Monday, July 21

Johnny Winter - Texas International Pop Festival 1969 + Bonus Concert



Size: 99.4 MB
Bitrate: 320
mp3
Found in OuterSpace 
No Artwork

The Texas International Pop Festival was a music festival held at Lewisville, Texas, on Labor Day weekend, August 30 to September 1, 1969. It occurred two weeks after Woodstock. The site for the event was the newly-opened Dallas International Motor Speedway, located on the east side of Interstate Highway 35E, across from the Round Grove Road intersection.

Johnny Winter - UK Single May 1969
The festival was the brainchild of Angus G. Wynne III, son of Angus G. Wynne, the founder of the Six Flags Over Texas Amusement Park. Wynne was a concert promoter who had attended the Atlanta International Pop Festival on the July Fourth weekend. He decided to put a festival on near Dallas, and joined with the Atlanta festival's main organizer, Alex Cooley, forming the company Interpop Superfest.

Artists performing at the festival were: Led Zeppelin, B.B. King, Canned Heat, Chicago (then called Chicago Transit Authority), Delaney and Bonnie and Friends, Freddie King, Grand Funk Railroad, Herbie Mann, Incredible String Band, James Cotton, Janis Joplin, Johnny Winter, Nazz, Rotary Connection, Sam and Dave, Santana, Shiva's Headband, Sly and the Family Stone, Space Opera, Spirit, Sweetwater, Ten Years After and Tony Joe White.

North of the festival site was the campground on Lewisville Lake, where hippie attendees skinny-dipped and bathed. Also on the campground was the free stage, where some bands played after their main stage gig and several bands not playing on the main stage performed. It was on this stage that Wavy Gravy, head of the Hog Farm commune, acquired his name. (At Woodstock, he was Hugh Romney.)

The Merry Pranksters, Ken Kesey's group, was in charge of the free stage and camping area. While Kesey was neither at the Texas event nor at Woodstock, his right hand man, Ken Babbs, and his psychedelic bus, Further (Furthur) were. The Hog Farm provided security, a trip tent, and free food.

Attendance at the festival remains unknown, but is estimated between 120,000 and 150,000. As with Woodstock, there were no violent crimes reported. There was one death, due to heatstroke, and one birth.

High-quality soundboard bootleg recordings of almost the entire festival are circulated on the internet.[8] Led Zeppelin's set is one of the most popular Led Zeppelin bootlegs due to the high technical and musical quality of the performance.

Texas International Pop Festival 
Dallas, TX, 1 September 1969

Johnny Winter: Vocals, Guitar
Tommy Shannon: Fender Bass
Uncle John Turner: Drums

01. Introduction
02. Mean Town Blues
03. Black Cat Bone
04. Mean Mistreater
05. Talk To Your Daughter
06. Leland Mississippi Blues (titled: Look Up)
07. I Can Love You Baby) (faded out)

Bonus Concert:

Johnny Winter - 2nd Album
John Dawson Winter III (February 23, 1944 – July 16, 2014), known as Johnny Winter, was an American blues guitarist, multi-instrumentalist, singer, and producer. Best known for his high-energy blues-rock albums and live performances in the late 1960s and 1970s, Winter also produced three Grammy Award-winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, Winter recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition.

He was born John Dawson Winter III in Leland, Mississippi, on February 23, 1944, and as an infant moved to Beaumont, Texas, where his brother Edgar Winter was born on December 28, 1946; both brothers were albinos. They turned to music early on, Johnny Winter learning to play the guitar, while Edgar Winter took up keyboards and saxophone. Before long they were playing professionally, and soon after that recording singles for small local record labels. Both of them were members of Johnny & the Jammers, whose 45 "School Day Blues"/"You Know I Love You" was released by Dart Records in 1959. 

1975 Poster
Other singles, either credited to Winter or some group pseudonym, were released over the next several years, including "Gangster of Love"/"Eternally," initially issued by Frolic Records in 1963 and picked up for national distribution by Atlantic Records in 1964, and "Gone for Bad"/"I Won't Believe It," also a 1963 Frolic single that was licensed by MGM Records in 1965. Winter had his first taste of chart success with a version of "Harlem Shuffle," recorded by the Traits, which was released by Universal Records, then picked up by Scepter Records and spent two weeks in the Billboard Hot 100 in November 1966. 

In 1968, Winter decided to focus exclusively on blues-rock, and he formed a trio with Tommy Shannon on bass and John "Red" Turner on drums. He signed with the Austin, Texas, label Sonobeat Records, and in August cut The Progressive Blues Experiment, released locally. His life was changed irrevocably with the publication of the December 7, 1968, issue of Rolling Stone magazine, which contained an article by Larry Sepulvado and John Burks about the Texas music scene. "The hottest item outside of Janis Joplin," they wrote, "… remains in Texas. 

If you can imagine a hundred and thirty-pound cross-eyed albino with long fleecy hair playing some of the gutsiest fluid blues guitar you have ever heard, then enter Johnny Winter." Among those who read the article was New York club owner Steve Paul, who hopped a plane to Texas and convinced Winter to hire him as manager. 

Advertise 1974
Paul set up a bidding war among major record labels that was won in February 1969 by CBS Records, which signed Winter for an advance of $600,000, the largest sum the label had ever paid to a new solo artist. 

Winter quickly went into a recording studio with his band to cut his debut for CBS' Columbia label, but in the meantime other labels discovered that he had made a lot of recordings in his youth, and they began buying or leasing the early material. Imperial Records bought The Progressive Blues Experiment from Sonobeat and re-released it in March 1969; it entered the charts and peaked at number 40. Winter's Columbia debut, titled Johnny Winter, was released on April 15 and peaked at number 23. In August, GRT Records released The Johnny Winter Story, consisting of material recorded in the early ‘60s; it got to number 111. In October, Buddah Records followed with First Winter, and Janus Records released About Blues in November. (Unfortunately, repackagings of Winter's early recordings continued to litter his discography throughout his career.)

Meanwhile, Winter appeared at the Woodstock festival in August 1969. (In 2009, The Woodstock Experience, an album of his performance, was released.) His second Columbia album, Second Winter, was released in November 1969 and reached number 55. In the spring of 1970, he disbanded his trio and enlisted the former members of the McCoys to back him: Rick Derringer (guitar), Randy Jo Hobbs (bass), and Randy Z. (drums). 

Johnny Winter
Billboard Review September 1970
The group was dubbed "Johnny Winter And." Their self-titled album was released in September and peaked at a disappointing number 154, but they followed with a concert collection, Live Johnny Winter And, released in February 1971, and it reached number 40; in 1974, it was certified gold. (In 2010, Collectors' Choice Music released another concert recording from the Johnny Winter And band, Live at the Fillmore East 10/3/70.)

Winter was not able to capitalize on the career momentum generated by the success of Live Johnny Winter And. He had become addicted to heroin and suffered from suicidal depression, as a result of which he suspended his career and went home to Beaumont. In this age before rehabilitation clinics, he was hospitalized, initially in Beaumont and then, for nine months, at River Oaks Hospital in New Orleans. His next appearance on disc was as a guest on Roadwork, the live album released by Edgar Winter's White Trash in March 1972, which was preceded by Edgar Winter's introduction in which he said people kept asking him, "Where's your brother?" Johnny Winter was not able to return to action full-time until the release of his comeback album, Still Alive and Well, in March 1973. The album, which featured "Silver Train," a song specially written for Winter by Mick Jagger and Keith Richards, peaked at number 22. 
Winter returned to touring. His next album, Saints & Sinners, appeared in February 1974 and peaked at number 42. Before the year was out, he had another one ready, and John Dawson Winter III, featuring "Rock & Roll People," a song specially written for Winter by John Lennon, was released in November, peaking at number 78. 

For Captured Live!, Winter was transferred to a Steve Paul-created custom label within CBS, Blue Sky Records. The album was released in February 1976 and peaked at number 93. Edgar Winter was also on Blue Sky, and the brothers combined for a live album, Together, released in June, which peaked at number 89. 

Johnny Winter
Billboard Reviw March 1971
Veteran bluesman Muddy Waters was signed to Blue Sky, and Winter became his producer on a comeback LP, Hard Again, released in February 1977. It won the Grammy Award for Best Blues Album. Winter toured with Waters' band, then took them into the studio for his next album, Nothin' But the Blues, released in July 1977. It peaked at number 146. Another Winter-produced Waters album, I'm Ready, came out in February 1978 and was another Grammy winner. Winter returned to working with his usual band for his next album, White, Hot & Blue; the album, released in July 1978, got to number 141. Raisin' Cain, recorded in more of a rock mode, appeared in March 1980 and failed to chart, concluding Winter's CBS contract. 

Winter signed to the independent blues label Alligator Records, for which he made Guitar Slinger, released in May 1984. It returned him to the charts, and its follow-up, Serious Business (September 1985) was another chart entry. He completed his commitment to Alligator with 3rd Degree (November 1986). He was then signed by Voyager Records, distributed by MCA Records, for The Winter of '88 (October 1988). The album represented an attempt to take him in the more commercial direction of ZZ Top's synthesized blues-boogie, but the attempt backfired, and the album did not chart. Winter returned to more of a straight-ahead blues approach after signing to Virgin Records' Point Blank/Charisma imprint on his next album, Let Me In (July 1, 1991). He followed it with Hey, Where's Your Brother? (November 3, 1992). 

Winter focused more on concert work than recording after the early '90s. For Live in NYC 1997 (March 10, 1998), he had fans vote on the tracks to be included. Six years passed before the release of I'm a Bluesman (June 15, 2004). Winter inaugurated a series of archival concert collections on Friday Music with Live Bootleg Series, Vol. 1 (October 9, 2007), which was followed by Vol. 2 (March 4, 2008), Vol. 3 (July 29, 2008), Vol. 4 (February 10, 2009), and Vol. 5 (June 30, 2009). Meanwhile, a concert appearance resulted in his first new album in five years, Live at the 2009 New Orleans Jazz & Heritage Festival, released by Munck Mix on December 15, 2009. On January 12, 2010, he released Live Bootleg Series, Vol. 6. In September 2010, he announced that he had signed to Megaforce Records. His label debut, Roots, appeared in 2011.

Johnny Winter And
Konserthuset, Stockholm  
Sweden 1 February 1971

Johnny Winter: Guitar, Vocals  
 Rick Derringer: Guitar  
 Randy Hobbs: Bass  
 Bobby Caldwell: Drums.

01. Good Morning Little School Girl 4:26
02. Rock´n Roll Hootchie Coo 5:24
03. Be Careful With A Fool> It's My Own Fault 18:10
04. Jumping Jack Flash 5:18
05. Great Balls of Fire> Whole Lotta Shaking Going On[fade out] 20:57

Part 1: Johnny Winter 1
Part 2: Johnny Winter 2
or
Part 1: Johnny Winter 1
Part 2: Johnny Winter 2
.
Still Alive and Well Advertise Poster 1973

Thursday, July 17

Ratdog - Live at The Pearl Concert Theatre May 7, 2014 (Bootleg)


Size: 298 MB
Bitrate: 320
mp3
Found in "Internet Music Archive"
Link at my site
Some Artwork
Very good sound quality

RatDog (sometimes known as Bob Weir & RatDog or Ratdog), is an American rock band. The group began as a side project for Grateful Dead rhythm guitarist Bob Weir and bassist Rob Wasserman.[dead link] After the Grateful Dead disbanded in December 1995, following the death of Jerry Garcia on August 9, 1995, RatDog became Bob Weir's primary band. They perform Grateful Dead tunes primarily with a mixture of covers (including Bob Dylan and Chuck Berry), along with some originals. RatDog's repertoire currently consists of over 150 songs.



Throughout 2009 and 2010, original RatDog members Bob Weir, Rob Wasserman, and Jay Lane periodically performed under the moniker Scaring the Children. From 2010 through 2013, the number of RatDog's performances were limited while Weir toured with Furthur. Ratdog played 2 shows in both January 2012 and August 2013. In September 2013 it was revealed by Primus bassist Les Claypool that RatDog would be "getting back together this next year", as Lane had chosen to leave Primus in order to rejoin RatDog. Ratdog returned to extensive touring in 2014 with Steve Kimock on lead guitar and the unusual arrangement of two bassists in the mix. Robin Sylvester and original Ratdog bassist Rob Wasserman share the stage. Jay Lane, original member, and Jeff Chimenti, long-time member, are back. The return tour in 2014 began on Valentine's Day in Philadelphia.


It started out with Rob Wasserman and me as a duo and we played that way for six or eight years, and then one day I was working on a project and we needed a drummer. And Rob said, 'I know this drummer that I met last night and he was pretty good. You want me to give him a buzz?' and I said, 'Sure.'

And so Jay [Lane] came up and did this session with us. The next morning, I called Rob and said 'Hey, listen. That was kind of fun yesterday. How bout we take a drummer on our next tour?' and he said he was just thinking the same thing.

"We started working together and booked another tour, and we were working with Jay at the time and we were about to go out on tour and my old pal Matthew Kelly came through town. And he was just sort of footloose and I said 'Hey, you want to come out with us? You want to come sit in with us?' And that worked so we had a little quartet and we took that on the road."

JEFF CHIMENTI
eff (last name pronounced "key-men-tee") studied classical piano from the time he seven years old until his interest in jazz and improvisational playing grew during his high school years.

After years of playing with various jazz acts like the Dave Ellis Quartet and touring with En Vogue, Jeff joined RatDog in 1997.

Since then he's been in high demand, appearing with Alphabet Soup, Phil and Friends, The Other Ones, The Dead, and Furthur. (source: dead.net)


STEVE KIMOCK
A master of improvisation for nearly four decades, Steve Kimock has been inspiring music fans with his transcendent guitar speak, voiced through electric, acoustic, lap and pedal steel guitars. While one can say that his genre is rock, no one niche has ever confined him. Instead, through the years, he's explored various sounds and styles based on what's moved him at the time, whether it's blues or jazz; funk or folk; psychedelic or boogie; gypsy or prog-rock; traditional American or world fusion.

Threaded through this expansive and highly nuanced musical landscape is Kimock's signature sound, the prodigious product of his ability to articulate crystal-clear tone, melody and emotion into intricately woven music crafted with technical brilliance. His passion and devotion to performing live is matchless, and his unparalleled ability to embrace and capture his audiences musically is the stuff of legends. (source: Steve Kimock website)

JAY LANE
Jay's roles on drums have earned him a place in San Francisco's music history. He started performing in the Bay Area in the early 1980s with childhood friend and current Spearhead guitarist Dave Shul before moving onto gigs with The Uptones, a ska band he was introduced to by childhood friend Dave Ellis, and The Freaky Executives. The latter shared rehearsal space with Les Claypool, who invited Jay to join his band, Primus, who he has played on and off with ever since.



Jay co-founded the pioneering hip hop/jazz group Alphabet Soup with saxophonist Kenny Brooks, New York keyboardist Dred Scott, and rappers Chris Burgerand Zachariah Mose. Alphabet Soup recorded two albums—1994's Layin' Low in the Cut and 1996's Strivin'—and shot a video that featured regularly on BET. Also during those years Jay reunited with old friends—seven-string guitarist Charlie Hunter and sax man Dave Ellis—to form the original Charlie Hunter Trio.

During Jay's tenure with the Charlie Hunter Trio, Jay started playing with Bob Weir and Rob Wasserman in a side project that would eventually become RatDog.

In addition to playing with RatDog for the past 19 years, Jay has been named Drummer of the Year at the California Music Awards, toured with various Claypool projects, played with Alphabet Soup, co-founded The Band of Brotherz and Jay's Happy Sunshine Burger Joint, and toured with Furthur and Scaring the Children.


ROBIN SYLVESTER
Robin Sylvester, born in London, lives in the San Francisco Bay Area, and is best known for his work with Bob Weir & RatDog. Although primarily a bass player, he plays several instruments, including guitar and keyboards, and has also done extensive arranging.

He began his professional music career with the a capella London Boy Singers chorus in the 1950s, and worked as a sound engineer in 1960s and 1970s in all the great studios in London, including Abbey Road. Inspired by Paul McCartney to play bass, he also used early synthesizers while playing with and producing Byzantium in 1971.

While touring with Dana Gillespie, he moved to the US in 1974. Clive Davis signed his folk rock band The Movies to Arista Records, which played in NY and LA in the late 70s. As a session musician, he worked alongside Steve Douglas, backing The Beach Boys and Ry Cooder. He also played in live acts led by Marty Balin, Mary Wells, The Shirelles, The Coasters, The Drifters, Billy Preston, Christine McVie, Steve Seskin, Bo Diddley, Chuck Berry, Freddy Fender, Del Shannon and Vince Welnick’s Missing Man Formation.

In 2003, he joined Bob Weir & RatDog and also plays occasionally with jambands Ghosts of Electricity, Melvin Seals & JGB, David Nelson & Friends, Jemimah Puddleduck and The Rubber Souldiers. (source: Sweet Relief)


ROB WASSERMAN
Precious few musicians demonstrate the scope to be dubbed renaissance men, but Rob Wasserman has more than earned the title. His daunting versatility has made him one of the last two decade's most in-demand bassists -- as demonstrated by recording and touring stints with Lou Reed, Van Morrison, and Elvis Costello. His longtime creative partnership with Grateful Dead members Jerry Garcia and Bob Weir have yielded a trove of fertile sounds. And, last but far from least, the albums issued under his own name have won awards from sources in the jazz, pop and rock fields.

That acclaim has much to do with Wasserman's unflagging devotion to artistic purity and the value of real musicianship. Trained at the San Francisco Conservatory of Music, he developed a style of upright bass playing that he likens to cello, more than standard bass methodology. He's put that ability to the test in a variety of contexts over the years, most notably on a series of three albums -- SOLO, DUETS, and TRIOS -- that demonstrate his unparalleled knack for making his voice heard without shouting, for allowing the collaborative process to flower to its fullest. (source: Rob Wasserman website)


BOB WEIR
A founding member of the Grateful Dead, Bob's musical legacy (separate from its cultural implications) will be of an utterly strange rhythm guitar player and songwriter who grew up in one of the most lasting outside bands of the 1960s. Playing with the Dead until their dissolution following the death of Jerry Garcia in 1995, Bob has since made his primary musical home in RatDog.

Born in 1947 and adopted by a rich California engineer, Bob's dyslexia gave him trouble at school. He was labeled a troublemaker and shipped off to boarding school, where he met future songwriting partner John Perry Barlow. After being kicked out of the school, Bob returned to the Bay Area, where he bummed around the burgeoning folk scene and came into contact with musicians like Jerry Garcia, New Riders on the Purple Sage founder David Nelson, and Jefferson Airplane guitarist Jorma Kaukonen. A series of jug bands eventually morphed into the electrified Warlocks who, in turn, became the Grateful Dead.

Bob developed his odd rhythm style playing between the sweet, articulated lead guitar of Jerry Garcia and the avant-garde bass lines of Phil Lesh. Like a jazz guitarist, Bob was often not evident in the mix, but still a profound shape on the sound.


Bob's earliest songwriting efforts mirrored those of Garcia and Lesh, though less successfully. By the early '70s, he had crossed paths with Barlow again and the two began their creative relationship in earnest. Soon, Bob was producing songs in his own distinct style—a blend of Americana and the odd voicings he specialized in. As the health of Dead frontman Ron "Pigpen" McKernan waned, Bob found his rich baritone increasingly at the center of attention and developed a stage personality to match it. His first solo album, Ace, released in 1972, featured Bob backed by the rest of the Dead.

Through the late '70s, and especially during the Dead's year off in 1975, Bob toured and recorded with a number of groups, including Kingfish and Bobby and the Midnites. As Jerry's dependence on drugs increased during the Dead's later days, Bob found himself increasingly in the position of de facto bandleader.

When Jerry died in 1995, Bob had recently formed RatDog. In addition to consistently touring with RatDog since then, Bob reunited with several former Dead bandmates for tours in 1998, 2000, 2002, and 2004, and 2009. He continues to play with countless artists of varying styles and talents. (source: Billboard)

RatDog - Bob Weir
Pearl Concert Theater
Las Vegas, NV 07-05-2014

01. U.S. Blues  06:21
02. Hey Pocky Way  09:55
03. Big Boss Man  08:30
04. Loser  11:55
05. I Need a Miracle  10:16
06. Stella Blue (instrumental)  11:55
07. Not Fade Away  10:38
08. The Music Never Stopped  14:57
09. Dear Prudence  09:15
10. Shakedown Street  15:07
11. Ramble On Rose  10:06
12. Minglewood Blues  09:33
13. Ovation  01:41

Part 1: Link
Part 2: Link

Monday, July 14

The Angels - My Boyfriend's Back (Great R&B US 1963)



Size: 63.4 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

My Boyfriend's Back is the second album issued by American girl group The Angels in 1963. It was heavily weighted upon the success of the title track "My Boyfriend's Back" which was a number one hit; composed by the team of Bob Feldman, Jerry Goldstein, and Richard Gottehrer. Peggy Santiglia was by this time, the lead singer of The Angels but included on the album is the group's first hit "Till" which was originally recorded in 1961 with the group's previous lead singer, Linda Jansen. It is unspecified if the track was re-recorded with Santiglia on lead or not. There is also cover version of The Chiffons' "He's So Fine" as The Chiffons had covered "My Boyfriend's Back" and a reading of "Someday My Prince Will Come" from the 1937 film Snow White and the Seven Dwarfs. The album sold fairly well and charted at No. 33 US, the group's most successful effort.

The Angels are an American girl group, best known for their 1963 No. 1 hit single, "My Boyfriend's Back".

The group originated in New Jersey as The Starlets which consisted of sisters, Barbara "Bibs" and Phyllis "Jiggs" Allbut, Bernadette Carroll, and Linda Malzone. They had some minor local hits and wound up doing back-up work in the studio. When Linda Malzone left, Linda Jankowski (later Jansen) became the new lead singer. Their manager, Tom DeCillis, turned his focus to Bernadette Carroll and dropped the rest of the group. Carroll would find solo success in 1963 with her Laurie single "Party Girl." After a failed attempt at record deal with producer Gerry Granahan, the Allbut sisters turned their focus to education. Phyllis Allbut was in teacher's college at the time and Barbara Allbut was accepted into the Juilliard School for her abilities as a musical arranger. Soon Granahan, who had previously rejected the group, suddenly saw hit potential in the song they had performed for him in their audition, a version of "Till," and wanted them to record it in the studio. "Til" became their first single under their new name, The Angels, and also their first hit (#14 US) released by Granahan's Caprice label in 1961. The song was followed up with a less-successful single, "Cry Baby Cry." The Angels had one album on Caprice, titled ...And The Angels Sing in 1962.

Jansen left the group in late 1962 to go solo and was replaced by Peggy Santiglia, formerly of The Delicates (with Denise Ferri and Arleen Lanzotti). Santiglia had sung jingles for WINS Radio, appeared on Broadway, and had songwriting experience. In 1963, the trio signed to Mercury Records' subsidiary label Smash Records and began working with the Feldman-Goldstein-Gottehrer songwriting team, who wrote "My Boyfriend's Back". 

The Angels - France EP 1963
The Angels' performance (with Santiglia on lead) was originally intended as a demo for The Shirelles' consideration, but the music publishers chose instead to release it as it stood. The song was a major hit, reaching number one on the Billboard Hot 100, but no follow-up of comparable success was released. "My Boyfriend's Back" sold over one million copies, and was awarded a gold disc. The follow-up was the lower-charting "I Adore Him" (#25 US). The B-side "Thank You And Goodnight" was also favorable and charted at #84 US. During their Smash career, The Angels maintained a steady string of moderately successful singles which included "Wow Wow Wee (He's The Boy For Me)" (#41 US). Their album My Boyfriend's Back made the top forty, charting at #33 but their next, A Halo to You, didn't chart at all. The group left Smash in 1964 and signed with Congress Records.

The group became The Halos, following a dispute over the ownership of the name "The Angels." Peggy Santiglia took a leave of absence from the group in 1965 and was replaced by Toni Mason. (Contrary to rumors, Mason says she was not a recording member of Angie & The Chicklettes). The group released several more singles, none of which charted. Mason left the group in 1967 and was replaced by Debra Swisher (previously of The Pixies Three), who had recently recorded and released her own version of "Thank You And Goodnight" on the ABC-Paramount Records subsidiary, Boom Records. This lineup resumed using the name "The Angels" and released a handful of singles on RCA Records. Former Starlet Bernadette Carroll was back in the group and became the new lead. They appeared on "The Dean Martin Show" before disbanding in 1968. Santiglia and Phyllis and Barbara Allbut regrouped in the early 1970s and released a new single on Polydor Records.

Phyllis Allbut and Santiglia still perform as The Angels, joined occasionally by Barbara Allbut.

01. "My Boyfriend's Back"
02. "Someday My Prince Will Come"
03. "Has Anybody Seen My Boyfriend"
04. "Till"
05. "The Night Has a Thousand Eyes"
06. "Why Don't the Boy Leave Me Alone"
07. "He's So Fine"
08. "Thank You and Goodnight"
09. "The Hurdy-Gurdy Man"
11. "World Without Love"
12. "(Love Me) Now"
13. "The Guy with the Black Eye"

1. Link
or
2. Link
.
The Angels - German Single Jan 1964

Saturday, July 12

Billy Gray - Feeling Gray (Italian Progressive Rock 1972)



Size: 77.2 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included

The English guitarist of The Trip released a solo album and a single, both in a mainstream rock style with some blues influences. No much info about this album, Anyone who can help?

01. Harleytown 03.27
02. Leavin' A Big Town 03.04
03. Summer Nights 03.17
04. Falling Off The Edge 03.07
05. Midnight Swinger 03.28
06. Writing On The Wall 03.42
07. Borderline 03.42
08. Ann 02.39
09. Blue-Gray 05.49

1. Link
or
2. Link
.

Tuesday, July 8

Foghat - WPLR Studios Dallas (FM Broadcast 1974)

Foghat Billboard Advertise Jule 15, 1972


Size: 151 MB
Bitrate: 320
mp3
Found on the Beach Yesterday
Some Artwork Included

Foghat are a British rock band that had their peak success in the 1970s, formed in London in 1971. Their style can be described as "blues-rock" or boogie-rock, dominated by electric and electric slide guitar. The band has achieved 8 gold records, one platinum and one double platinum record. The band had far more success in the United States than home in Britain.


The band initially featured Dave Peverett ("Lonesome Dave") on guitar and vocals, Tony Stevens on bass, and Roger Earl on drums when they left Savoy Brown in 1970. Rod Price on guitar/slide guitar joined after he left the Black Cat Bones in December 1970. The new line-up was named "Foghat" (a nonsense word from a childhood game played by Peverett and his brother) in January 1971. 

Their 1972 album, Foghat was produced by Dave Edmunds and had a cover of Willie Dixon's "I Just Want to Make Love to You", which received much airplay, especially on FM stations. The band's second self-titled album was also known as Rock and Roll for its cover photo of a rock and a bread roll, and it went gold. Energized came out in 1974, followed by Rock and Roll Outlaws and Fool for the City in 1975, the year that Stevens left the band after objecting to their endless touring schedule. Stevens was replaced temporarily by producer Nick Jameson in 1975 when the band recorded Fool for the City. 


Foghat - Fool For the City  1975 Billboard Magazine Advertise
In the next year, he was replaced by Craig MacGregor and the group produced Night Shift in 1976, a live album in 1977, and Stone Blue in 1978, each reaching "gold" record sales. Fool for the City spawned the hit single "Slow Ride" (which reached number 20 on the US charts), but the greatest sales figures were for Foghat Live, which sold over 2,000,000 copies. More hits followed: "Drivin' Wheel"; "I Just Want to Make Love to You" (from the live album); "Stone Blue"; and "Third Time Lucky (The First Time I Was a Fool)". 

But Rod Price, unhappy with the group's still constant touring and the shift away from their hard boogie sound towards a more New Wave influenced Pop direction, left the band in November 1980. After months of auditions he was replaced by Erik Cartwright by February 1981. [Wikipedia]


Pop-Spots - Foghat - Fool For The City 1975
(Outside of 232 East 11th Street between
second and Third Avenues,, New York.)
Foghat specialized in a simple, hard-rocking blues-rock, releasing a series of best-selling albums in the mid-'70s. While the group never deviated from their basic boogie, they retained a large audience until 1978, selling out concerts across America and earning several gold or platinum albums. Once punk and disco came along, the band's audience dipped dramatically.

Energized With its straight-ahead, three-chord romps, the band's sound was American in origin, yet the members were all natives of England. Guitarist/vocalist "Lonesome" Dave Peverett, bassist Tony Stevens, and drummer Roger Earl were members of the British blues band Savoy Brown, who all left the group in the early '70s. Upon their departure, they formed Foghat with guitarist Rod Price. Foghat moved to the United States, signing a record contract with Bearsville Records, a new label run by Albert Grossman. Their first album, Foghat, was released in the summer of 1972 and it became an album rock hit; a cover of Willie Dixon's "I Just Want to Make Love to You" even made it to the lower regions of the singles charts. For their next album, the group didn't change their formula at all -- in fact, they didn't even change the title of the album. 


Like the first record, the second was called Foghat; it was distinguished by a picture of a rock and a roll on the front cover. Foghat's second album was their first gold record, and it established them as a popular arena rock act. Their next six albums -- Energized (1974), Rock and Roll Outlaws (1974), Fool for the City (1975), Night Shift (1976), Foghat Live (1977), Stone Blue (1978) -- all were best-sellers and all went at least gold. "Slow Ride," taken from Fool for the City, was their biggest single, peaking at number 20. Foghat Live was their biggest album, selling over two million copies. After 1975, the band went through a series of bass players; Price left the band in 1981 and was replaced by Erik Cartwright.


In the early '80s, Foghat's commercial fortunes declined rapidly, with their last album, 1983's Zig-Zag Walk, barely making the album charts. The group broke up shortly afterward with Peverett retiring from the road. The remaining members of the band (Roger Earl, Erik Cartwright and Craig MacGregor) continued playing together as the Kneetremblers and after some line-up changes decided to revert to the Foghat name. 

The band toured throughout the decade and into the early 1990's. Perhaps growing tired of early retirement, Lonesome Dave formed his own version of Foghat in 1990 and hit the road. After healing their rift, the original Foghat (Peverett,Price, Stevens and Earl) reformed in 1993 and toured for years, releasing Return of the Boogie Men in 1994 and Road Cases in 1998. The original band broke apart for good with Peverett's passing due to cancer on February 7, 2000. 

After some time spent mourning, the band soldiered on with a new line-up (adding Charlie Huhn on vocals) and after two years of touring released Family Joules in 2002. Foghat toured for the next few years and regularly issued documents of their live act: The Official Bootleg DVD, Volume 1 in 2004 and Foghat Live II in 2007. In 2010, now on their own label, Foghat got back to their Blues roots with Last Train Home: a handful of original tunes amongst covers of many of their favorite blues songs and a couple tracks recorded with their friend Eddie Kirkland. As of 2013, they're still performing and recording. [AMG]

Discography: (The most important albums)
Foghat - S/T (US 1971) is the debut album by the band Foghat. The first of their two self-titled albums, it was released in 1972 on Bearsville Records.
 Foghat - Rock and Roll (US 1973) is the second album, as well as the second self-titled album by the band Foghat. It was released in March 1973, and is generally known by fans as Rock and Roll, because of its cover picture depicting a rock and bread roll.
 Foghat - Energized (US 1974) is the third album by the group Foghat. It was released in January 1974 and certified as an RIAA Gold Record in the US.
 Foghat - Rock and Roll Outlaws (US 1974) is the fourth album by Foghat, released in October 1974.
 Foghat - Fool for the City (US 1975) was the fifth album released by English rock band Foghat, released in 1975. This was their first platinum album and features, along with the title track, their most famous song "Slow Ride".
 Foghat - Night Shift (US 1976) was the sixth album by Foghat, released in 1976.
 Foghat - Live (US 1977) (A MUST HAVE!!) is a live album by Foghat. The release is Foghat's best selling album with over two million copies sold, and certified double platinum in the US. In 2007, to celebrate the thirtieth anniversary of the album, Foghat released the Live II double album.


Foghat - WPLR Studios 
Dallas TX, January 1974 
FM Broadcast

01. Wild Cherry (04:53)
02. Home In My Hand (05:08)
03. Dreamer (08:19)
04. Hate To See You Go (05:33)
05. Rock'n'Roll Outlaws (05:27)
06. I Just Wanna Make Love To You (09:08)
07. Chateau Lafitte 59 Boogie (08:06)
08. Maybelline (03:41)

Bonus Tracks:
KBFH, New Haven CT, 1974 (FM)
09. Honey Hush (05:40)

Extra Bonus:
San Diego CA, November 12, 1972 (FM)
10. I Just Wanna Make Love To You (07:20)
11. Louisiana Blues (02:46)

1. Link
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2. Link
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Saturday, July 5

Big Folder but not to be missed: Pink Floyd Story 1967 - 1977 (Spoken Word + Music) & Syd Barrett - In The Woods 1968-1974 Complete Rarities

Pink Floyd UFO Concert Poster Osiris UK 1967

Size: 635 MB
Bitrate: 320
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Found in WWW
Artwork Inlcluded

Pink Floyd were an English rock band that achieved international acclaim with their progressive and psychedelic music. Distinguished by their use of philosophical lyrics, sonic experimentation, and elaborate live shows, they are one of the most commercially successful and musically influential groups in the history of popular music.

Founded in 1965, Pink Floyd originally consisted of students Syd Barrett, Nick Mason, Roger Waters, and Richard Wright. They first gained popularity performing in London's underground music scene during the late 1960s, and under Barrett's creative leadership they released two charting singles and a successful debut album. 


NME Advertise 1967
David Gilmour joined as a fifth member in December 1967; Barrett left the band in April 1968 due to his deteriorating mental health. After Barrett's departure, Waters became the band's primary lyricist, and by the mid-1970s, their dominant songwriter, devising the original concepts behind their critically and commercially acclaimed albums The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983).

Wright left Pink Floyd in 1979, followed by Waters in 1985. Gilmour and Mason continued as Pink Floyd and Wright subsequently joined them as a paid musician. They continued to record and tour through 1994; two more albums followed, A Momentary Lapse of Reason (1987) and The Division Bell (1994). Inducted into the US Rock and Roll Hall of Fame in 1996, and the UK Music Hall of Fame in 2005, by 2013 they had sold more than 250 million records worldwide, including 74.5 million certified units in the United States.

After nearly two decades of acrimony, Pink Floyd reunited in 2005 for a performance at the global awareness event Live 8. In 2006, Gilmour was interviewed for an article printed in the Italian newspaper La Repubblica that declared that Pink Floyd had dissolved. When asked about their future, Gilmour explained that the band was finished making music, and that at the age of 60 he preferred to work on his own. Since then, both he and Waters have repeatedly insisted that they have no plans to reunite with the surviving former members. Barrett died in 2006 and Wright in 2008. In 2011, Gilmour and Mason joined Waters at one of his The Wall Tour shows at The O2 Arena in London.


The Pink Floyd - Japan Single 1967
1963–67: early years
Formation
Roger Waters met drummer Nick Mason while they were both studying architecture at the London Polytechnic at Regent Street. They first played music together in a group formed by Keith Noble and Clive Metcalfe with Noble's sister Sheilagh. Keyboardist Richard Wright, a fellow architecture student, joined later that year and the group became a sextet named Sigma 6, the first band to include Waters, who was at this time playing lead guitar; Wright, who at first played rhythm guitar since there was rarely an available keyboard; and Mason on drums. The band started performing during private functions, while rehearsing in a tearoom in the basement of the Regent Street Polytechnic. They performed songs by the Searchers and material written by their manager and songwriter, fellow student Ken Chapman.

In September 1963, Waters and Mason moved into a flat at 39 Stanhope Gardens, near Crouch End London, owned by Mike Leonard, a part-time tutor at the nearby Hornsey College of Art and the Regent Street Polytechnic. Mason moved out after the 1964 academic year, and guitarist Bob Klose moved in during September 1964, prompting Waters' switch to bass. Sigma 6 went through a number of other transitory names, including the Meggadeaths, the Abdabs and the Screaming Abdabs, Leonard's Lodgers, and the Spectrum Five before settling on the Tea Set. In 1964, as Metcalfe and Noble left to form their own band, guitarist Syd Barrett joined Klose and Waters at Stanhope Gardens. Barrett, two years younger, had moved to London in 1962 to study at the Camberwell College of Art. Waters and Barrett were childhood friends; Waters had often visited Barrett and watched him play guitar at Barrett's mother's house. Mason said this about Barrett: "In a period when everyone was being cool in a very adolescent, self-conscious way, Syd was unfashionably outgoing; my enduring memory of our first encounter is the fact that he bothered to come up and introduce himself to me."


Pink Floyd - Sacramento (1968)
Noble and Metcalfe left the Tea Set in late 1963, and Klose introduced the band to singer Chris Dennis, a technician with the Royal Air Force. In December 1964, they managed to secure their first recording time, at a studio in West Hampstead, through one of Wright's friends, who let them use some down time for free. Wright, who was taking a break from his studies, did not participate in the session. When the RAF assigned Dennis a post in Bahrain in early 1965, Barrett became the band's frontman. Later that year, they became the resident band at the Countdown Club, near Kensington High Street in London, where from late night until early morning they played three sets of ninety minutes each. During this period, spurred by the group's need to extend their sets in order to minimise song repetition, came the band's "realisation that songs could be extended with lengthy solos", wrote Mason. After pressure from his parents and advice from his college tutors, Klose quit the band in mid-1965 and Barrett took over on lead guitar. The group first referred to themselves as the Pink Floyd Sound in late 1965. Barrett created the name on the spur of the moment when he discovered that another band, also called the Tea Set, were to perform at one of their gigs. The name is derived from the given names of two blues musicians whose Piedmont blues records Barrett had in his collection, Pink Anderson and Floyd Council.

By 1966, the group's repertoire consisted mainly of rhythm and blues songs and they had begun to receive paid bookings, including one for a performance at the Marquee Club in March 1966, where Peter Jenner noticed them. A lecturer at the London School of Economics, Jenner was impressed by the sonic effects Barrett and Wright created, and with his business partner and friend Andrew King, he became their manager. The pair had little experience in the music industry and used King's inherited money to set up Blackhill Enterprises, purchasing about £1,000 worth of new instruments and equipment for the band. It was around this time that Jenner suggested they drop the "Sound" part of their band name, thus becoming the Pink Floyd. 


The Pink Floyd - US Promo Single 1967
Under Jenner and King's guidance, the group became part of London's underground music scene, playing at venues including All Saints Hall and the Marquee. While performing at the Countdown Club the band had experimented with long instrumental excursions, and they began to expand upon these with rudimentary but visually effective light shows, projected by coloured slides and domestic lights. Jenner and King's social connections helped gain the band prominent coverage in the Financial Times and an article in The Sunday Times which stated: "At the launching of the new magazine IT the other night a pop group called the Pink Floyd played throbbing music while a series of bizarre coloured shapes flashed on a huge screen behind them ... apparently very psychedelic."

In 1966, they strengthened their business relationship with Blackhill Enterprises, becoming equal partners with Jenner and King and the band members each holding a one-sixth share. By late 1966, their set included fewer R&B standards and more Barrett originals, many of which would be included on their first album. While they had significantly increased the frequency of their performances, the band was not widely accepted at the time. Following a performance at a Catholic youth club, the owner refused to pay them, claiming that their performance wasn't music. When their management filed suit in a small claims court against the owner of the youth organisation, a local magistrate upheld the owner's decision. However, they were much better received at the UFO Club in London, where a small fan base began to build up around the band. Barrett's performances were enthusiastic, "leaping around ... madness ... improvisation ... [inspired] to get past his limitations and into areas that were ... very interesting. Which none of the others could do", wrote biographer Nicholas Schaffner.


Signing with EMI
In 1967, Pink Floyd began to attract the attention of the mainstream music industry. While in negotiations with record companies, IT co-founder and UFO club manager Joe Boyd and Pink Floyd's booking agent Bryan Morrison arranged for and funded the recording of some songs at Sound Techniques in West Hampstead. Included were the standout track "Arnold Layne" and "Candy and a Currant Bun" as its B-side, both of which they recorded on 29 January 1967. Three days later Pink Floyd signed with EMI, receiving a £5,000 advance. EMI released the band's first single, "Arnold Layne", on 10 March 1967, on its Columbia label. The song's references to cross-dressing led to a ban by several radio stations; however, some creative manipulation by the retailers who supplied sales figures to the music business meant that the single peaked in the UK at number 20.

EMI-Columbia released Pink Floyd's second single, "See Emily Play", on 16 June 1967. It fared slightly better than "Arnold Layne", peaking at number 6 in the UK. They performed on the BBC's Look of the Week, where Waters and Barrett, erudite and engaging, faced tough questioning from Hans Keller. They appeared on the BBC's Top of the Pops, an immensely popular programme that controversially required artists to mime their singing and playing. Though Pink Floyd returned for two more performances, by the third, Barrett had begun to unravel, and it was around this time that the band first noticed significant changes in his behaviour. By early 1967, he was regularly using LSD, and Mason described him as "completely distanced from everything going on".


Pink Floyd's 1st Album 1967 Article
The Piper at the Gates of Dawn
Main article: Link
Morrison and EMI producer Norman Smith negotiated Pink Floyd's first recording contract, and as part of the deal, the band agreed to record their first album at EMI Studios in London. Mason recalled that the sessions were trouble-free. Smith disagreed, stating that Barrett was unresponsive to his suggestions and constructive criticism. EMI-Columbia released The Piper at the Gates of Dawn in August 1967. The album peaked at number 6, spending 14 weeks on the UK charts. Pink Floyd continued to draw large crowds at the UFO Club; however, Barrett's mental breakdown was by then causing serious concern. The group initially hoped that his erratic behaviour would be a passing phase, but some were less optimistic, including Jenner and his assistant, June Child, who commented: "I found [Barrett] in the dressing room and he was so ... gone. Roger Waters and I got him on his feet, [and] we got him out to the stage ... The band started to play and Syd just stood there. He had his guitar around his neck and his arms just hanging down."

Forced to cancel Pink Floyd's appearance at the prestigious National Jazz and Blues Festival, as well as several other shows, King informed the music press that Barrett was suffering from nervous exhaustion. Waters arranged a meeting with psychiatrist R. D. Laing, and though Waters personally drove Barrett to the appointment, Barrett refused to come out of the car. A stay in Formentera with Sam Hutt, a doctor well established in the underground music scene, led to no visible improvement. The band followed a few concert dates in Europe during September with their first tour of the US in October. As the US tour went on, Barrett's condition grew steadily worse. During appearances on the Dick Clark and Pat Boone shows in November, Barrett confounded his hosts by not responding to questions and staring off into space. He refused to move his lips when it came time to mime "See Emily Play" on Boone's show. After these embarrassing episodes, King ended their US visit and immediately sent them home to London. Soon after their return, they supported Jimi Hendrix during a tour of England; however, Barrett's depression worsened as the tour continued, reaching a crisis point in December, when the band responded by adding a new member to their lineup.

1968–77: transition and international success
Gilmour replaces Barrett
In December 1967, the group added guitarist David Gilmour as the fifth member of Pink Floyd. Morrison's assistant, Steve O'Rourke, set Gilmour up in a room at O'Rourke's house with a salary of £30 per week, and in January 1968, Blackhill Enterprises announced Gilmour as the band's newest member; the second guitarist and its fifth member, the band intending to continue with Barrett as a nonperforming songwriter. Jenner commented: "The idea was that Dave would ... cover for [Barrett's] eccentricities and when that got to be not workable, Syd was just going to write. Just to try to keep him involved". In an expression of his frustration, Barrett, who was expected to write additional hit singles to follow up "Arnold Layne" and "See Emily Play", instead played the band "Have You Got It Yet?", intentionally changing the structure on each performance so as to make the song impossible to follow and learn. In a January 1968 photo-shoot of the five-man Pink Floyd, the photographs show Barrett looking detached from the others, staring into the distance.

Working with Barrett eventually proved too difficult, and matters came to a head in January while en route to a performance in Southampton when a band member asked if they should collect Barrett. According to Gilmour, the answer was "Nah, let's not bother", signalling the end of Barrett's tenure with Pink Floyd. Waters later admitted, "He was our friend, but most of the time we now wanted to strangle him". In early March 1968, Pink Floyd met with business partners Jenner and King to discuss the band's future; Barrett agreed to leave.

Jenner and King believed Barrett to be the creative genius of the band, and decided to represent him and end their relationship with Pink Floyd. Morrison then sold his business to NEMS Enterprises, and O'Rourke became the band's personal manager. Blackhill announced Barrett's departure on 6 April 1968. After Barrett's departure, the burden of lyrical composition and creative direction fell mostly on Waters. Initially, Gilmour mimed to Barrett's voice on the group's European TV appearances; however, while playing on the university circuit, they avoided Barrett songs in favour of Waters and Wright material such as "It Would Be So Nice" and "Careful with That Axe, Eugene".


The Pink Floyd - German Single 1968
A Saucerful of Secrets
Main article: Link
In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, A Saucerful of Secrets. The LP included Barrett's final contribution to their discography, "Jugband Blues". Waters began to develop his own songwriting, contributing "Set the Controls for the Heart of the Sun", "Let There Be More Light" and "Corporal Clegg". Wright composed "See-Saw" and "Remember a Day". Smith encouraged them to self-produce their music, and they recorded demos of new material at their houses. With Smith's instruction at Abbey Road, they learned how to use the recording studio to realise their artistic vision. However, Smith remained unconvinced by their music, and when Mason struggled to perform his drum part on "Remember a Day", Smith stepped in as his replacement. Wright recalled Smith's attitude about the sessions, "Norman gave up on the second album ... he was forever saying things like, 'You can't do twenty minutes of this ridiculous noise.'" As neither Waters nor Mason could read music, to illustrate the structure of the album's title track, they invented their own system of notation. Gilmour later described their method as looking "like an architectural diagram".

Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. The first of several Pink Floyd album covers designed by Hipgnosis, it represented the second time that EMI permitted one of their groups to contract designers for an album jacket. The release peaked at number 9, spending 11 weeks on the UK chart. Record Mirror gave the album an overall favourable review, but urged listeners to "forget it as background music to a party". John Peel described a live performance of the title track as "like a religious experience", while NME described the song as "long and boring ... [with] little to warrant its monotonous direction". On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park. In July 1968, they returned to the US for a second visit. Accompanied by the Soft Machine and the Who, it marked Pink Floyd's first significant tour. In December of that year, they released "Point Me at the Sky"; no more successful than the two singles they had released since "See Emily Play", it would be the band's last until their 1973 release, "Money".


Pink Floyd - Atom Heart Mother 1970
Ummagumma, Atom Heart Mother, and Meddle
Main articles: Ummagumma: Link, Atom Hear Mother: Link Meddle: Link
Ummagumma represented a departure from their previous work. Released as a double-LP on EMI's Harvest label, the first two sides contained live performances recorded at Manchester College of Commerce and Mothers, a club in Birmingham. The second LP contained a single experimental contribution from each band member.[84] Ummagumma received positive reviews upon its release, in November 1969. The album peaked at number 5, spending 21 weeks on the UK chart.

In October 1970, Pink Floyd released Atom Heart Mother. An early version premièred in France in January, but disagreements over the mix prompted the hiring of Ron Geesin to work out the sound issues. Geesin worked to improve the score, but with little creative input from the band, production was troublesome. Geesin eventually completed the project with the aid of John Alldis, who was the director of the choir hired to perform on the record. Smith earned an executive producer credit, and the album marked his final official contribution to the band's discography. Gilmour said it was "A neat way of saying that he didn't ... do anything". Waters was critical of Atom Heart Mother, claiming that he would prefer if it were "thrown into the dustbin and never listened to by anyone ever again." Gilmour was equally dismissive of the album and once described it as "a load of rubbish", stating: "I think we were scraping the barrel a bit at that period." Pink Floyd's first number 1 album, Atom Heart Mother was hugely successful in Britain, spending 18 weeks on the UK chart. It premièred at the Bath Festival on 27 June 1970.

Pink Floyd toured extensively across America and Europe in 1970. In 1971, Pink Floyd took second place in a reader's poll, in Melody Maker, and for the first time were making a profit. Mason and Wright became fathers and bought homes in London while Gilmour, still single, moved to a 19th-century farm in Essex. Waters installed a home recording studio at his house in Islington in a converted toolshed at the back of his garden.


Pink Foyd - Meddle 1971
In January 1971, upon their return from touring Atom Heart Mother, Pink Floyd began working on new material. Lacking a central theme, they attempted several unproductive experiments; engineer John Leckie described the sessions as often beginning in the afternoon and ending early the next morning, "during which time nothing would get [accomplished]. There was no record company contact whatsoever, except when their label manager would show up now and again with a couple of bottles of wine and a couple of joints." The band spent long periods working on basic sounds, or a guitar riff. They also spent several days at Air Studios, attempting to create music using a variety of household objects, a project which would be revisited between The Dark Side of the Moon and Wish You Were Here.

Released in October 1971, "Meddle not only confirms lead guitarist David Gilmour's emergence as a real shaping force with the group, it states forcefully and accurately that the group is well into the growth track again" wrote Jean-Charles Costa of Rolling Stone. NME called Meddle "an exceptionally good album", singling out "Echoes" as the "Zenith which the Floyd have been striving for." However, Melody Maker's Michael Watts found it underwhelming, calling the album "a soundtrack to a non-existent movie", and shrugging off Pink Floyd as "so much sound and fury, signifying nothing." Meddle is a transitional album between the Barrett-influenced group of the late 1960s and the emerging Pink Floyd. The LP peaked at number 3, spending 82 weeks on the UK chart.


Pink Floyd - Dark Side of The Moon 1973
The Dark Side of the Moon
Main article: Link
Pink Floyd recorded The Dark Side of the Moon between May 1972 and January 1973, with EMI staff engineer Alan Parsons at Abbey Road. The title is an allusion to lunacy rather than astronomy. The band had composed and refined the material on Dark Side while touring the UK, Japan, North America and Europe. Producer Chris Thomas assisted Parsons. Hipgnosis designed the album's packaging, which included George Hardie's iconic refracting prism design on the cover. Thorgerson's Dark Side album cover features a beam of white light, representing unity, passing through a prism, which represents society. The resulting refracted beam of coloured light symbolises unity diffracted, leaving an absence of unity. Waters is the sole author of the album's lyrics.

Released in March 1973, the LP became an instant chart success in the UK and throughout Western Europe, earning an enthusiastic response from critics. Each member of Pink Floyd except Wright boycotted the press release of The Dark Side of the Moon because a quadraphonic mix had not yet been completed, and they felt presenting the album through a poor-quality stereo PA system was insufficient. Melody Maker's Roy Hollingworth described side one as "utterly confused ... [and] difficult to follow", but praised side two, writing: "The songs, the sounds ... [and] the rhythms were solid ... [the] saxophone hit the air, the band rocked and rolled". Rolling Stone's Loyd Grossman described it as "a fine album with a textural and conceptual richness that not only invites, but demands involvement."

Throughout March 1973, The Dark Side of the Moon featured as part of Pink Floyd's US tour. The album is one of the most commercially successful rock albums of all time; a US number 1, it remained on the Billboard chart for more than fourteen years, selling more than 40 million copies worldwide. In Britain, the album peaked at number 2, spending 364 weeks on the UK chart. Dark Side is the world's second best-selling album, and the twenty-first best-selling album of all time in the US. The success of the album brought enormous wealth to the members of Pink Floyd. Waters and Wright bought large country houses while Mason became a collector of expensive cars. Disenchanted with their US record company, Capitol Records, Pink Floyd and O'Rourke negotiated a new contract with Columbia Records, who gave them a reported advance of $1,000,000, which is worth approximately $5,000,000 today. In Europe, they continued to be represented by Harvest Records.


Pink Floyd Munich Germany Concert 1972
Wish You Were Here
Main article: Link
After a tour of the UK performing Dark Side, Pink Floyd returned to the studio in January 1975 and began work on their ninth studio album, Wish You Were Here. Parsons declined an offer to continue working with them, becoming successful in his own right with the Alan Parsons Project, and so the band turned to Brian Humphries. Initially, they found it difficult to compose new material; the success of The Dark Side of the Moon had left Pink Floyd physically and emotionally drained. Wright later described these early sessions as "falling within a difficult period" and Waters found them "torturous". Gilmour was more interested in improving the band's existing material. Mason's failing marriage left him in a general malaise and with a sense of apathy, both of which interfered with his drumming.

Despite the lack of creative direction, Waters began to visualise a new concept after several weeks. During 1974, Pink Floyd had sketched out three original compositions and had performed them at a series of concerts in Europe. These compositions became the starting point for a new album whose opening four-note guitar phrase, composed purely by chance by Gilmour, reminded Waters of Barrett. The songs provided a fitting summary of the rise and fall of their former bandmate. Waters commented: "Because I wanted to get as close as possible to what I felt ... [that] indefinable, inevitable melancholy about the disappearance of Syd."

While Pink Floyd were working on the album, Barrett made an impromptu visit to the studio, during which Thorgerson recalled that he "sat round and talked for a bit, but he wasn't really there." He had changed significantly in appearance, and the band did not initially recognise him. Waters was reportedly deeply upset by the experience.Most of Wish You Were Here premiered on 5 July 1975, at an open-air music festival at Knebworth. Released in September, it reached number one in both the UK and the US.



Animals
Main article: Link
In 1975, Pink Floyd bought a three-storey group of church halls at 35 Britannia Row in Islington, and began converting the building into a recording studio and storage space. In 1976, they recorded their tenth album, Animals, in their newly finished 24-track studio. The concept of Animals originated with Waters, loosely based on George Orwell's political fable, Animal Farm. 


Pink Floyd - A Nice Pair 1973
The album's lyrics described different classes of society as dogs, pigs, and sheep. Hipgnosis received credit for the packaging of Animals; however, Waters designed the final concept, choosing an image of the ageing Battersea Power Station, over which they superimposed an image of a pig.


The division of royalties was a source of conflict between band members, who earned royalties on a per-song basis. Although Gilmour was largely responsible for "Dogs", which took up almost the entire first side of the album, he received less than Waters, who contributed the much shorter two-part "Pigs on the Wing". Wright commented: "It was partly my fault because I didn't push my material ... but Dave did have something to offer, and only managed to get a couple of things on there." Mason recalled: "Roger was in full flow with the ideas, but he was really keeping Dave down, and frustrating him deliberately".


Gilmour, distracted by the birth of his first child, contributed little else toward the album. Similarly, neither Mason nor Wright contributed much toward Animals; Wright had marital problems, and his relationship with Waters was also suffering. Animals is the first Pink Floyd album that does not include a writing credit for Wright, who commented: "Animals... wasn't a fun record to make ... this was when Roger really started to believe that he was the sole writer for the band ... that it was only because of him that [we] were still going ... when he started to develop his ego trips, the person he would have his conflicts with would be me."


Pink Floyd - Live at Concert 1973
Released in January 1977, the album peaked on the UK chart at number two, and the US chart at number three. NME described the album as "one of the most extreme, relentless, harrowing and downright iconoclastic hunks of music", and Melody Maker's Karl Dallas called it "[an] uncomfortable taste of reality in a medium that has become in recent years, increasingly soporific".

They performed much of the album's material during their "In the Flesh" tour, Pink Floyd's first experience playing large stadiums, the size of which caused unease in the band. Waters began arriving at each venue alone, departing immediately after the performance. On one occasion, Wright flew back to England, threatening to leave the band. At the Montreal Olympic Stadium, a group of noisy and enthusiastic fans in the front row of the audience irritated Waters so much that he spat at one of them. The end of the tour marked a low point for Gilmour, who felt that the band achieved the success they had sought, with nothing left for them to accomplish.


CAPITAL RADIO PINK FLOYD STORY 
Show presented by Nick Horne.
Transscripts included.

Part 1 - The Early Years, Broadcast date: 17th December 1976 (Tracks 01-14)
Part 2 - From Piper To Atom Heart, Broadcast date: 24th December 1976 (Tracks 15-30)
Part 3 - From More To The Beginning Of Dark Side Of The Moon, Broadcast date: 31st December 1976 (Tracks 31-43)
Part 4 - The Dark Side Of The Moon,  Broadcast date: 7th January 1977 (Tracks 44-53)
Part 5 - Wish You Were Here, Broadcast date: 14th January 1977 (Tracks 54-63)
Part 6 - Anilmals, Broadcast date: 21st January 1977 (Tracks 64-68)



Syd Barrett - In The Woods, Complete Rarities 1968-1974 

Size: 260 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included

1968 - 1974
Brought to you by Rork Records

After almost three years in the making, Rork Records is proud to announce the release of 'In The Wood: The Complete Syd Barrett Rarities 1968-1974'.

Of all the eras of Floyd and its various offshoots, Syd's brief solo career has produced by far the most archive releases of rare material. We've had the Opel album, the Peel Sessions EP, the Crazy Diamond box, 'Bob Dylan Blues', and, most recently, the belated surfacing of Syd's contribution to the Kevin Ayers song 'Religious Experience'/'Singing A Song In The Morning'.

Despite these repeated raids on the archive, there is also a great deal of solo Syd material that hasn't surfaced officially. This includes plenty of stuff that we haven't heard, and perhaps never will - such as 'Rhamadan', 'Living Alone', 'Millionaire' and the Stars recordings. However, numerous recordings have reached our ears through ROIO releases, including many outtakes from Syd's solo albums, the Olympia 1970 live recording, the 1971 BBC session - and even a handful of sketchy recordings made by Syd in 1974 for a never-completed third solo album.


Syd Barrett - UK Promo Single 1969
These tracks have slowly emerged in dribs and drabs through the years on dozens of different releases, and it was in an attempt to make sense of exactly what's out there that I posted a list of the circulating material I was aware of to Echoes a few years ago, in the hope that someone out there might be able to make some corrections or additions. The result of this was that Sebastien contacted me with the idea of bringing all these tracks together into a one remastered, chronologically sequenced CD compilation: the definitive collection of Syd's solo rarities, the only CD you'd need on the shelf next to your Crazy Diamond discs and Wouldn't You Miss Me. And three years later, here we are!

In the end, enough material turned up for us to need two CDs rather than one. And that's not all - in addition to the straight audio format, the collection is also available on CD-ROM with all the tracks included in the lossless .APE format. Furthermore, the CD-ROM includes a special HTML section, including not only full details of all the tracks, but just about everything else you need to know about Syd's solo career: a full discography, all the articles, interviews and photos we could find, plus a specially written timeline with details of Syd's life from his final Pink Floyd gig to the present day. We've really worked hard on this part of the CD, and I hope that in time it comes to be recognised as a useful resource for information on Syd after the Floyd.


Syd Barrett - Octopus UK 1969
But, of course, the most important part of the collection is the music. I'm confident that this is the best-sounding, most complete assemblage of Syd's solo rarities ever produced: as far as I know, we've got everything that currently circulates, all from the best available sources. Nothing here is taken from old ROIO LPs or CDs: instead, we've been fortunate enough to find superior low-gen tape sources of just about everything. With the exception of the 1971 'Sounds Of The Seventies' session, which is from an unknown "low"-gen source, I don't believe anything we've used is more than two tape copies away from the original master. With the 1970 Olympia live set, we've managed to go one better and snag a CDR copy of a 1st-gen dub from the master. And just for the sake of completeness, we've included the 1970 Top Gear show which, despite having been released on CD some years ago, is now deleted and therefore pretty hard to get hold of these days. The version on our set is mastered from the official 12" vinyl, which for my money has a much nicer sound than the CD.

After gathering these sources, Sebastien has done his usual superb job of remastering everything, declicking, EQing and reducing tape noise (whilst making sure that all of the music remains here it is!). The finished product sounds fantastic to me, and judging from the feedback we've had so far from people we've sent preview copies to, I'm not the only one.

DISC 1
01. SILAS LANG (TAKE 1)
02. LANKY PART 2 (TAKE 1) - excerpt
03. GOLDEN HAIR (TAKE 1) - alternate mix
04. SWAN LEE (TAKE 1, INSTRUMENTAL) - Peter Jenner mix
05. SWAN LEE (TAKE 1, INSTRUMENTAL) - Malcolm Jones mix, excerpt
06. CLOWNS AND JUGGLERS (TAKE 1) - Malcolm Jones mix, excerpt
07. SWAN LEE (VOCAL AND GUITAR ONLY) - Malcolm Jones mix, excerpt
08. OPEL (TAKE 9) - Peter Jenner mix
09. LOVE YOU (TAKE 1) - Malcolm Jones mix, excerpt
10. LOVE YOU (TAKE 2) - Malcolm Jones mix, excerpt
11. CLOWNS AND JUGGLERS (TAKE 2, SOFT MACHINE SESSION) - Malcolm
12. OCTOPUS (OUTTAKE FROM OVERDUBBING SESSION) - Malcolm Jones mix,
13. LONG GONE (REMAKE, TAKE 1) - Malcolm Jones mix, excerpt
14. WOULDN'T YOU MISS ME (REMAKE, TAKE 1) - Peter Jenner mix
15. WOULDN'T YOU MISS ME (REMAKE, TAKE 1) - Malcolm Jones mix
16. SHE TOOK A LONG COLD LOOK AT ME (TAKE 5) - Malcolm Jones mix
17. GIGOLO AUNT (BBC 1970)
18. TERRAPIN (BBC 1970)
19. BABY LEMONADE (BBC 1970)
20. EFFERVESCING ELEPHANT (BBC 1970)
21. TWO OF A KIND (BBC 1970)

DISC 2
01. MAISIE (TAKES 1 AND 2) - "full" mix
02. MILKY WAY (TAKE 5) - Peter Jenner mix
03. BIRDY HOP (TAKE 1) - Peter Jenner mix
04. RATS (TAKES 1 AND 2)
05. WINED AND DINED (TAKES 1 AND 2)
06. WORD SONG (TAKE 1) - Peter Jenner mix
07. TERRAPIN (Olympia 1970)
08. GIGOLO AUNT (Olympia 1970)
09. EFFERVESCING ELEPHANT (Olympia 1970)
10. OCTOPUS (Olympia 1970)
11. BABY LEMONADE (BBC 1971)
12. DOMINOES (BBC 1971)
13. LOVE SONG (BBC 1971)
14. BOOGIE #3 (1974)
15. IF YOU GO #1 (1974)
16. BALLAD (1974)
17. SLOW BOOGIE (1974)
18. JOHN LEE HOOKER (1974)
19. FAST BOOGIE (1974)
20. BOOGIE #2 (excerpt) (1974)

BONUS TRACKS:
21. KEVIN AYERS: SINGING A SONG IN THE MORNING - Fake
22. MILKY WAY (OVERDUB VERSION) - Fake
23. OPEL (TAKE 9) - Malcom Jones mix, excerpt with announcement

Part 1: Link
Part 2: Link
Part 3: Link
Part 4: Link
Part 5: Link
or
Part 1: Link
Part 2: Link
Part 3: Link
Part 4: Link
Part 5: Link
.

Pink Floyd Avalon Ballroom 1968 Poster