had come west from Cincinnati where he had worked for the Bihari Brothers as a session man at Crown Records. Not only was a he a talented bass player, but he was a remarkable singer with near-perfect pitch, an extraordinary range and a thorough understanding of blues and soul styles. His talents added a new versatility to the Friends, allowing Michael to do soul and country-style tunes with a real authority.

Michael worked on his second Columbia album throughout the year, composing a slew of new tunes, including six of the eleven that would eventually be selected for the record. One, called "Midnight on the Radio," happily recalled Michael's early days listening to blues on his transistor radio. Another – "When It All Comes Down" – recounted a troubled relationship, but did so from a place of strength and resolve. Gone were the intensely personal and pained confessions of his first Columbia solo effort. Mike featured his vocals on a number of the performances, but Nick and Jelly Roll also were given prominent vocal spots. Bloomfield's guitar playing, though still largely in the background, again reflected the broad range of his musical interests by evoking the styles of Pop Staples, Eric Gale, Tampa Red and B.B. King. On the blues "Your Friends," the Bloomfield of the Butterfield Band and the Electric Flag was turned loose and his trademark Les Paul sound was given free reign. The album was to have a healthy mix of pop, rock, blues, soul and gospel selections, and would have likely been a commercial success.

Despite the time and effort Mike put into the sessions, however, Columbia was hesitant to take another chance on a Bloomfield production and decided against going ahead with the release. "Try It Before You Buy It," as the album was to be titled, was shelved. Though it would later be issued in a limited edition on Columbia Special Products imprint, most Bloomfield fans only heard its tunes when Michael performed them live.

And there was much opportunity to catch Bloomfield live in 1973. It during was that year that he finally began to perform in public with more regularity. There were several extensive tours that took his quartet to places as distant as Miami, Boulder, Chicago, Bangor, Boston, Toronto, Buffalo and Woodland, Alabama. Michael's working band now included his close friend and musical partner Mark Naftalin, bassist Roger Troy and drummer George Rains. Rains, a native of Fort Worth, had been a member of Mother Earth and had met Michael through Mark. The group worked together frequently enough that they developed a tight, cohesive sound, often inspiring Michael to new heights as a soloist.

In August, Bloomfield had an unexpected visitor, someone he hadn't seen in years. His old friend, Bob Dylan, dropped by Reed St. for what amounted to an audition. Over the course of several hours, Dylan ran through a series of new tunes without pause while Michael tried to play along. Bob was soon to go into the studio to record "Blood on the Tracks," and he felt that the quality of the tunes merited the playing of his old "Highway 61 Revisited" collaborator. But Michael was thrown by Dylan's D–tuning and odd fingerings, and he had trouble following the singer's changes. He suggested that Dylan give him a chance to learn the songs and work out parts, but Bob was only interested in a quick run–through. The superstar left the get together without comment, but he later decided against using Michael on what would be an historic session. Michael was nonplussed by the whole experience.

Mike Bloomfield & Mark Naftalin – 1973-04-22 
The Record Plant, Sausalito, California
SOURCE: FM radio broadcast (KSAN) 

01. KSAN introduction
02. Sonny Boy
03. Love Me Woman
04. Winter Time Blues In B-Flat
05. talking / announcements
06. I'm Blue, Really Blue
07. The TV Hymn
08. I Wonder Why [instrumental]
09. I Will Always Love You
10. At The Cross [instrumental]

1. Link
2. Link
3. Link

Nick Gravenites - Record Plant, Sausalito, 1973-04-22 (Bootleg)

Size: 137 MB
Bitrate: 320
Found in...
Some Artwork Included

Blue Gravy included band members Nick Gravenites (guitar, vocals), Mark Adams (harmonica), Fred Burton (guitar), Doug Kilmer (bass) and Lee Bitner (drums). Although Blue Gravy existed for a short time only, they were very popular in the Bay Area. As a matter of fact they didn't release any albums but made a three song demo at the Record Plant in Sausalito, California for Warner Brothers. 

Ted Templeman was to produce but tax issues nixed the deal and the band dismembered after a year. Mark Adams, who prior to Blue Gravy had been playing with the Muskadine Blues Band, Dan Hayes Group and Dan Hayes Blues Band, went on to play for Alice Stewart and then King Perkoff after that. Nick Gravenites teamed up with John Cipollina and worked on his solo career as well. In later years Gravenites, Adams and Kilmer played together again though.

One of Blue Gravy's concerts was recorded at the Record Plant and broadcasted April, 22 1973 on KSAN FM. The concert was introduced by Big Daddy Tom Donahue aka "The Father of Underground Radio". KSAN had been the unquestioned leader in progressive radio in the Bay Area for more than ten years from 1968 and many bands used KSAN to gain greater audiences.

Nick Gravenites had already recorded "Gypsy Good Time" on his 1969 album "My Labours"; "Buried Alive In The Blues" in 1971 with Big Brother & Holding Co.; "Drive Again" is from the Steel Yard Blues soundtrack of the same year (1973); "Dekalb Blues" can be found on his 1980 album "BlueStar"; "Anna" on the 1991 Gravenites/Cipollina album "Live At the Rodon". Only "Weird Old Crazy World" (title?), "Left Hand Soul" and "Country Mechanic" seem to be unreleased so far. The latter song being more than outstanding.

Nick Gravenites Biography:
It's not so easy to introduce Nick Gravenites because the man has done so many things that one can easily write a book or build a web site only dedicated to Gravenites who is singer, songwriter, guitarist, and producer in one person. Subsequently everything found on this page concerning Nick can only be described as incomplete. Nevertheless let's start with a short introduction Taxim Records added to one of their Bay Area Blues Sampler 'More Bay Area Blues' which contains the song 'Hard Thing' by Nick.

'Nick Gravenites grew up on the southside of Chicago hanging out in the mid-50's with a coterie of misfit white kids - Elvin Bishop, Paul Butterfield, Michael Bloomfield - who went on to form that protean powerhouse of watershed white blues, The Paul Butterfield Blues Band. Learning their lessons first-hand from the southside greats - Muddy Waters, Buddy Guy, Howlin' Wolf, Jimmy Reed, Otis Rush - Gravenites & Co. burst open the seams of the scene with a feverish intensity and undeniable authenticity, redefining the blues with as much impact as the introduction of electric instrumentation had 15 years earlier. From the late 50's through the mid 60's, Gravenites gravitated between Chicago and San Francisco, establishing himself in the Bay Area in 1965. 

In addition to authoring the classic "Born In Chicago" and the groundbreaking "East West" for Butterfield, Gravenites scribed hits for Janis Joplin and has his songs recorded by Big Brother and the Holding Company, Michael Bloomfield, the Electric Flag (of which Gravenites was a founding member), Pure Prairie League, Tracy Nelson, Roy Buchana, Jimmy Witherspoon as well as blues giants Howlin' Wolf, Otis Rush, and James Cotton. He has a couple of solo albums and has scored and played on the soundtracks for "The Trip", "Medium Cool", and "Steelyard Blues". He has appeared on some 40 albums as singer, songwriter, guitarist, and producer.
For more info write to him at: P.O.Box 564, Occidental, CA 95465'

Other bands: He formed the short lived Blue Gravy and joined Big Brother And The Holding Company early in 1969 staying until early 1972. He was involved with the Taj Mahal/Mike Bloomfield live album, and again in 1973 with "Steelyard Blues". He also formed the Nick Gravenites Band which became Nick Gravenites Blues in 1978 and in the summer of ‘78 he joined Huey Lewis' Monday Nite Live sessions but by the end of the year that too had disbanded.

Nick also worked a lot with John Cipollina, a connection that started with Nick producing the first Quicksilver Messenger Service albums. Later they built the Nick Gravenites-John Cipollina Band which toured a lot in Europe and their record label Line being based in Germany. One of the band's drummers was former Clover drummer Marcus David - who later recorded his solo album 'Greates Hits' on Line Records in 1980. Nick Gravenites himself recorded 'Bluestar' which was also released on Line in 1980 as a solo album but it already had John Cipollina on guitar. Harmonica player on this blues album was Huey Lewis - at that time being something of a session cat who, after Clover's demise, played harp also on albums by Phil Lynott, Nick Lowe, Dave Edmunds and City Boy.

The next album "Monkey Medicine" was recorded in Germany after Nick and John finished their European tour in Germany. Under very primitive conditions but with a lot of heart they recorded this album in Hamburg accompanied by Marcus David on drums and Al Staehely on bass/vocals.
In late 1984 Gravenites was again a member of one of John Cipollina's many projects - Thunder and Lightning - in San Francisco.

During the last few years Gravenites regularly played the psychedelic blues in a small club called the Bodega Bay Grange, Marin County - joined by Doug Kilmer (bass), Mark Adams (harp) and Roy Blumenfeld (drums). The German Taxim label released one of these concerts (rec. Jan. 1994) on CD in 1996.

1999 saw the release of yet another Gravenites' solo album on which Huey Lewis plays harmonica again.

Nick Gravenites & Blue Gravy 
The Record Plant Studios
Sausalito, California 1973-04-22  
FM radio broadcast (KSAN) 

01. Tom Donahue introduction
02. Dekalb Blues
03. Gypsy Good Time
04. Weird Old Crazy World
05. Left Hand Soul
06. band introductions
07. Born In Chicago
08. Country Mechanic
09. Anna [fade out; reel flip]
10. They Let Me Drive Again (Theme From Steel Yard Blues)
11. Buried Alive In The Blues

1. Link
2. Link
3. Link

Wednesday, April 2

About My Added Bootlegs..

Hi all. 

If you wonder about many added bootlegs, this site will NOT become a bootleg site but right now i have a couple of them in good quality who i will added. So don't worry, i will added my rips also, promise.


The Rolling Stones - Record Mirror of May 11th 1963.
(open picture in a new window for 100% size)

Mahavishnu Orchestra - Two Good Concerts 1972 (Bootleg)

Size: 388 MB
Bitrate: 320
Found under my Sofa
Some Artwork

The Mahavishnu Orchestra was the name of two jazz-fusion groups led by John McLaughlin, in 1971–1976 and 1984–1987.

First Mahavishnu Orchestra:
The band's original lineup featured "Mahavishnu" John McLaughlin on acoustic and electric guitars, with members Billy Cobham on drums, Rick Laird on bass guitar, Jan Hammer on electric and acoustic piano and synthesizer, and Jerry Goodman on violin. This first incarnation of the ensemble was a multinational group: McLaughlin is from Yorkshire, England; Cobham from Panama; Hammer from Prague, Czech Republic; Goodman from Chicago, Illinois; and Laird from Dublin, Ireland. This group was considered an important pioneer in the jazz fusion movement. 

Mahavishnu Orchestra Poster 1971
McLaughlin and Cobham met while performing and recording with Miles Davis during the Bitches Brew sessions. McLaughlin was also influenced in his conception of the band by his studies with Indian guru Sri Chinmoy, who encouraged him to take the name "Mahavishnu" which means "Divine compassion, power and justice." or simply "Great Vishnu", an aspect of Vishnu.

McLaughlin had particular ideas for the instrumentation of the group, in keeping with his highly original concept of genre-blending in composition. He particularly wanted a violinist as an integral contributor to its overall sound. As the group evolved, McLaughlin adopted what became his trademark—a double neck guitar (six-string and twelve-string) which allowed for a great degree of diversity in musical textures—and Hammer became one of the first to play a Mini Moog synthesizer in an ensemble, which enabled him to add more sounds and solo more freely, alongside the guitar and the violin.

Their musical style was an original blend of genres: 
they combined the high-volume electrified rock sound that had been pioneered by Jimi Hendrix (whom McLaughlin had jammed with on his initial arrival in New York as part of the Tony Williams Lifetime), complex rhythms in unusual time signatures that reflected McLaughlin's interest in Indian classical music as well as funk, and harmonic influence from European classical music. The group's early music, represented on such albums as The Inner Mounting Flame (1971) and Birds of Fire (1973), was entirely instrumental; their later albums had songs which sometimes featured R&B or even gospel/hymn-styled vocals. 

In the aforementioned two albums, the group goes from an energetic fusion of upbeat genres (a representative example of which is the song "Vital Transformation") to very serene, chamber music-like tunes, such as "A Lotus On Irish Streams," a composition for acoustic guitar, piano and violin, and "Thousand Island Park," which drops the violin and incorporates double bass; or from low-key to extremely busy in a single piece, such as "Open Country Joy."

Mahavishnu & Zappa Poster Advertise 1973
The split of the original line-up:
Due to the pressures of sudden fame, exhaustion and a lack of communication, the original band began to tire as 1973 continued. The stress was further exacerbated by a disastrous recording session (from a personal relationship standpoint) at London's Trident Studios that found some of the players not speaking to others. Their project was never fully completed. The last straw came as John McLaughlin read an interview in Crawdaddy! magazine in which Jan Hammer and Jerry Goodman expressed their frustrations with John's leadership style. 

An effort to fix things back in New York fell short. McLaughlin in the later 1970s stated in an interview in Gig magazine that he would like the album to come out, as he thought it was good. In its place, the live album Between Nothingness and Eternity was released instead, featuring material from the studio album. Almost 30 years later, during the beginning of a renaissance of Mahavishnu's music, the incomplete album from the failed London recording was released as The Lost Trident Sessions.

John McLaughlin (musician):
John McLaughlin (born 4 January 1942, Doncaster, West Riding of Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion.

After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970's electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.

The Mahavishnu Orchestra - Photo 1972
ohn McLaughlin is a leading guitarist in jazz and jazz fusion. His style has been described as one of aggressive speed, technical precision, and harmonic sophistication. He is known for using exotic scales and unconventional time signatures. Indian music has had a profound influence on his style, and, it has been written, he is one of the first westerners to play Indian music to Indian audiences. He was influential in bringing jazz fusion to popularity with Miles Davis, playing with Davis on five of his studio albums, including Davis' first gold-certified Bitches Brew, and one live album, Live-Evil. Speaking of himself, McLaughlin has stated that the guitar is simply "part of his body," and he feels more comfortable when a guitar is present.

From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child and took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stéphane Grappelli. He moved to London from Yorkshire in the early 1960s, playing with Alexis Korner and the Marzipan Twisters before moving on to Georgie Fame and the Blue Flames, the Graham Bond Organisation (in 1963) and Brian Auger. During the 1960s he often had to support himself with session work which he often found unsatisfying but which enhanced his playing and sight-reading.

McLaughlin moved to the U.S. in 1969 to join Tony Williams' group Lifetime. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!"

The Mahavishnu Orchestra - 1972
He played on Miles Davis' albums In A Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist on "Go Ahead John") and A Tribute to Jack Johnson. In the liner notes to Jack Johnson, Davis called McLaughlin's playing "far in." McLaughlin returned to the Davis band for one night of a week-long club date, recorded and released as part of the album Live-Evil and of the Cellar Door boxed set. His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.

He recorded Devotion in early 1970 on Douglas Records (run by Alan Douglas), a high-energy, psychedelic fusion album that featured Larry Young on organ (who had been part of Lifetime), Billy Rich on bass and the R&B drummer Buddy Miles. Devotion was the first of two albums he released on Douglas. In 1971 he released My Goal's Beyond in the U.S., a collection of unamplified acoustic works. Side A ("Peace One" and "Peace Two") offers a fusion blend of jazz and Indian classical forms, while side B features melodic acoustic playing McLaughlin on such standards as "Goodbye Pork Pie Hat", by Charles Mingus whom McLaughlin considered an important influence. My Goal's Beyond was inspired by McLaughlin's decision to follow the Indian spiritual leader Sri Chinmoy, to whom he had been introduced in 1970 by Larry Coryell's manager. The album was dedicated to Chinmoy, with one of the guru's poems printed on the liner notes. It was on this album that McLaughlin took the name "Mahavishnu".

In 1973 McLaughlin collaborated with Carlos Santana, also a disciple of Sri Chinmoy, on an album of devotional songs, Love Devotion Surrender, which featured recordings of Coltrane compositions including a movement of A Love Supreme. McLaughlin has also worked with the jazz composers Carla Bley and Gil Evans.

McLaughlin's 1970s electric band, the Mahavishnu Orchestra, included violinist Jerry Goodman, keyboardist Jan Hammer, bassist Rick Laird, and drummer Billy Cobham. They performed a technically difficult and complex style of music that fused electric jazz and rock with Eastern and Indian influences. This band helped establish fusion as a new and growing style. McLaughlin's playing at this time was distinguished by fast solos and exotic musical scales.

The Mahavishnu Orchestra's personality clashes were as explosive as their performances, and consequently the first incarnation of the group split in late 1973 after two years and three albums, including a live recording entitled "Between Nothingness and Eternity". 

In 2001 the "Lost Trident Sessions" album was released; recorded in 1973 but shelved when the group disbanded. McLaughlin then reformed the group with Narada Michael Walden (drums), Jean-Luc Ponty (violin), Ralphe Armstrong (bass), and Gayle Moran (keyboards and vocals), and a string and horn section (McLaughlin referred to this as "the real Mahavishnu Orchestra"). This incarnation of the group recorded two more albums, Apocalypse with the London Symphony Orchestra and Visions of the Emerald Beyond. A scaled-down quartet was formed with McLaughlin, Walden on drums, Armstrong on bass and Stu Goldberg on keyboards and synthesiser, which generated a third "Mahavishnu 2" recording in 1976 largely due to contractual obligations, Inner Worlds.

Gibson EDS-1275 – McLaughlin played the Gibson doubleneck between 1971 and 1973, his first years with the Mahavishnu Orchestra; this is the guitar which, amplified through a 100-watt Marshall amplifier "in meltdown mode," produced the signature McLaughlin sound hailed by Guitar Player as one of the "50 Greatest Tones of All Time."

Double Rainbow doubleneck guitar made by Rex Bogue, which McLaughlin played from 1973 to 1975.

The first Abraham Wechter-built acoustic "Shakti guitar," a customised Gibson J-200 with drone strings transversely across the soundhole.

 He has also played Godin electric/MIDI guitars, one of which can be seen on the Eric Clapton's Crossroads Chicago 2007 DVD.

 John currently is endorsed by PRS guitars.

Mahavishnu Orchestra - "Whiskey a Go Go"
Los Angeles, California FM broadcast
1972-03-27 (1st set)

John McLaughlin: guitar
 Jan Hammer: keyboards
 Jerry Goodman: violin
 Rick Laird: bass
 Billy Cobham: drums

01. John talks, meeting of the spirits 15:25
02. Miles beyond 15:03
03. The dance of Maya 12:48
04. Band intros 1:02
05. A lotus on Irish streams 9:44
06. The noonward race 19:39

Mahavishnu Orchestra - "Nothingness Tour"
Montreal, Canada 1973-07-13

 John McLaughlin (guitar)
 Jerry Goddman (violin)
 Jan Hammer (piano, moog)
 Rick Laird (bass)
 Billy Cobham (drums)

07. Introduction 0:56
08. Meeting of the Spirits 14:32
09. Miles Beyond 12:20
10. Stepping Stones 3:13
11. Sister Andrea 9:31
12. Dream 25:18
13. I Wonder, Awakening (beginning) 05:43
14. Awakening (Part 2) 00:43
15. Awakening (Part 3) 04:51
16. Awakening (Part 4) Conclusion 06:51
17. Meeting of the Spirits 12:41

Part 1: Link
Part 2: Link
Part 3: Link
Part 1: Link
Part 2: Link
Part 3: Link
Part 1: Link
Part 2: Link
Part 3: Link
The Mahavishnu Orchestra - Advertise Poster

Saturday, March 29

Kenny Loggins with Jim Messina - Sittin' in (Great Rock US 1972)

Size: 91.3 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Sittin' In is the first album by singer-songwriters Loggins and Messina, released in 1972.

It began as a solo album by Kenny Loggins; Jim Messina was with Columbia Records, serving as an independent producer when he met Loggins. In the course of producing Loggins' work, Messina provided backing vocals and guitar, leading to the album's full title, Kenny Loggins with Jim Messina Sittin' In.

This debut album was credited to Kenny Loggins with Jim Messina because the project had begun as a solo record by Loggins being produced by Messina. By the time it was finished, however, Messina had written or co-written six of the 11 songs, contributed "first guitar," and shared lead vocals on many tracks. Messina's "Nobody but You" and "Vahevala," co-written by Loggins' second cousin, Dave Loggins, were the singles chart entries, but today everybody remembers the album for Loggins' "House at Pooh Corner," which had earned Loggins his record contract, and "Danny's Song," which Anne Murray took into the Top Ten the following year. The only thing wrong with this record is that it was too perfect -- with their infectious blend of country, folk, rock and Caribbean music, L&M started out at the top of their game, and although they were able to match some of the material and performances on later records, the team never got any better than this.

Jim Messina, formerly of Poco and Buffalo Springfield, was working as an independent record producer for Columbia Records in 1970 when he met Kenny Loggins, a little-known singer/songwriter who was signed to ABC-Dunhill.

The two recorded a number of Loggins' compositions in Messina's home living room. When Columbia signed Loggins to a six-album contract (with the assistance of Messina), recording began in earnest for Loggins' debut album, with Messina as producer. Messina originally intended to lend his name to the Loggins project only to help introduce the unknown Loggins to Messina's well-established Buffalo Springfield and Poco audiences. 

But by the time the album was completed, Messina had contributed so much to the album - in terms of songwriting, arrangement, instrumentation, and vocals - that an "accidental" duo was born.
Their debut album was released November 1971 as Sittin' In. The album's first single release, the Caribbean-flavored "Vahevala" (or "Vahevella"), found top 3 success on WCFL on 18 May 1972.

Although the album went unnoticed by radio upon release, it eventually gained traction by autumn 1972, particularly on college campuses, where the pair toured heavily. Loggins' and Messina's harmonies meshed so well that what was begun as a one-off album became an entity unto itself. Audiences regarded the pair as a genuine duo rather than as a solo act with a well-known producer. Instead of just continuing to produce Loggins as a sole performer, they decided to record as a duo – Loggins & Messina.

"When our first album, 'Sittin' In,' came out, we started receiving a lot of excitement about the music and good sales," Messina recalled in 2005. "We had a choice. It was either I now go on and continue to produce him and we do the solo career or we stay together and let this work. For me, I did not desire to go back out on the road. I had had enough of that, and I wanted to produce records. But Clive Davis (then president of the record company) intervened and said, 'You know, I think you'd be making a mistake if you guys didn't take this opportunity. Things like this only happen once in a lifetime. It may merit you sleeping on it overnight and making a decision that will be in your best interest.' He was absolutely correct. Kenny made the decision as well. It delayed his solo career, but it gave him an opportunity, I think, to have one."

Over the next four years they produced five more original albums, plus one album of covers of other artists' material, and two live albums. They sold 16 million records and were the most successful duo of the early 1970s, surpassed later in the decade only by Hall & Oates.

Their work was covered by other artists such as Lynn Anderson who recorded "Listen to a Country Song" released in 1972 and reached #3 on the charts, and perhaps most notably Anne Murray, who reached the U.S. top ten with "Danny's Song" in early 1973 and the U.S. top twenty with "A Love Song" in early 1974. A greatest-hits album, The Best of Friends, would be released a year after the duo had separated. The later studio albums often found both Loggins and Messina more as two solo artists sharing the same record rather than as a genuine partnership. As both Loggins and Messina noted in 2005, their collaboration eventually became more a competition - a frequent, almost-inevitable dynamic of show business duos.
Never really a team of true equals due to the "teacher/apprentice" nature of their music experience levels, the pair had by early 1976 quietly but amicably parted to pursue solo careers, following the release of Native Sons. Messina found solo success elusive, but Loggins went on to become one of the biggest hitmakers of the 1980s.

The two reunited in 2005 to choose tracks for an expanded compilation album of singles and album cuts The Best: Sittin' In Again, which proved successful enough for them to embark on tour together. Their successful "Sittin' In Again" tour was launched in mid-2005 and played out the remainder of the year. They also released an album that year of the tour. "Every couple of years we'd talk about it, but I was having too much fun as a solo artist," Loggins said that summer. "It was very rewarding for me, and I wasn't ready to share the reins. I still had a lot of stuff to do on my own, to prove myself and to express myself, in a way that wouldn't have fit in with Loggins & Messina."

The two were pleased enough to consider future Loggins and Messina projects and the two also toured in 2009. "Like most relationships, we were a moment in time," Loggins said. "It's just really fun to be able to go back and celebrate that and just sort of really honor each other as grown men, in a way we never really did back then. We were young and competitive and didn't realize that it wasn't necessarily all about getting your way, but you learn that if you grow up."

Their backing band changed from album to album, with the core members listed below. Many albums featured backing members who were well known in their own right, John Townsend and Ed Sanford, later of the Sanford & Townsend Band ("Smoke from a Distant Fire"), contributed vocals and songwriting to the Native Sons, their final studio album. 

Kenny Loggins and Jim Messina were the most successful pop/rock duo of the first half of the '70s. Loggins was a staff songwriter who had recently enjoyed success with a group of songs recorded by the Nitty Gritty Dirt Band when he came to the attention of Messina, a record producer and former member of Buffalo Springfield and Poco. Messina agreed to produce Loggins' first album, but somewhere along the way it became a duo effort that was released in 1972 under the title Kenny Loggins with Jim Messina Sittin' In. The album was a gold-seller that stayed in the charts more than two years.

Loggins & Messina In the next four years, Loggins & Messina released a series of gold or platinum albums, most of which hit the Top Ten. They were all played in a buoyant country-rock style with an accomplished band. Loggins & Messina (1972) featured the retro-rock hit "Your Mama Don't Dance." Full Sail (1973), On Stage (a double live album, 1974), and Mother Lode (1974) all hit the Top Ten. So Fine was an album of '50s cover songs. The pair's last new studio album, Native Sons, came out at the start of 1976.

The Best of FriendsLoggins & Messina split for two solo careers by the end of that year, their early catalog completed by a greatest-hits album, Best of Friends, and a live record, Finale. The duo reunited in 2005 and hit the road for a summer tour while the compilation The Best: Sittin' in Again was arriving in stores. The tour itself was documented on Live: Sittin' in Again at Santa Barbara Bowl, which appeared late in the year. [Wikipedia & AMG]

1972  Sittin' In
1972  Loggins and Messina
1973  Full Sail
1974  On Stage (Live)
1974  Mother Lode
1975  So Fine
1976  Native Sons
1976  The Best of Friends (Compilation)

Personnel on this album:
Kenny Loggins - vocals, guitar, harmonica
 Jim Messina - vocals, guitar

Additional personnel
 Lester "Al" Garth - violin, recorder, saxophone, steel drum, backing vocals
 Michael Omartian - concertina, keyboards, steel drum
 Jon Clarke - horn, oboe, saxophone, steel drum
 Larry Sims - bass guitar, backing vocals
 Merel Bregante - drums, backing vocals
 Milt Holland - percussion

01. "Nobody But You" (Jim Messina) – 3:00
02. "Danny's Song" (Kenny Loggins) – 4:16
03. "Vahevala" (Dan Loggins, Dann Lottermoser) – 4:47
04. "Trilogy: Lovin' Me/To Make a Woman Feel Wanted/Peace of Mind" (Loggins, Messina, Murray MacLeod) – 11:13
05. "Back to Georgia" (Loggins) – 3:19
06. "House at Pooh Corner" (Loggins) – 4:25
07. "Listen to a Country Song" (Messina, Al Garth) – 2:49
08. "Same Old Wine" (Messina) – 8:17
09. "Rock 'n' Roll Mood" (Loggins, Michael Omartian) – 3:04

1. Link
2. Link