Sunday, 20 October 2019

Hey!, Not to be missed: Nixon Now - Solution Revolution (The Stooges Alike Retro-Sound Germany 1999)

Size: 125 MB
Bitrate: mp3
Ripped by: ChrisGoesRock
Some Artwork Included

Solution Revolution snarls like early Stooges, time tripping back to a time when Detroit had the most dangerous Rock and Roll music on earth. Full robust Iggy on steroids kinda sound - rips like stonerrock on speed with a growling groove driving home thee irresistable power of loud, forcerful uptempo and heavy Rock and Roll fury. 

This is one German band that definetly knows how to put the jackboot into some butt. I can't get enough of Andi Schmidt's nasal sneering vocals belting out the most incredible rock life lyrics. Pure punk legend stuff. Every song is a killer. Get ready to be nixonized.

Nixon Now. "Solution: Revolution" tunnels deep into the black heart of it all, the burning napalm, the hippie death cults, and all of it lorded over by a Motor City grind of twisted metal and wounded howls. Yeah, the MC5. 

The Stooges. But not in the lo-fi, pseudo-blues New York fake-out or the pill bottle trip and drone way you're used to, oh no. Nixon Now are Super Rockers, after all. Brothers and sisters, bring this record and as many flame throwers as your muscle car can carry, because it's gonna be a long, black night.

If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now. 

There's so much fuzzed-out, punked-up riff-crazy power that you'll feel like brother Wayne Kramer or Fred "Sonic" Smith, whirling with their guitars like dervishes at an early MC5 show, convinced that rock was going to change the world and that the lifestyle would simply PREVAIL.

01. 1999 03:01
02. Into The Nixon 03:49
03. Make My Day 01:54
04. I´ve Been Around 03:43
05. Do The Strand 02:43
06. U.C.P. 02:00
07. Ann Arbor 01:38
08. Sick Me 02:44
09. Addicted To Love 04:02
10. The Solution 05:25
11. Don`t Want You 02:59
12. More Ann Arbor 02:00
13. The Politician 03:12
14. Altamont Rose 03:40
15. Sympathy For Meredith 07:42

1. Nixon Now
2. Nixon Now
3. Nixon Now

Time For Old Classic: Crosby, Stills, Nash & Young - Déja Vu (Classic Album US 1970)

Size: 79.1 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Woodstock", "Teach Your Children", and "Our House".

Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group, who at the time remained largely unknown to the general public. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays harmonica on the title track.

Four singles were released from the album with all but the last, "Carry On," charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu — Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners. 

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. 

There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. 

"Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. 

"Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. 

And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. 

Recorded July - December, 1969 at Wally Heider's Studio C, San Francisco and Wally Heider's Studio III, Los Angeles.

Released March 11, 1970

David Crosby — vocals all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair," "Woodstock," "Déjà Vu," "Country Girl," and "Everybody I Love You"

 Stephen Stills — vocals all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On," "Helpless," "Woodstock," and "Déjà Vu"; bass on "Carry On," "Teach Your Children," and "Déjà Vu"; percussion on "Carry On"

 Graham Nash — vocals all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair," "Woodstock," "Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children"

 Neil Young — vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair," "Helpless," "Woodstock," "Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl"

Additional personnel:
 Dallas Taylor — drums; tambourine on "Teach Your Children"
 Greg Reeves — bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Our 
   House," "Country Girl," and   "Everybody I Love You"
 Jerry Garcia — pedal steel guitar on "Teach Your Children"
 John Sebastian — harmonica on "Déjà Vu

01. "Carry On"  Stephen Stills  04:26
02. "Teach Your Children" Graham Nash  02:53
03. "Almost Cut My Hair" David Crosby  04:31
04. "Helpless" Neil Young  03:33
05. "Woodstock" Joni Mitchell  03:54
06. "Déjà Vu" David Crosby  04:12
07. "Our House" Graham Nash  02:59
08. "4 + 20" Stephen Stills  02:04
09. "Country Girl (Whiskey Boot Hill/Down Down Down/"Country Girl" (I                Think You're Pretty)" Neil Young  05:11
10. "Everybody I Love You" Stephen Stills, Neil Young  02:21

1. Déja Vu
2. Déja Vu
3. Déja Vu

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German Single 1970

Cross Country - Selftitled (Great Rock Album US 1973)

Size: 77 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included

Cross Country is a band formed in 1973 by three fourths of the musical group The Tokens- Jay Siegel, Mitch Margo and Phil Margo. The group released one self-titled album.

Compared to those who know about Intercourse by The Tokens, only few will know about this hidden gem. Somehow hidden away by Atlantic Records, this may be the most incredible effort ever by Phil and Mitch Margo, and Jay Siegel of the original "The Tokens" who helped create the smash hit The Lion Sleeps Tonight in 1961. If you can find a Cross Country CD consider yourself lucky! If you can find a vinyl you might want to check it into a museum. There are very few originally issued. These are gorgeous, haunting and original songs mostly by Mitch Margo, the mastermind behind Intercourse.

Fantastic album. Harmony vocals are very reminiscient of the Beach Boys but with a subtle touch of country music. Don't know anything about these guys, but it's a shame they didn't make any more records. The song titles may lack imagination, but the music more than makes up for it. I'm a huge 70s country rock fan, & though I wouldn't call this country rock, it gets regular plays @ my house right between The Band, Byrds & Burritos.

Cross Country are a bit like Crosby Stills Nash & Young, at least in the tight harmonies and rural folky hippie rock they produce. Nice laid back sip on iced tea and smoke some herb type o' stuff. Every now and then they do give rocking out a shot so it's not all mellow. 

This was released in 1973 on Atco records and is their only LP. 

01. Today - 2:52
02. Just A Thought - 3:22
03. Cross Country - 3:49
04. In The Midnight Hour - 3:16
05. Thing With Wings - 4:35
06. Tastes So Good To Me - 3:13
07. A Fall Song - 2:48
08. Choirboy - 3:18
09. A Ball Song - 2:52
10. A Smile Song - 4:26

1. Cross Country
2. Cross Country
3. Cross Country

German Single 1973

Saturday, 19 October 2019

Creedence Clearwater Revival - Live At Woodstock 1969 (Rem. 2019)

Size: 129 MB
Bitrate: 320
Found in DC++ World
Artwork Included

Creedence Clearwater Revival didn't think much of their set at Woodstock. Irritated by being pushed into the midnight slot by a series of misadventures they'd blame on the Grateful Dead, they wrote off their performance, not appearing in either the film or its accompanying soundtrack. Five decades later, they acknowledged the pull of history, consenting to having their set be part of Rhino's mammoth complete set Woodstock: Back To The Garden and also allowing it to be released by Craft Recordings. 

Listening to the nine-song concert in either context, it's bewildering to think that this was dismissed by anybody involved with the band. Throughout their hour, CCR sounds ferocious, tearing through their hardest material, playing "Born on the Bayou," "Green River" and "Bootleg" with a nasty edge. The hardness of their choogle is a bit of a revelation, as the band sounds fiery in a way that they don't on any of the officially-released Creedence live recordings. 

If CCR stuck to their hits, it'd be one thing, but the band gains momentum as their hour proceeds. Once they play an apocalyptic "I Put A Spell On You," they've set themselves up for a conclusion where they land on two mesmerizing ten-minute concluding jams. "Keep on Chooglin'" and "Suzie Q" stay mean through their long jams, leaving the question hanging: if this was Creedence Clearwater Revival on an average night, what on earth did they sound like on a great one?

Live at Woodstock is a 2019 live album slated for release on August 2, 2019 via Fantasy Records. The set documents swamp rock band Creedence Clearwater Revival's set at 1969's Woodstock.

Recording and release
Creedence Clearwater Revival was the first act to sign a contract for August's Woodstock festival in April 1969, for $10,000 (equivalent to $68,000 today). Given their late start time and omission from the Woodstock film (at John Fogerty's insistence), Creedence members have expressed bitterness over their experiences regarding the festival.

In 1994, "Commotion", "Green River", "Ninety Nine and a Half (Won't Do)", and "I Put a Spell on You" appeared on Woodstock: Three Days of Peace and Music and for the 40th anniversary home video release of the film, the band allowed the inclusion of "Born on the Bayou", "I've Put a Spell On You", and "Keep On Chooglin". This album also coincides with a 38-disc box set from Rhino Records compiling the entire festival, Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive.

When Creedence Clearwater Revival took to the stage at Woodstock, they were seven months into a year that will probably never be equalled. Bayou Country was released at the beginning of 1969, Green River had come out a couple of weeks earlier, and Willy And The Poor Boys would follow in December. 

That's three classic albums in a 12 month stretch that spawned eight US hits, and Woodstock should have been the crowning glory. But John Fogerty, who'd claimed that his band were the best in the world in the build-up, wasn't happy with the show and pulled the band's performance from both the soundtrack and the film.

Fifty years on, it's difficult to fathom what his problem might have been. Apart from the occasional extended gap between songs and the sloppy start to the opening Born On The Bayou, it's Peak Choogle. 

The recording is great, Fogerty's in fine voice throughout, the hits keep coming, and when the band slip into those chugging grooves they're emphatically fierce. I Put A Spell On You is even more ominous than the recorded version, and the 20 minutes given over to Keep On Chooglin' and Suzie Q as the set climaxes are flat-out intense. 

01. "Born on the Bayou" – 05:34
02. "Green River" – 03:16
03. "Ninety-Nine and a Half (Won’t Do)" (Steve Cropper, Eddie Floyd, Wilson Pickett) – 04:46
04. "Bootleg" – 03:38
05. "Commotion" – 02:48
06. "Bad Moon Rising" – 02:13
07. "Proud Mary" – 03:52
08. "I Put a Spell on You" (Jay Hawkins and Herb Slotkin) – 04:28
09. "The Night Time Is the Right Time" (Lew Herman) – 03:30
10. "Keep on Chooglin’" – 10:29
11. "Suzie Q" (Eleanor Broadwater, Robert Chaisson, Dale Hawkins, and Stan Lewis) – 10:52

1. Creedence
2. Creedence
3. Creedence

Saturday, 21 September 2019

Mother Upduff - Tales of Tangle (Great Psychedelic Rock US 2013-18)

Size: 177 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

We are excited to present our first 5 years of recordings, not as a compilation of singles but as one cohesive full-length album. 

When Nasoni Records approached us with the concept of a collection, my knee-jerk reaction was to drag all the files in the "Mother Upduff Masters" folder and send away. After a few scrupulous listens however, I felt it wouldn't hurt to adjust the levels between each song before remastering for the vinyl. Backwards it spiraled from there. 

A few months later we have 20 tracks ( 19 on vinyl ) completely remixed and remastered to map a progression within an album rather than an era. To obtain an audible common ground : some songs were cleaned and decluttered whereas others were crowded and muddied, room mics were turned up, takes were swapped, entire instrument sections were muted / unmuted, and the tape bias ran hot on the master. 

Alongside each single comes 3 unreleased songs from an unheard but fruitful period when Eirik Hutchinson joined Mat and I for the first time. Before Erik Mulder brought his skills to our last recordings, Eirik Hutchinson played a huge part in taking our sound out of the two-piece rut. That first season of sonic expansion can now be heard in Transient ( Electric ), The Rover, and Mexico. Contrary to the track placement of our 4th unreleased song, The Priestess was actually our last tune recorded before a brief hiatus. 

Now with past and present members playing together, Mother Upduff is continuing with a philosophy that mirrors the construction of this album. Each track was dissected and altered according to it's relationship towards the rest, similar to how we have always played for each other first, the individual second, and those listening last.

01. Grave Robbers 03:06
02. Transient ( Acoustic ) 02:12
03. The Captive 06:53
04. Philistine Blues ( Take II ) 02:28
05. Tempest 03:29
06. Pest 04:00
07. Mud 02:21
08. Paced 03:07
09. Passerby 05:14
10. Fire 02:43
11. Transient ( Electric ) 02:46
12. The Rover 03:21
13. Mexico 02:28
14. Bloom 04:05
15. Spellbound 02:35
16. The Priestess 05:53
17. Algos Train 05:03
18. Concept & Scope 05:57
19. Parnassus Drive 02:44
20. The Apologist 04:08

Part 1: Mother Upduff
Part 2: Mother Upduff
Part 1: Mother Upduff
Part 2: Mother Upduff
Part 1: Mother Upduff
Part 2: Mother Upduff

Wednesday, 18 September 2019

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

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

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

Marc Benno brought a treasure for his Japanese fans!

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

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

This historic document seems to have escaped the attention of all but the most hardcore and curious Stevie Ray Vaughan fan. The story goes like 1973, Texas singer, songwriter, guitarist, and piano player Marc Benno had spent better than a decade as an all-star studio pro, lending his talents to recordings by folks like Rita Coolidge and the Doors. 

Benno recorded a pair of albums with friend and fellow session-player Leon Russell as the Asylum Choir, Benno subsequently launching his solo career with a self-titled album in 1970, Russell hooking up with singer Joe Cocker before discovering mid-decade stardom.

Benno had put together a Texas-styled blues-rock band that included bassist Tommy McClure (who had played with Coolidge and Jim Dickinson, among others), drummer Doyle Bramhall, keyboardist Billy Etheridge, and a hot-shot young guitarist by the name of Stevie Vaughan (the "Ray" would be added later). 

Benno and the Nightcrawlers were managed by rock 'n' roll heavyweight Dee Anthony, and put on tour opening for the J. Geils Band and Humble Pie (which featured its own hot-shot fretburner in Peter Frampton). 

Benno and the band recorded what was to become their debut album for A&M Records, but when the label soured on blues-rock, Crawlin – which included Vaughan's first recordings – was put on the shelf and remained unreleased until 2009 when Blue Skunk Music resurrected the album.

As shown by the funky album-opening "Last Train," Benno had his finger firmly on the pulse of the soul-and-blues-infused rock sound of the early 1970s, the song's foot-shufflin' beat paired with twangy, chicken-scratched guitar solos and a chaotic mix that works in spite of the mess of instruments. 

By turns, the New Orleans-flavored "Coffee Cup" sounds like Dr. John, Benno's growling vocals and spry piano-pounding displaying the undeniable musical link between Texas blues and Louisiana's more jazz-influenced style.

The lively "Take Me Down Easy" mines turf similar to what Delaney and Bonnie and Friends were exploring at the time, cleverly mixing blues, rock, gospel and country into an inspired whole, some hot guitar licks sizzling in the background beneath Benno's energetic honky-tonk piano and an overall spirited instrumental jangle. 

Running in the other direction, "Hot Shoe Blues" blends a 1940s-styled jump-blues aesthetic with rollicking keyboards, red-hot guitar runs, and mile-a-minute echoed vocals to create an exhausting and entertaining musical romp. The title song is virtually an instrumental, barely-audible gang-vocals rising and falling beneath an innovative soundtrack that displays some of Stevie Vaughan's early talents.

Benno considered Stevie Ray Vaughan (or "Little Stevie" as he was often known at the time) to be the Nightcrawlers' secret weapon, a young guitarist of unusual skill and vision that could liven up any performance with his instrument. Crawlin includes four "bonus tracks," songs cut by Benno in anticipation of a solo release that would feature Vaughan's maturing guitarplay at its center. 

Using a variety of L.A. session pros and friends like bassist Lee Sklar, drummer Russ Kunkel, and keyboardists Gordon DeWitty and Mike Utley, these songs add more of a pop sheen to Benno's writing while not forsaking the artist's blues foundation.

"Friends" is a gospel-tinged soft-rocker that features some beautifully emotional Stevie Ray slide-guitar licks alongside Benno's testifying vocals and gentle piano play. By contrast, "Whole Thang" is a short, sharp shocker with scorching guitar solos riding low in the mix, Benno's bouncy electric piano creating an irresistible melody on top of which Vaughan weaves his magic; given a proper release in the mid-1970s, the song could have been a big hit and brought SRV to stardom that much quicker. 

"World Keeps Spinnin" is another Dr. John soundalike, with bits of sharp guitar and an underlying funky heartbeat while "Long Ride Home" is a dark, rich instrumental track and the stand-out on Crawlin, Vaughan and Benno swapping guitar licks while the band choogles along in the background with a rock-solid rhythm.

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

While the earlier material on Crawlin, quite honestly, wasn't ready for primetime...I'll blame it on sub-par production that seemingly robs the performances of their edge and vitality...there's no doubt that Benno and the Nightcrawlers were on to something, and listening to these songs today one can't help but wonder what might have been. You'll find the material to be representative of the era of its creation, entertaining but not particularly innovative, and of interest mostly to hear Benno's underrated piano playing and Stevie Ray's first tentative steps towards blues-rock stardom.

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

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

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

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

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

1. Marc Benno
2. Marc Benno
3. Marc Benno

Joe Soap - Keep it Clean (Very Good Progressive Rock, UK 1973)

Size: 77.9 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster 

Excelent UK Progressive Folk Rock obscurity, which also should be enjoyed by fans of US Westcoast. Great album, featuring fantastic guitarwork by one of the most underrated 70's guitar players, the late Jimmy McCulloch (Thunderclap Newman, Stone The Crows, Wings...), as well as excellent violin solos by Mik Kaminski (ELO) and of course great songwriting by John Tennent and David Morrison.

Joe Soap were a band comprising of John Tennent and David Morrison. They had previously released one album prior to using this name, “Tennent / Morrison” (Polydor 1972).

Their second album, (and only one as Joe Soap) “Keep It Clean” (Polydor 1973) enhanced this core lineup with contributions from Jerry Conway (Jethro Tull), Jimmy McCulloch (Stone The Crows), Mike Kaminski (ELO) and Jeff Pearce. Itwas produced by Sandy Robertson.

Joe Soap was a band comprised of John Tennent and David Morrison. Their second album, "Keep It Clean" (as Joe Soap) (Polydor 1973) featured Jimmy McCulloch (guitar, Stone the Crows) Jerry Conway (drums, later in Jethro Tull) and Mike Kaminski (violin, from ELO). The album features ten tracks composed by John and David with help of Sandy Roberton (producer). 

Two guys with rather thick but fascinating voices diffuse strong masculine beauty in all tracks. In addition to it, a mastermind violinist Mik Kaminski's scattering violin features on most of the tracks especially on Feel Strange and On The Wing are just superb. 

Jimmy McCulloch's intense guitar domains on every track as well. Overall, the album is an awesome combo set of typical British rock classics with strong American southern rock flavor. Both "Tennent & Morrison" and "Keep it Clean" are now extremely rare and occasionally surface on the collectors' market, both fetch around §500 for "Tennent & Morrison" and §250 for "Keep it Clean"

♣ John Tennent: Guitar, Vocals 
♣ Dave Morrison: Bottleneck, Vocals 
♣ Jimmy McCulloch: Guitar 
♣ Jerry Conway: Drums 
♣ Jeff Pearce: Bass 
♣ Mik Kaminski: Violin

01. Talkin' 'Bout You
02. Warning Sign
03. Lay It on Me
04. Whatever the Song Is Now
05. Get Out From Under
06. Feels Strange
08. On the Wing
09. Time
10. All Out Now
11. Birdman


Wednesday, 4 September 2019

Sir Douglas Quintet - The Tribe Recordings 1964-77

Size: 348 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

In case Westside's single CD Best of the Sir Douglas Quintet wasn't good or full enough for you, the label has issued this two-hour-long, double-disc 41-song compilation, drawn from their 1964-66 output on Tribe Records, with sides dating from the 1977 catalog-spanning album Tracker. The convergence of influences is fascinating, a meld of some derivative (but entertaining) British Invasion-based sounds and Doug Sahm's more diverse, bluesy/country-ish solo sides. Considering the high quality of the sound and the excellent essay by John Lomax III, it's surprising that the makers didn't include more release and discography information, especially since the material isn't in recording or release order. Still, it's an excellent overview of Sahm's output and the range of his music, and transcends the hits for those who care to make that leap.

Arguably the greatest and most influential Tex-Mex group ever, the Sir Douglas Quintet epitomized Texas' reputation as a fertile roots music melting pot and established the career of Tex-Mex cult legend Doug Sahm. The Quintet mixed country, blues, jazz, R&B, Mexican conjunto/norteño music, Cajun dances, British Invasion rock & roll, garage rock, and even psychedelia into a heady stew that could only have come from Texas. Although they went largely underappreciated during their existence (mostly in the '60s), their influence was far-reaching and continues to be felt in Texas (particularly the similarly eclectic Austin scene) and beyond; afterward, Sahm embarked on a frequently fascinating solo career and reunited with the Quintet or its individual members several times over the years.

According to legend, the Sir Douglas Quintet was the brainchild of Houston producer Huey P. Meaux, who at the height of the British Invasion took a stack of Beatles records into a hotel room and studied them while getting drunk on wine. He found that the beats often resembled those of Cajun dance songs and hit upon the idea of a group that could blend the two sounds well enough to fool Beatles fans into giving a local band a chance. Doug Sahm, meanwhile, had been something of a childhood prodigy as a country artist -- he turned down a spot on the Grand Ole Opry in order to finish junior high and performed on-stage with Hank Williams. Sahm had made Meaux's acquaintance while leading a series of bands around San Antonio in high school and wanted to work with him. Meaux told Sahm his idea and Sahm quickly formed a band featuring childhood friend Augie Meyers on organ, bassist Jack Barber, drummer Johnny Perez, and percussionist Leon Beatty (who didn't stick around for too long); saxophonist Frank Morin was added after a short time. Meaux gave them the deceptively British-sounding name the Sir Douglas Quintet and released their debut single, "Sugar Bee," on his Pacemaker label in 1964; it flopped. 

However, their next single, the British Invasion/garage-flavored "She's About a Mover" (on a different Meaux label, Tribe), became a classic of Tex-Mex rock and an international hit, climbing into the U.S. Top 20 in 1965. Later that year, "The Rains Came" hit the Top 40 and Meaux assembled an LP from their singles sessions with the misleading title The Best of the Sir Douglas Quintet. The group toured the United States and Europe, but upon returning, they were arrested at the Corpus Christi airport for possessing a tiny amount of marijuana. Feeling targeted for his long hair and hippie image, Sahm decided to break up the band upon his release from jail, and moved to San Francisco in early 1966; Morin tagged along.

Once in San Francisco, Sahm formed a new version of the Sir Douglas Quintet featuring Morin, keyboardist Peter Ferst (who was quickly replaced by Wayne Talbert), bassist John York (later of the Byrds, soon replaced by Whitney Freeman), and drummer George Rains; most of them were Texas expatriates as well. The new Sir Douglas Quintet gigged regularly around the Bay Area and signed with the Mercury subsidiary Smash. Their first album, Sir Douglas Quintet + 2 = Honkey Blues, was recorded with several extra horn players as the Sir Douglas Quintet + 2 and released in 1968; however, it lacked Augie Meyers' signature organ sound. Rains and Talbert soon left to concentrate on other projects and Sahm convinced Meyers and Johnny Perez to move up from Texas; they brought Meyers' old bandmate Harvey Kagan with to be the bassist.

With almost all of their original members, the Sir Douglas Quintet recorded one of their finest albums, 1969's Mendocino; the title track became a Top 40 hit and a Tex-Mex rock staple and the whole record fit in very well with the emerging country-rock hybrid. Moreover, it made the group extremely popular in Europe, where they would retain a fan base for many years to come. Together After Five followed in 1970, after which the group switched to a different Mercury affiliate, Philips. Also released in 1970, 1+1+1=4 featured members of both the Texas and California lineups of the Quintet, plus new bassist Jim Stallings. It was perhaps a sign that much of the group was beginning to drift into other projects again. Without Sahm, the remainder of the Quintet recorded an album for United Artists called Future Tense; several members also backed Gene Vincent as the Amigos de Musica. A homesick Sahm finally returned to Texas in 1971 and the Sir Douglas Quintet officially disbanded in late 1972, though some of its members -- Meyers in particular -- would continue to work with Sahm frequently during his solo career.

After being ignored by Mercury, Sahm signed with Atlantic as a solo artist; in the wake of Atlantic's promotional push, Mercury issued an album of unreleased Sir Douglas Quintet tracks, called Rough Edges, in 1973. This was the last new Quintet album for some time, until Sahm, Meyers, and Perez re-formed the group at the dawn of the '80s, along with new guitarist Alvin Crow and new bassist Speedy Sparks. 

They signed with the Chrysalis subsidiary Takoma and released the album Border Wave in 1981, which fused their eclectic Tex-Mex rock & roll with the concise pop sound of new wave (as Joe "King" Carrasco had been doing).

Crow left prior to the supporting tour to work with his own band and was replaced by Louie Ortega; once again, the Quintet proved more popular in Europe, especially Scandinavia, than in their own country. They recorded for the European Sonet label during the '80s and Takoma occasionally released Quintet material as well. 

They scored an enormous Swedish hit with "Meet Me in Stockholm," though the accompanying album wasn't released in the U.S.; by 1985, the group had broken up again. Sahm and Meyers formed the Tex-Mex supergroup the Texas Tornados with Freddy Fender and Flaco Jimenez at the end of the decade and in 1994 presided over a one-off version of the Sir Douglas Quintet that featured Sahm's sons Shandon (drums) and Shawn (guitar). In November 1999, Sahm died of a heart attack.

Disc One
01. She's About a Mover 2:23
02. The Rains Came 2:15
03. T-Bone Shuffle 3:06
04. Oh What a Mistake 2:10
05. The Tracker 2:35
06. Nuevo Laredo 2:43
07. Image of Me 3:03
08. In the Pines 2:25
09. Ain't Nothing Wrong With You Baby 3:19
10. When I Sing the Blues 2:30
11. In the Jailhouse Now 2:25
12. One Way Out (It's a Man Down There) 3:16
13. We'll Take Our Last Walk Tonight 2:46
14. Wolverton Mountain 4:01
15. Son of Bill Baety 4:48
16. In Time 2:16
17. Please Just Say No 2:26
18. She Digs My Love 2:46
19. You Got Me Hurtin' 2:14
20. You've Got Your Good Thing Down 1:33
21. Philadelphia Lawyer 2:15
22. Sugar Bee 2:20
23. Seguin 2:46

Disc Two
01. Hot Tomato Man 2:18
02. Bacon Fat 2:25
03. Blue Norther 2:17
04. Dallas Alice 3:13
05. Just a Teeny Bit of Your Love 2:05
06. Quarter to Three 1:46
07. She's Gotta Be Boss 2:11
08. Isabella 2:33
09. You're Out Walking the Streets Tonight 2:17
10. Medley: Linda Lu / Country Girl 7:03
11. Medley: One Too Many Mornings / Sing a Happy Song 5:07
12. Beginning of the End 2:59
13. Revolutionary Ways 2:30
14. The Change Is in the City 3:07
15. Time Changes Everything 2:00
16. You're Mine Tonight 5:49
17. Blues Pass Me By 2:54
18. Funky Side of Your Mind 8:36

01. Roll Over Beethoven (Buffalo NY 1990)  02:06
02. You´re Gonna Miss Me (Buffalo NY 1990)  06:18
03. Just Like Tom Thumb´s Blues (Buffalo NY 1990)  04:48
04. Doug Sahm - Bad Boy (Gypsy Tea Room, Dallas 1988)  06:14
05. Doug Sahm - Lucille (Gypsy Tea Room, Dallas 1988)  03:47
06. Doug Sahm - Golly Gee (Gypsy Tea Room, Dallas 1988)  03:25

Part 1: Sir Douglas
Part 2: Sir Douglas
Part 3: Sir Douglas
Part 1: Sir Douglas
Part 2: Sir Douglas
Part 3: Sir Douglas
Part 1: Sir Douglas
Part 2: Sir Douglas
Part 3: Sir Douglas