Tuesday, 18 April 2017

Elvis Presley - Rare Outtakes Tracks 1956-1961

Size: 360 MB
Bitrate: 320
Found in DC++ World
Some Artwork Inckuded
Source 24-Bit Remaster

1956–1958: Commercial breakout and controversy
On January 10, 1956, Presley made his first recordings for RCA in Nashville. Extending the singer's by now customary backup of Moore, Black, and Fontana, RCA enlisted pianist Floyd Cramer, guitarist Chet Atkins, and three background singers, including first tenor Gordon Stoker of the popular Jordanaires quartet, to fill out the sound. The session produced the moody, unusual "Heartbreak Hotel", released as a single on January 27. Parker finally brought Presley to national television, booking him on CBS's Stage Show for six appearances over two months. 

The program, produced in New York, was hosted on alternate weeks by big band leaders and brothers Tommy and Jimmy Dorsey. After his first appearance, on January 28, introduced by disc jockey Bill Randle, Presley stayed in town to record at RCA's New York studio. The sessions yielded eight songs, including a cover of Carl Perkins' rockabilly anthem "Blue Suede Shoes". In February, Presley's "I Forgot to Remember to Forget", a Sun recording initially released the previous August, reached the top of the Billboard country chart. Neal's contract was terminated and, on March 2, Parker became Presley's manager.

On March 12, 1956, Elvis purchased a one-story ranch-style house with two-car attached garage in a quiet residential neighborhood on Audubon Street in Memphis. The home was profiled in national magazines, and soon became a focal point for fans, media and celebrities to visit. Elvis lived here with his parents between March 1956 and March 1957.

RCA Victor released Presley's eponymous debut album on March 23. Joined by five previously unreleased Sun recordings, its seven recently recorded tracks were of a broad variety. There were two country songs and a bouncy pop tune. The others would centrally define the evolving sound of rock and roll: "Blue Suede Shoes"—"an improvement over Perkins' in almost every way", according to critic Robert Hilburn—and three R&B numbers that had been part of Presley's stage repertoire for some time, covers of Little Richard, Ray Charles, and The Drifters. As described by Hilburn, these "were the most revealing of all. 

Unlike many white artists ... who watered down the gritty edges of the original R&B versions of songs in the '50s, Presley reshaped them. He not only injected the tunes with his own vocal character but also made guitar, not piano, the lead instrument in all three cases." It became the first rock-and-roll album to top the Billboard chart, a position it held for 10 weeks. 

While Presley was not an innovative guitarist like Moore or contemporary African American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argues that the album's cover image, "of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar ... as the instrument that best captured the style and spirit of this new music."

1958–1960: Military service and mother's death
On March 24, 1958, Presley was conscripted into the U.S. Army as a private at Fort Chaffee, near Fort Smith, Arkansas. His arrival was a major media event. Hundreds of people descended on Presley as he stepped from the bus; photographers then accompanied him into the fort. Presley announced that he was looking forward to his military stint, saying he did not want to be treated any differently from anyone else: "The Army can do anything it wants with me."

Soon after Presley commenced basic training at Fort Hood, Texas, he received a visit from Eddie Fadal, a businessman he had met on tour. According to Fadal, Presley had become convinced his career was finished—"He firmly believed that." But then, during a two-week leave in early June, Presley recorded five songs in Nashville. In early August, his mother was diagnosed with hepatitis and her condition rapidly worsened. Presley, granted emergency leave to visit her, arrived in Memphis on August 12. Two days later, she died of heart failure, aged 46. Presley was devastated; their relationship had remained extremely close—even into his adulthood, they would use baby talk with each other and Presley would address her with pet names.

After training, Presley joined the 3rd Armored Division in Friedberg, Germany, on October 1. Introduced to amphetamines by a sergeant while on maneuvers, he became "practically evangelical about their benefits"—not only for energy, but for "strength" and weight loss, as well—and many of his friends in the outfit joined him in indulging. 

The Army also introduced Presley to karate, which he studied seriously, later including it in his live performances. Fellow soldiers have attested to Presley's wish to be seen as an able, ordinary soldier, despite his fame, and to his generosity. He donated his Army pay to charity, purchased TV sets for the base, and bought an extra set of fatigues for everyone in his outfit.

While in Friedberg, Presley met 14-year-old Priscilla Beaulieu. They would eventually marry after a seven-and-a-half-year courtship. In her autobiography, Priscilla says that despite his worries that it would ruin his career, Parker convinced Presley that to gain popular respect, he should serve his country as a regular soldier rather than in Special Services, where he would have been able to give some musical performances and remain in touch with the public. Media reports echoed Presley's concerns about his career, but RCA producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared for his two-year hiatus. 

Armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases. Between his induction and discharge, Presley had ten top 40 hits, including "Wear My Ring Around Your Neck", the best-selling "Hard Headed Woman", and "One Night" in 1958, and "(Now and Then There's) A Fool Such as I" and the number one "A Big Hunk o' Love" in 1959. RCA also generated four albums compiling old material during this period, most successfully Elvis' Golden Records (1958), which hit number three on the LP chart.

Elvis Is Back
Presley returned to the United States on March 2, 1960, and was honorably discharged with the rank of sergeant on March 5. The train that carried him from New Jersey to Tennessee was mobbed all the way, and Presley was called upon to appear at scheduled stops to please his fans. On the night of March 20, he entered RCA's Nashville studio to cut tracks for a new album along with a single, "Stuck on You", which was rushed into release and swiftly became a number one hit. 

Another Nashville session two weeks later yielded a pair of his best-selling singles, the ballads "It's Now or Never" and "Are You Lonesome Tonight?", along with the rest of Elvis Is Back! The album features several songs described by Greil Marcus as full of Chicago blues "menace, driven by Presley's own super-miked acoustic guitar, brilliant playing by Scotty Moore, and demonic sax work from Boots Randolph. Elvis's singing wasn't sexy, it was pornographic." As a whole, the record "conjured up the vision of a performer who could be all things", in the words of music historian John Robertson: "a flirtatious teenage idol with a heart of gold; a tempestuous, dangerous lover; a gutbucket blues singer; a sophisticated nightclub entertainer; [a] raucous rocker".

Presley returned to television on May 12 as a guest on The Frank Sinatra Timex Special—ironic for both stars, given Sinatra's not-so-distant excoriation of rock and roll. Also known as Welcome Home Elvis, the show had been taped in late March, the only time all year Presley performed in front of an audience. Parker secured an unheard-of $125,000 fee for eight minutes of singing. The broadcast drew an enormous viewership.

G.I. Blues, the soundtrack to Presley's first film since his return, was a number one album in October. His first LP of sacred material, His Hand in Mine, followed two months later. It reached number 13 on the U.S. pop chart and number 3 in the UK, remarkable figures for a gospel album. In February 1961, Presley performed two shows for a benefit event in Memphis, on behalf of 24 local charities. During a luncheon preceding the event, RCA presented him with a plaque certifying worldwide sales of over 75 million records. A 12-hour Nashville session in mid-March yielded nearly all of Presley's next studio album, Something for Everybody. 

As described by John Robertson, it exemplifies the Nashville sound, the restrained, cosmopolitan style that would define country music in the 1960s. Presaging much of what was to come from Presley himself over the next half-decade, the album is largely "a pleasant, unthreatening pastiche of the music that had once been Elvis's birthright." It would be his sixth number one LP. 

Another benefit concert, raising money for a Pearl Harbor memorial, was staged on March 25, in Hawaii. It was to be Presley's last public performance for seven years.

Lost in Hollywood
Parker had by now pushed Presley into a heavy film making schedule, focused on formulaic, modestly budgeted musical comedies. Presley at first insisted on pursuing more serious roles, but when two films in a more dramatic vein—Flaming Star (1960) and Wild in the Country (1961)—were less commercially successful, he reverted to the formula. Among the 27 films he made during the 1960s, there were few further exceptions. His films were almost universally panned; critic Andrew Caine dismissed them as a "pantheon of bad taste". Nonetheless, they were virtually all profitable. Hal Wallis, who produced nine of them, declared, "A Presley picture is the only sure thing in Hollywood."

Of Presley's films in the 1960s, 15 were accompanied by soundtrack albums and another 5 by soundtrack EPs. The films' rapid production and release schedules—he frequently starred in three a year—affected his music. According to Jerry Leiber, the soundtrack formula was already evident before Presley left for the Army: "three ballads, one medium-tempo , one up-tempo, and one break blues boogie". As the decade wore on, the quality of the soundtrack songs grew "progressively worse". Julie Parrish, who appeared in Paradise, Hawaiian Style (1966), says that he hated many of the songs chosen for his films. 

The Jordanaires' Gordon Stoker describes how Presley would retreat from the studio microphone: "The material was so bad that he felt like he couldn't sing it." Most of the film albums featured a song or two from respected writers such as the team of Doc Pomus and Mort Shuman. But by and large, according to biographer Jerry Hopkins, the numbers seemed to be "written on order by men who never really understood Elvis or rock and roll." Regardless of the songs' quality, it has been argued that Presley generally sang them well, with commitment. Critic Dave Marsh heard the opposite: "Presley isn't trying, probably the wisest course in the face of material like 'No Room to Rumba in a Sports Car' and 'Rock-a-Hula Baby.'"

In the first half of the decade, three of Presley's soundtrack albums hit number one on the pop charts, and a few of his most popular songs came from his films, such as "Can't Help Falling in Love" (1961) and "Return to Sender" (1962). ("Viva Las Vegas", the title track to the 1964 film, was a minor hit as a B-side, and became truly popular only later.) But, as with artistic merit, the commercial returns steadily diminished. During a five-year span

1964 through 1968—Presley had only one top-ten hit: "Crying in the Chapel" (1965), a gospel number recorded back in 1960. As for non-film albums, between the June 1962 release of Pot Luck and the November 1968 release of the soundtrack to the television special that signaled his comeback, only one LP of new material by Presley was issued: the gospel album How Great Thou Art (1967). It won him his first Grammy Award, for Best Sacred Performance. As Marsh described, Presley was "arguably the greatest white gospel singer of his time [and] really the last rock & roll artist to make gospel as vital a component of his musical personality as his secular songs."

Shortly before Christmas 1966, more than seven years since they first met, Presley proposed to Priscilla Beaulieu. They were married on May 1, 1967, in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas. The flow of formulaic films and assembly-line soundtracks rolled on. It was not until October 1967, when the Clambake soundtrack LP registered record low sales for a new Presley album, that RCA executives recognized a problem. "By then, of course, the damage had been done", as historians Connie Kirchberg and Marc Hendrickx put it. "Elvis was viewed as a joke by serious music lovers and a has-been to all but his most loyal fans."

Disc 01
01. Heartbreak Hotel - Take 5  02:17
02. I Was The One - Take 2  02:32
03. I'm Counting On You (Take 2 Incomplete Dry Echo Tape)  01:35
04. Lawdy Miss Clawdy (Take 6)  02:19
05. Shake Rattle & Roll (Take 12)  01:41
06. I Want You I Need You I Love You (Take 3)  03:05
07. Don Davis Interviews Elvis  03:53
08. Rip It Up (Take 15)  02:04
09. Old Shep (Take 5)  04:01
10. Mean woman Blues - Version 2, BX-7 (Take 7)  02:32
11. Loving You (Binaural KX Main Version, Take 15)  01:40
12. Are You Lonesome Tonight - Takes 1 & 2  03:39
13. I Gotta Know - Takes 1 & 2  02:58
14. Such A Night - Take 1  03:14
15. Make Me Know It - Takes 17 & 18  02:47
16. Fever - Takes 2, 3 & End Taken Out  04:00
17. It's Now Or Never - Takes 3 & 4  03:56
18. Stuck On You - Takes 1-FS, 2  02:36
19. It Feels So Right - Take 2  02:06
20. Wooden Heart (take 1)
22. Pocketful Of Rainbows (version 1, take 4-7)

Disc 02
01. King Creole (revised version - take 13 - master)  02:18
02. Trouble (take 5 - master)  02:31
03. Young Dreams (take 8 - master)  02:41
04. Hard Headed Woman (take 10 - master)  02:03
05. Don't Ask Me Why (take 12 - master)  02:14
06. Sentimental Me (Take 1)  06:42
07. I'm Coming Home (Take 2)  02:42
08. In Your Arms (Take 1)  02:13
09. Judy (Take 1)  03:16
10. I Want You With Me (Take 1)  02:26
11. Little Sister (Take 3)  02:54
12. His Latest Flame (Take 2)  02:26
13. I'm Coming Home (Takes 1, 2)  03:23
14. I Feel So Bad (Take 1)  02:59
15. Starting Today (Take 2)  02:11
16. Your Cheatin Heart (Take 9)  02:53
17. Doncha Think It's Time (Take 47)  02:05
18. A Big Hunk O Love (Take 1)  02:27
19. Ain't That Loving You Baby (Take 1)  02:34
20. I Need Your Love Tonight (Take 15)  02:15
21. A Fool Such As I (Take 9)  02:50
22. I Got Stung (Take 12)  02:04
23. Press Interview Whit Elvis (At Brooklyn Army Terminal)  05:27
24. Elvis Presley's Newsreel Interview  02:23
25. Elvis Presley - Pat Hernon Interviews Elvis (In The Library Of The USS Randall At Sailing)  02:16

Part 1: Elvis 1
Part 2: Elvis 2
Part 1: Elvis 1
Part 2: Elvis 2
Part 1: Elvis 1
Part 2: Elvis 2

Tuesday, 11 April 2017

The Next Morning - Selftitled (Psychedelic Soul US 1971)

Size: 64.3 MB
Bitrate: 256
Ripped By: ChrisGoesRock
Artwork Included

A wickedly rare phase 'n' fuzz fueled slice of psychedelia circa 1970! - featuring ripsnorting guitar-work by Bert Bailey- these guys were Caribbean immigrants (four from Trindad, one from the Virgin Islands) and they idolized the Who and Jimi Hendrix.

African-American psychedelic groups, and rock bands from Trinidad, were both uncommon items around 1970. The Next Morning fit into both categories, making them an interesting curiosity regardless of their music. The music, however--average 1970 hard-rock with soul, hard rock, and psychedelic influences, particularly from Jimi Hendrix--is not as unusual as their origins. One would not suspect from listening that the group were largely from Trinidad, with the proliferation of heavy, bluesy guitar and organ riffs, and the strained soul-rock vocals of Lou Phillips. They recorded one album, released in 1971, that received little notice before their breakup. 

The Next Morning formed in the late 1960s in New York, four of the five members having come to the city from Trinidad; Lou Phillips was from the Virgin Islands. Jimi Hendrix was a big influence on the band, as were some other hard rock acts of the period like the Who, and rock-soul hybrids like Sly Stone and the Chamber Brothers. The Next Morning were busy on the New York club circuit and attracted attention from Columbia Records, but ended up signing to the smaller Roulette label, whose Calla subsidiary issued their lone, self-titled LP in 1971. Although the jagged guitar sounds of Bert Bailey and some unexpected chord shifts made the album less pedestrian than some efforts in the style, the songs tended toward the long and meandering side, and the material was not as outstanding as their influences. The Next Morning's career sputtered out in the early 1970s, with bassist Scipio Sargeant finding some work doing horn arrangements for Joe Tex and Harry Belafonte.  

I'll be the first to admit a fascination with black 1960s/1970s hard rock/psychedelic bands such as Black Merda, Ernie Joseph, and Purple Image.  With the exception of Jimi Hendrix, these outfits were caught in an impossible Catch 22 situation whereby their music was simply too white for black audiences and too black for white audiences.  How do you get out of that no win situation?  You don't.  That said, here's another little known outfit to add to the list.  

The late-1960s found guitarist Scipio Sargeant having left his native Trinidad for New York City.  Living in Brooklyn his lightening quick guitar began attracting attention, including that of  fellow Trinidadian guitarist Bert Bailey.  Discovering a shared interest in hard rock, the pair decided to form a band, quickly recruiting keyboardist Earl Arthur, brother/drummer Herb Bailey, and singer Lou Phillips. With Scipio switching to bass the quintet began attracting attention on the city's club circuit.  

Almost signed by Columbia, the group ended up with a recording contract on the Roulette Records affiliated Calla label.  Recorded at New York's Electric Lady Studios (one of Hendrix's stomping grounds), their 1971 debut "The Next Morning" was produced by Dick Jacobs and clearly drew inspiration from Hendrix.  

Propelled by Arthur's insane keyboards and Bert Bailey's wicked fuzz drenched guitar, self-penned material such as 'Changes of the Mind', 'Life Is Love', and 'Back To the Stone Age' offered up impressive slices of Hendrix-styled heavy rock.  The comparison was further underscored by the fact that on numbers such as the growling title track Lou Phillips' vocals bore at least a modest resemblance to Hendrix.  Admittedly there wasn't anything particularly original here, but the overall performances were quite attractive, making for a first-rate set that should appeal to all guitar rock lovers. 

• Earl Arthur - keyboards
• Bert Bailey - guitar
• Herbert Bailey - drums
• Lou Phillips - vocals
• Scipio Sargeant - bass, guitar  

"The Next Morning" track listing:
(side 1)
1.) The Next Morning   (Lou Phillips - Scipio Sargeant - Bert Bailey) - 4:53
The title track started out as an unexpectedly jazzy number (maybe a touch of Allman Brothers),  before switching gears into a Hendrix-meets-Buddy Miles-styled rocker.   Derivative, but still quite enjoyable with vocalist Phillips in fine form and Bert Bailey showing off his first rate chops.  Excellent jam and a great way to kick the album off.    rating: **** stars
2.) Life   (Lou Phillips - Bert Bailey) - 2:50
Heavy pop ?  One of the album's lesser tunes.   rating: *** stars
3.) Changes of the Mind   (Lou Phillips - Scipio Sargeant - Bert Bailey) - 5:54
The rocker 'Changes of the Mind' opened up as a showcase for Bailey's blazing fuzz guitar.  Shame Lou Phillips' I wannabe-Jim-Morrison vocals were so shrill and irritating on this one.  It was one of the tunes where his Caribbean accent stood out to poor effect.  Still, the tune got progressively better when Phillips quit singing and the tune morphed into a jam tune.   rating: *** stars
4.) Life Is Love   (Lou Phillips - Earl Arthur) - 5:22
Earl Arthur's jazzy, slightly discordant B-3 opening wasn't very promising, but about a minute in the song took off in a heavy metal jam mode.   Phillips sounded pretty stoned.  Actually the whole band sounded pretty stoned on this one.  Bailey contributed lots of wah wah and fuzz on this rocker.   rating: **** stars

(side 2)
1.) Back To the Stone Age   (Lou Phillips - Scipio Sargeant - Bert Bailey) - 5:15
Wow !   More Hendrix-styled rock and I guarantee  Bailey's blazing fuzz guitar will make your speakers buzz.  rating: **** stars
2.) Adelane   (Lou Phillips - Bert Bailey) - 2:51
If I had to pick a song that had a "heavy" '70s aura, 'Adelane' would certainly be in the running.  Best way to describe this one ?   Molten ballad ...   beats me, though Bailey turned in one of his prettiest solos.  I can't imagine them playing this in a small club.  They would have literally collapsed the place.   rating: **** stars
3.) Faces Are Smiling!   (Lou Phillips - Bert Bailey) - 4:35
'Faces Are Smiling!' found Sargeant and company going mellow ...  well the first three minutes were mellow in an acid soaked and echo drenched fashion.  Kicked along by some powerhouse Herbert Bailey drumming, this was one of my favorite tunes on the album.  The second half of the tune found the band heading off in patented Hendirix-styled jam mode.  rating: **** stars
4.) A Jam of Love   (Lou Phillips - Scipio Sargeant - Herbert Bailey - Bert Bailey - Earl Arthur) - 6:18
The lone group collaboration,  'A Jam of Love' was seemingly their attempt at a ballad ...  well at least the first half of the tune.   The melody wasn't bad and Bailey got to add a bit of jazzy inflection to his lead guitar, but even with a heavy echo effect slapped on his vocals, Phillips simply didn't have the kind of voice to pull it off.  Ballads were clearly not their forte.   rating: ** stars.

1. The Next Morning
2. The Next Morning
3. The Next Morning

Friday, 7 April 2017

Deep Purple - Made in Japan (Alternative Album UK 1972)

Size: 236 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

Made in Japan is a double live album by English rock band Deep Purple, recorded during their first tour of Japan in August 1972. It was originally released in December 1972, with a US release in April 1973, and became a commercial and critical success.

The band were well known for their strong stage act, and had privately recorded several shows, or broadcast them on radio, but were unenthusiastic about recording a live album until their Japanese record company decided it would be good for publicity. They insisted on supervising the live production, including using Martin Birch, who had previously collaborated with the band, as engineer, and were not particularly interested in the album's release, even after recording. The tour was successful, with strong media interest and a positive response from fans.

The album was an immediate commercial success, particularly in the US, where it was accompanied by the top five hit "Smoke on the Water", and became a steady seller throughout the 1970s. 

Deep Purple "Mk II" formed in July 1969 when founding members, guitarist Ritchie Blackmore, organist Jon Lord and drummer Ian Paice recruited singer Ian Gillan and bassist Roger Glover to progress from their earlier pop and psychedelic rock sound towards hard rock. They began touring extensively, becoming a well received live band, and had recorded several shows either to broadcast on the radio or listen to privately. However, they had rejected the idea of releasing a live album commercially as they believed it would be impossible to reproduce the quality and experience of their stage act on an LP.

Consequently, there was a demand for bootleg recordings of the band. The most notorious of these was an LP entitled H Bomb, recorded at Aachen on 11 July 1970, which led to a subsequent court case when Virgin Records' Richard Branson was prosecuted for selling it. An article in Melody Maker that examined the bootleg phenomenon claimed that H Bomb was the best selling one at that time. This success, along with albums from other artists such as the Who's Live at Leeds and the Rolling Stones' Get Yer Ya-Ya's Out convinced the band that an official live album would be commercially successful. At the time, Glover told Sounds magazine that "there are so many bootlegs of us going around, if we put out our own live set, it should kill their market."

By 1972, Deep Purple had achieved considerable commercial success in Japan, including several hit singles, so it made sense to tour there. Three dates were booked; the Festival Hall, Osaka on 11 and 12 May, and the Budokan, Tokyo on 16 August, though these were later changed to the 15 and 16 August, and 17 August respectively due to an earlier US tour being rescheduled. The dates sold out almost immediately, and consequently the Japanese arm of the band's label, Warner Bros. Records, wanted to record the tour for a live album to be released in the country. The band eventually agreed to the idea, but insisted if it was going to be released, they wanted it to be done properly. Gillan recalled, "we said we would have to OK the equipment, we wanted to use our own engineer and we would have the last say on whether the tapes were released". The band enlisted producer Martin Birch, who had worked on previous studio albums, to record the shows onto an 8-track recorder so they could subsequently be mixed.

The band's live setlist had been revamped at the start of the year, immediately after recording the album Machine Head, and that album made up a substantial proportion of new material. Although the setlist remained the same for most of the year, opening with "Highway Star" and closing with "Lazy" and "Space Truckin'", the band's musical skill and structure meant there was sufficient improvisation within the songs to keep things fresh. The original intention was the stage act would be used for about a year before being dropped, but Gillan and Glover both resigned from the band in June 1973. When this line-up reformed in 1984, the 1972 setlist made up a significant amount of material performed in concert.

The band arrived in Japan on 9 August, a week before the tour started, to a strong reception, and were greeted with gifts and flowers. Birch was not confident that the recording quality would be satisfactory, since the equipment supplied by Warner Bros. did not have any balance control and that the recorder's size did not appear big enough on sight to capture a commercial quality recording. The band were uninterested in the end result, concentrating on simply being able to deliver a good show. Lord later noticed however that he felt this attitude meant the spontaneity of the performances and interplay between the band members was captured well.

The second gig in Osaka was considered to be the stronger of the two, and indeed this show made up the bulk of the released LP. Only one song, "Smoke on the Water" from 15 August show was used, and this may simply have been because it was the only gig that Blackmore played the song's opening riff as per the studio album.

The band considered the gig at Tokyo on 17 August to be the best of the tour. Glover remembered "twelve or thirteen thousand Japanese kids were singing along to 'Child in Time'" and considered it a career highlight, as did Gillan. At the venue, a row of bodyguards manned the front of the stage. When Blackmore smashed his guitar during the end of "Space Truckin'" and threw it into the audience, several of them clambered past fans to try and retrieve it. Blackmore was annoyed, but the rest of the band found the incident amusing. The gig was not as well recorded as the Osaka shows, though "The Mule" and "Lazy" were considered of sufficient quality to make the final release.

There were no overdubs on the album. Lord claimed once in a magazine interview that a line from "Strange Kind of Woman" had to be redubbed from a different show after Gillan had tripped over his microphone cable, but no direct evidence of this was found when the multitrack tapes were examined. According to Lord, the total budget for the recording was only $3,000 (equivalent to £35,696 in 2015).

"That double album ... wasn't meant to be released outside of Japan. They wound up putting it out anyway and it went platinum in about two weeks."

Jon Lord
The band did not consider the album to be important and only Glover and Paice showed up to mix it. According to Birch, Gillan and Blackmore have never heard the finished album. The band did not want the album to be released outside Japan and wanted full rights to the tapes, but it was released worldwide anyway.

The album was released in the UK in December 1972, with a special offer price of £3.10, the same as a typical single LP from that period. It reached number 16 in the charts. The cover was designed by Glover and featured a colour photo of the band on the front and rear covers, and black and white photos in the inside gatefold. The release in the US was delayed until April 1973, because Warner Bros. wanted to release Who Do We Think We Are first. They were motivated into releasing it due to a steady flow of UK imports being purchased, and it was an immediate commercial success, reaching number 6 in the charts. Warner Brothers also released "Smoke on the Water" as a single, coupling the live recording on Made in Japan with the studio version on Machine Head, and it reached number 4 in the Billboard charts. A recording of "Black Night" from the Tokyo gig, one of the encores that was not on the album, was released as the B-side to the single "Woman from Tokyo" in Europe, and as a single in its own right in Japan.

The Japanese release was titled Live in Japan and featured a unique sleeve design, with an overhead stage shot of the band, a selection of photographs from a gig at the Rainbow Theatre in London, and an insert with lyrics and a hand-written message from each band member. The first pressing came with a 35mm film negative with photos of the band which buyers could develop into their own prints. The sleeve notes claimed that the recording only contained the Tokyo gig, though in fact it was musically identical to the version released in the rest of the world. Phil Collen, later to play in Def Leppard, was in the audience for the Rainbow gig as captured on the sleeve.

In Uruguay, the album was released in 1974 as a single LP (with just the first two sides) on Odeon Records. It used a simplistic sleeve design unlike any other release, with a rising sun on the cover.

The band as a whole had mixed feelings about the album. Gillan was critical of his own performance, yet was still impressed with the quality of the live recording. Paice gave a very positive impression, suggesting that the shows were some of the best the group had performed, and the album captured the spirit of them well.[16] Lord listed it as his favourite Deep Purple album, saying, "The band was at the height of its powers. That album was the epitome of what we stood for in those days."

The response from critics was favourable. Rolling Stone's Jon Tiven wrote that "Made in Japan is Purple's definitive metal monster, a spark-filled execution ... Deep Purple can still cut the mustard in concert". Subsequently, a readers' poll in the magazine declared the album to be the sixth best live album of all time, adding the band have performed "countless shows since in countless permutations, but they've never sounded quite this perfect."

Recent reviews have been equally positive. Allmusic's William Ruhlmann considered the album to be "a definitive treatment of the band's catalog and its most impressive album". Rock author Daniel Bukszpan claimed the album is "widely acknowledged as one of the greatest live albums of all time". Goldmine magazine said the album "defined Deep Purple even as it redefined the concept of the live album." Deep Purple author Dave Thompson wrote "the standing of Deep Purple's first (and finest) live album had scarcely diminished in the quarter-century since its release".

♫♪ Ritchie Blackmore - guitar
♫♪ Ian Gillan - vocals, harmonica, percussion
♫♪ Roger Glover - Bass, backing vocals
♫♪ Jon Lord - keyboards backing vocals
♫♪ Ian Paice – drums, percussion

01. Highway Star - 08.01 [Tokyo 17 August 1972]
02. Child in Time - 12.33 [Tokyo 17 August 1972]
03. Smoke on The Water - 07.28 [Osaka 16 August 1972]
04. Strange Kind of Woman - 11.03 [Tokyo 17 August 1972] 
05. Lazy - 10.11 [Osaka 16 August 1972]
06. Space Truckin' - 20.08 [Osaka 16 August 1972]
07. Speed King - 08.28 [Osaka 15 August 1972]
08. Black Night - 08.01 [Tokyo 17 August 1972] 
09. Lucille - 09.03 [Osaka 16 August 1972]

Part 1: Made in Japan
Part 2: Made in Japan
Part 1: Made in Japan
Part 2: Made in Japan
Part 1: Made in Japan
Part 2: Made in Japan

Saturday, 1 April 2017

Evensong - Selftitled (Great Folkrock UK 1973)

Size: 107 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The first official re-release of this album, with sound taken from the original master tapes and adding six bonus tracks. Evensong's self-titled album nowadays is a high-prized UK folk-pop artefact, originally released in 1973 to critical acclaim and strong sales. The duo's fragile, harmony-drenched songs are given instrumental muscle by seasoned session players Clem Cattini, B.J. Cole and Herbie Flowers, and ornate string arrangements courtesy of former Spencer Davis Group guitarist Ray Fenwick.

Evensong were a British Folk Baroque duo with a psychedelic edge, similar to Heron. They toured for three months in America after they recorded their only album. 

Evensong is a similar to the likes of Magna Carta or Strawbs mixed with American and Australian duo songwriter folk in a more British way and with more solo lead vocals, with one Christian song and with one theme inspiration on country folk. This is harmonious folk-pop for which their name Evensong, -which is an Anglican expression for evening prayer-, should describe the aspect of a pastoral softness in their music. One of the two musicians, the British born Michael Lawson had a first life in American rock'n roll touring and playing support acts for American bands and singers in Birmingham, like with a band called The Grasshoppers. After having played with few more bands like The Shanes, The D'Fenders, The N'Betweens and Varsity Rag when the last band split, Evensong was formed as a new inspiration and direction.

The first track immediately sets the tone strongly with a warm voice, acoustic pickings and a full orchestral lush sweetness (strings and clarinet arrangements) benefiting the song, not forgetting the harmony vocal accents finishing touch. This is the track closest to folk-pop acts Magna Carta and the likes. The uptempo humtump electric “I was her cowboy” shows the American interest, and is somewhat out of its place against the other tracks, it does places the songwriter with his logical step in the other direction. The slightly melancholic but strongly focused next song, “Store of Time” is accompanied by nothing else but acoustic guitar but has also a few electric slide accents. “Story Of Time” sounds more psychedelic with its tam tam percussion, its melancholic flute theme with triangle arrangements added to the dual vocals with guitar. 

The next beauty, “Smallest man in the world”, has again more orchestral harmonies, comparable to the opener, with the inclusion of some flute. The next Christian song has a beautiful Bert Jansch-like guitar arrangement, congas and some electric guitar. 

The singing reminds me a bit of Cat Stevens here. With more drumming and electric guitar this has similar pop/rock strength too, again with well focused songwriting. “Borderline” is again a strong song, with all the right musical harmonies and arrangements to make this work perfectly. With strong drumming accents and very classical baroque orchestrations this is just wonderful and need to be heard. “Rum Rummer” has a little more up tempo and strong harmony vocals and more orchestrations. The last track is a melancholic guitar led song.

Surprisingly six bonus tracks were added of which 3 were recorded in the studios around the same time, and two came from their off-LP 1973 single. “Home Made Wine” for instance is with similar harmony vocals and acoustic/electric guitars but is rockier. Also here the American influence and accent is more dominant. These tracks still fit, but direct often towards a more (American) East Coast feeling.

In the mid 60s Mike Lawson played in Rock & Roll bands in Birmingham (The Shanes, The D'Fenders, The N'Betweens, Varsity Rag), supporting American bands and singers on tour. Tony Hulme worked as a ballad singer in the Manchester club circuit (named "Mr. Manchester") due to his stage show. Tony Hulme died in 2010.

01. Dodos and Dinosaurs - 03.50
02. I Was Her Cowboy - 03.18
03. Store of Time - 03.35 
04. Gypsy - 02.38
05. Smallest Man in the World - 03.38
06. Take Your Son to Church Mother - 04.47
07. Borderline - 03.02
08. Firefly - 02.40
09. Rum Runner - 03.50
10. Sweetbriar Road - 04.02

Bonus Tracks
11. Homemade Wine  [Unreleased CBS Studios 1971] - 02.59
12. Reaching Out for Someone  [Unreleased CBS Studios 1971] - 02.52
13. Wooden Wheels  [Unreleased CBS Studios 1971] - 04.32
14. Tell Me a Story  [Unreleased CBS Studios 1971] - 2.22
15. Dance Dance Dance [Phillips Single 1973] - 02.46
16. Romeo [Phillips Single 1973] - 03.41

1. Evensong
2. Evensong
3. Evensong

Thursday, 30 March 2017

Tamam Shud - Evolution (Great Aussie Psychedelic Rock 1969)

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

In the late '60s, director Paul Witzig traveled the globe, 16mm camera in tow, shooting silent footage of some of Australia's top surfers on the shores of North Africa, Puerto Rico, France and Portugal, as well as in locations all over their homeland. The end result was Evolution, and though the IMDb doesn't list any Witzig works outside of being a camera operator on Bruce Brown's classic surf documentary The Endless Summer, enthusiasts of the sport tell a remarkably different tale.

Evolution is thought of by aficionados as one of the crucial surf films for a few reasons chief among them the lack of dialogue, and how Witzig allowed the skill of his subjects and the depth of its soundtrack to guide the narrative. As one of the bands contracted for its soundtrack, Tamam Shud created an album's worth of material, composed to projections of the raw footage Witzig collected on his shoots. It's not a film Ive seen, nor is it readily available outside of VHS bootlegs, but if the music here is any indication, I'm sold.

Tamam Shud (meaning 'the end' in Persian, so claims their liner notes) existed in an earlier incarnation as the Sunsets, and frontman Lindsay Bjerre had been commissioned to write original music for Witzig's previous surf doc, The Hot Generation. The nature of this working relationship must have been a trusting one, as it's hard to imagine a whole film playing out to hard psych this undeniably cool. Bjerre's band (Zac Zytnik on guitar, Peter Barron on bass, and drummer Dannie Davidson) were joined in the studio by Peter Lockwood and Michael Carlos of the band Tully, whose group's music also appeared in Evolution. Though their music sounds a bit out of the moment for its 1969 studio date, its blues structures and full, lively arrangements survive any sort of serious aging for all but the most detail-oriented collector.

Chunks of Australia's underground rock history are only now becoming known to world audiences, with Aztec's dynamite reissue series, and long-rumored compilations by early Lobby Loyde groups like the Wild Cherries coming to the fore. That said, there doesn't seem to be much historical mention of Tamam Shud, even in the collectors' niches of record, and no earlier reissues barring a Radioactive label offering of dubious legality. Evolution should do well to right that wrong. This is an astounding, wild, free sounding album, steeped in the Beatles and Hendrix in just the right ways, much as it is with inspiration from the sun, surf and sand & the sand especially, as the organic and gritty production of Evolution gives the feeling of granular, between-the-toes crunch. The big, rounded, feedback-studded fuzz on the guitars here is astounding, with a hollow-body or possibly acoustic origin that works its way into the composition of slow, evocative minuets like 'I'm No One' and 'Jesus Guide Me, & and billows throughout the heart and veins of the harder tracks that surround them.

There are plenty of mistakes in the playing, but somehow they only add to the character of these tracks, which flow out of the performers as easily as breath. Songs sound as if they'd just been written, as melodies climb the scales with trepidation before locking into bass runs and expressive, lyric soloing. Bjerre's clear, high tenor, which counts off most of the songs here, fits impressively alongside the guitar tones, with a bit of a yodeling quality in spots that puts him in the class of belters like Family's Roger Chapman, but with a more palatable, less manic range. 

He's still able to break off a scream or two, but that's not where he's heading, so when it does happen, it makes the moment that much more righteous. Moreover, he knows when to hold back and let the guitars do the talking, as graceful lines open their parachute into tastefully wild psychedelic scatter. As a group, their album plays out as effortless, beatific rock, a successful and non-excessive jam session with incredible character and one-of-a-kind surge, even going as far as to imbue surf guitar with more modern, even progressive, influences, as the tension created in album closer 'Too Many Life' suggests.

This Japanese papersleeve reissue of Evolution, part of EM Records' surf soundtrack series, includes 1971s Bali Waters EP, three cleaner songs with the progressive tack reaching to the fore. Bjerre sounds as strong as he did on the album, but the band is a little more reined in, with a polish that still evokes a surfborne spirit. These three tracks are fine, but not as gloriously blasted out as the album, as if the group was waiting for their career to foment. Still, it's not a bad way to finish off such a satisfying album, a true surprise in a time where hundreds of psych reissues of almost random quality surface at ridiculous prices. It's nice to roll with a winner now and again.

Line-up Musicians
Dannie Davidson - drums
 Zac Zytnic - guitars
 Lindsay Bjerre - guitars, vocals
 Peter Barron - bass

01. Music Train (03:52)
02. Evolution (02:45)
03. I'm No One (02:08)
04. Mr. Strange (02:34)
05. Lady Sunshine (04:39)
06. Falling Up (02:48)
07. Feel Free (03:12)
08. It's a Beautiful Day (02:53)
09. Jesus Guide Me (03:53)
10. Rock on Top (02:49)
11. Slow One and the Fast One (06:58)
12. Too Many Life (03:04)

Bonus Tracks "Bali Waters EP (1972)
13. Bali Waters [Bali Waters EP 1972] (06:14)
14. Got a Feeling [Bali Waters EP 1972] (02.37)
15. My Father Told Me [Bali Waters EP 1972] (03:47)

1. Tamam Shud
2. Tamam Shud
3. Tamam Shud