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Thursday, 11 February 2021

Jim Ford - Harlan County (Rare US Country-Soul-Funk 1969) <<------------- Not to be missed!


Size: 145 MB
Bit Rate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included

Originally from New Orleans, Jim Ford lost interest in his academic pursuits and, in 1966, drifted out to California. He was passing through L.A., on his way to the Haight-Ashbury district in San Francisco, when he met two session musicians, Pat and Lolly Vegas. The Native American rockers — who later formed the commercially successful Redbone — had worked on the Shindig television show at the time, and had already recorded their Pat and Lolly Vegas at the Haunted House album for Mercury. After hearing his songwriting talent first-hand, the Vegas brothers brought Ford to the attention of Del-Fi Records' honcho Bob Keane, known around the L.A. music scene for his "open door policy." Keane released a couple of Ford's singles on Del-Fi's Mustang label, both of which sank without a trace. Del-Fi/Bronco recording artist Viola Wills also recorded one of his songs. Along with Pat and Lolly Vegas, Ford wrote the P.J. Proby hit "Niki Hoeky" (it peaked at number 23 on Billboard's pop charts in January 1967), which Ford's former girlfriend Bobbie Gentry also sang on one of her later albums. In 1969, Ford got the opportunity to record his debut album. Harlan County (released on the Sundown label, a small subsidiary of White Whale) featured funky, mid-tempo country, and R&B-flavored rockers with a driving Muscle Shoals-style rhythm section, with backing and arrangements by the Vegas brothers and Gene Page. 

Most of Ford's original songs had a lyrical narrative recalling the hardship of growing up in the coal-mining country of Harlan County, KY. Among the various highlights are his fuzz-drenched cover version of Willie Dixon's "Spoonful," his take on Delaney & Bonnie's hip-shake boogie "Long Road Ahead," and a remake of the swampy classic "I'm Gonna Make Her Love Me ('Til the Cows Come Home)." In 1971, Ford's manager, Si Waronker (founder of Liberty Records), flew his artist to London, where he was booked into Olympic Studios to record a follow-up album. This time he was backed by pub rockers Brinsley Schwartz (they later recorded "Niki Hoeky" and Ford's "Ju Ju Man"; Nick Lowe also recorded Ford's "36 Inches High" for his Jesus of Cool album). After three days of sessions, the band failed to keep up to the challenge of backing Ford, so Waronker brought in Joe Cocker's Grease Band, but they too didn't work out. As the project never did quite meet up to everyone's expectations, it was eventually aborted. The tapes for these sessions have reportedly disappeared. 

Ford returned to the U.S. and his career never really took off as expected. He wrote songs for Bobby Womack in 1972 (including the wonderful "Harry Hippie"), and later worked with friend Sly Stone (he even moved into Stone's Holmby Hills home for awhile), but since the early '70s, Ford has slipped out of sight.


The legendary ''Harlan County'' album, PLUS rare singles and previously unreleased masters! The first and last word on an underground roots music legend! Jim Ford’s original album from 1969 has been described as the holy grail of country soul. Contains extensive liner notes that for the first time ever- tell the whole Jim Ford story. Includes ten previously unreleased recordings recently discovered at Ford's home. Only available here. Includes five songs from Jim Ford's ultra-rare 45rpm singles, never released on CD before. Previously unpublished photos personally supplied by Jim Ford. Jim Ford is the composer of Aretha Franklin and PJ Proby’s 'Niky Hoeky', Bobby Womack's 'Harry Hippie', and - as revealed in the liner notes- he also wrote Bobbie Gentry's 'Ode To Billie Joe'.

This is essential for any lover of late 60's, early 70's country-soul-funk. Amazingly, his album "Harlan County" has never received the attention it deserves. I heard of this through a friend. Nick Lowe confirms in the wonderful liner notes that Jim Ford was his biggest influence. As a huge Nick fan, it seems appropriate to dig into this stuff. The CD is in a great digipack form and includes an in-depth story and interview with Jim Ford by a guy from Sweden. So Jim is alive and well to appreciate this overdue collection. 

The "Harlan County" record features a great band. It was recorded in 1969 and includes James Burton - he's played with Ricky Nelson, Elvis Presley, Gram Parsons, Jerry Lee Lewis, Elvis Costello, Roy Orbison and tons others, Jim Keltner on the drums - who I've long adored as a drummer laying down possibly his best drum beats in 1969!! If you do a search on Keltner you'll see an incredible list or artists that he's played with and made their records better. Amazingly, not many Keltner discographies even mention this record! I've heard many Keltner performances - this is my favorite! Also features Dr. John on piano and keyboards. What's not to like with that band? Then the songs kick in. The title track is a classic romp through Jim's childhood in the coal mining hills of Kentucky. The rest of the album builds with slower tunes like "Changing Colors" which includes a lo-fi sound, but with string section and Jim singing wonderfully almost in a Glen Campbell style. Another classic is "Love On The Brain". Man, a great groove ala the Stones. Then it goes into overdrive with "Long Road Ahead", "Under Construction" and "Working My Way To L.A.". You won't hear three more soulful groovin', yet hard hittin' tunes in a row. Once again, I've never heard such impassioned drumming from Keltner! The album finishes up with a scathing take of "Spoonful" (the old Howlin' Wolf tune) and then Jim really lays out every bit of his vocal with "To Make My Life Beautiful". And that's just the "Harlan County" record. The rest of the tunes show more promise and get stuck in your head quite easily. "Big Mouth USA" is just classic country ala "Harper Valley PTA". "Ten Inches High" is a song I'd originally heard covered by Nick Lowe. 


Jim's version will give you chills. I'm not going song by song, but all of these rare tunes and outtakes ending with his first single "Hangin' From Your Lovin Tree" make this release ideal to any "real" lover of country-soul music! The interview and story with the CD are interesting. Sounds like a few breaks here or there - especially missing out on signing with Atlantic w/ Jerry Wexler (the classic producer of Willie Nelson etc.) hurt Jim's chances of making a great career. There may be more tapes out there with more tunes in hopes of unearthing for another lost Jim Ford collection. 
This is the stuff of legends. But it's real - it's here. Pick it up. It's fantastic! (By  Spencer Marquart (St. Louis, MO USA)  

01. Harlan County  
02. I'm Gonna Make Her Love Me  
03. Changing Colors  
04. Dr Handy's Dandy Candy  
05. Love On My Brain  
06. Long Road Ahead  
07. Under Construction  
08. Working My Way To L.A.  
09. Spoonful  
10. To Make My Life Beautiful

Bonus Tracks  
11. Big Mouth USA  
12. 36 Inches High  
13. Sounds Of Our Time  
14. Chain Gang  
15. I Wonder What They'll Do With Today  
16. Go Through Sunday  
17. She Turns My Radio On  
18. Mixed Green  
19. Happy Songs Sell Records, Sad Songs Sell Beer  
20. It Takes Two (To Make One)  
21. Big Mouth Usa  
22. Rising Sign  
23. Linda Comes Running  
24. Ramona  
25. Hanging From Your Lovin' Tree  

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dBPowerAMP Music Converter™ 17.3 Reference (72.7 MB)



Audio conversion perfected, effortlessly convert between formats. dBpoweramp contains a multitude of audio tools in one: CD Ripper, Music Converter, Batch Converter, ID Tag Editor and Windows audio shell enhancements. Preloaded with essential codecs (mp3, wave, FLAC, m4a, Apple Lossless, AIFF), additional codecs can be installed from [Codec Central], as well as Utility Codecs which perform actions on audio files. After 21 days the trial will end, reverting to dBpoweramp Free edition. dBpoweramp is compatible with Windows 10, 8, 7, Vista, both 32 and 64 bit.


dBpoweramp Music Converter features:

Convert audio files with elegant simplicity. mp3, mp4, m4a (iTunes / iPod),            Windows Media Audio (WMA), Ogg Vorbis, AAC, Monkeys Audio, FLAC, Apple      Lossless (ALAC) to name a few!
Multi CPU Encoding Support
Rip digitally record audio CDs (with CD Ripper)
Batch Convert large numbers of files with 1 click
Windows Integration popup info tips, audio properties, columns, edit ID-Tags
DSP Effects such as Volume Normalize, or Graphic EQ [Power Pack Option]
Command Line Encoding: invoke the encoder from the command line
DSP Effects - process the audio with Volume Normalize, or Sample / Bit Rate         Conversion, with over 30 effects dBpoweramp is a fully featured mp3 Converter
dBpoweramp integrates into Windows Explorer, an mp3 converter that is as          simple as right clicking on the source file >> Convert To. Popup info tips, Edit   ID-Tags are all provided.


dBpoweramp Music Converter 17.3 changes:

New Low Pass filter code, does not attenuate lower frequencies
New DSP effects: High pass, and Bandpass filters
wavpack updated to 5.4.0
CD Ripper: Added Catalog # to the new tags list. Also sorted the list.
CD Ripper: Added secure option to mark track as error 'if not verified by  accuraterip'
CD Ripper: filename column - if multi encoder then says for each track {multi-      encoder cannot show filename}
CD Ripper: will show error if try to use Multi Encoder with '[sourcexxx]'      naming elements  
ID Tag Processing DSP: 'delete all' and 'all except' actions are removed for     naming processing 
Tag editor when choosing art from internet, if does not have album title then     track name is used instead
Multi Encoder: removes the 'As Source' naming options multi-encoder naming     selection
ID3v2 tags: updated itunes compilation field handling, supports multi-value TLAN + TPUB   
APEv2 tag: properly remove multiple album art entries


Fixes: 

Bug fix: property handler and thumbnail provider would not read the tag if in    process tag reading was checked
Bug fix: Choosing After Conversion >> 'shutdown / hibernate / etc' would not happen unless 'skip finish' as also selected
Bug fix: can write DSD tags when ripping to ._ files
Bug fix: CD Ripper: ID Tag processing DSP effect was not being used to pre- process the ID Tags when creating filenames with [Multi Encoder]
Bug fix: Music Converter: ID Tag processing was not being used for Multi- encoder

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Friday, 22 January 2021

Magic - Enclosed (Very Good Psych-Rock US 1969)



Size: 144 MB
Bit Rate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included

Hideously rare 1969 album by this US band. Psychedelic and bluesy West Coast sound with ripping fuzz guitar much in the vein of Crazy Horse, Quicksilver, "Vindicator" era Arthur Lee and the likes. The 12-minutes long "I'll just play", full of endless dual guitar attacks & effects is the ultimate acid-rock jam.



Enclosed was the title of Magic's debut album released in 1969, and this Gear Fab reissue by the same name includes the entirety of that debut, but also adds a 1968 single from the original lineup and songs from the 1971 sessions on Motown imprint Rare Earth that culminated in their second self-titled album, so it really can be considered the definitive document of the band. 

On the original single, the band leaned toward rock & roll that was very much informed by black music -- one side was a cover of the Otis Redding classic "That's How Strong My Love Is," the other a Duane King original that Sam & Dave could have easily torn into; in fact, Magic, and particularly its most talented songwriter, King, displayed an almost magic knack for penning songs that sound like lost Southern soul classics. 

King's lead vocals could be strikingly bluesy, and the band cooks throughout the album, moving from the loping country-rock & soul of the opening track "Keep on Movin' On" to the electric blues of "Who Am I to Say?" to the sunny country-rock of "California" to the Stax-styled ballad, "You Must Believe She's Gone." Stax is, in fact, a good reference point for the entire debut album. 


The rhythm section consistently locks into a transcendent groove, and Joey Murcia's fabulous guitar work is slightly busier than Steve Cropper's but approaches the work of that legend, with a proper grit to it that is never wasted. It is surprising that Magic never quite found a wider audience. The final track from the first album, 

"Sound of the Tears Is Silent," sounds as if it could have come from the pen of Smokey Robinson, and it leads perfectly into the band's subsequent stint on Motown's Rare Earth label. Most of the songs from that period that show up on the Gear Fab reissue, however, seem to veer closer to streamlinened, hard blues-rocking territory (with a couple of country-ish cuts) and are, as a result, not quite as appealing as the previous soulful material. Still, the early Magic songs alone make this a welcome reissue, especially for lovers of Stax and Southern soul music. ~ Stanton Swihart

Magic Band is: 
♣ Nick King 
♣ Gary Harger 
♣ Duane King 
♣ Joey Murcia

01. Keep on Movin' On
02. Indian Sadie
03. You Must Believe She's Gone
04. Ets/Zero
05. Wake Up Girl
06. One Minus Two
07. Who Am I to Say?
08. I'll Just Play

Bonus Tracks
09. I Think I Love You (Single A-Side, 1970)
10. That's How Strong My Love Is (Single B-Side, 1970)
11. California - (previously unreleased)
12. Sound of Tears Is Silent - (previously unreleased)
13. I Do - (previously unreleased)
14. Hold Me Tight - (previously unreleased)
15. Compassion - (previously unreleased)
16. Be at Peace with Yourself - (previously unreleased)
17. Too Many People Starving - (previously unreleased)

1. Magic
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Friday, 8 January 2021

Impeccable - Live on The Rox (Superb Private Hardrock US -79)



Size: 101 MB
Bit rate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included

Impeccable was formed in late 1976, although they were known as Live Wire and then Axxe before they eventually settled on calling themselves Impeccable. Early on, they had the intention of being an original music outfit, so they started creating their own material almost from the inception. Most of the raw musical compositions were written by Darren Welch, and then vocalist Don Allison would put together the lyrics, and they'd all get together to construct and finalize the tunes. 


So, there was also input from drummer Morris Payne & bassist Richard Rico. They were influenced by groups such as Led Zeppelin, Rush, The Beatles, Wiggy Bits, Moxy, Hendrix, Trapeze & Black Sabbath. Sometime in 1978, they met Rusty Zavitson, who said he'd like to record the band. So, they ended up recording their debut single in Rusty's living room on a 4 track reel to reel and it was at this time they were known as Axxe. 


They pressed 1,000 copies of the single, issued with a picture sleeve featuring a group photo on front. These were distributed locally and sold at shows. They toured around Texas, New Mexico and Oklahoma shortly thereafter to support the release. The band did numerous shows at a club in Lubbock called The Rox, owned by Carlo Campanelli. 


This is where they decided to record the live show that would become the Live on the Rox album. It was at this time, they renamed the band Impeccable, after the classic Budgie album. They also happened to do several shows with Budgie & ended up becoming friends. They pressed up 1,000 copies of the Live on the Rox album under the GBC label. GBC wasn't a real label of any sort, it was just a fictional creation of Carlo, who loaned them the money for the pressing, he said it stood for Great Big Con.

Highly anticipated reissue of rare Texas hard rock private press record originally released in 1979. Loud, ferocious, untamed guitar work, courtesy of Darren Welch, dominates this Lubbock, Texas band's hard to find debut album. Impeccable deliver a massive dose of raw in-your-face rock and roll energy here, captured live in 1979 at a popular night club in Lubbock called The Rox. 

As a bonus, there are two tracks from the band's ultra-rare debut single from 1978 when they were still known as Axxe. This single is on a lot of collector want lists and is nearly impossible to find these days, even here in Texas. Includes liner notes and photos from the Impeccable archives.

01. Call of the Wild  03:51  
02. Traces of Time  04:07  
03. Seashore  05:34  
04. Lizzy  04:44  
05. Live Wire  03:49  
06. No Other Way  07:07  
07. Johnny B Goode  03:39

Bonus Tracks  
08. Axxe - Rock Away the City  03:09  
09. Axxe - Through the Night  05:55

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King Bison - 1 (Heavy, Bluesy, Riff Rock Band US 2014-16)



Size: 163 MB
Bit rate: 320
mp3
Ripped by: ChrisGoesRock
Some Artwork Included

King Bison, a heavy, bluesy, riff rock band from southeastern Pennsylvania.

Born from the ashes of a defunct local rock outfit Chris and Dean set out to create a new band that took elements from all the music they loved and combine it into one. After musicians coming and going they finally found fellow bandmate Jason who rounded out the line-up perfectly. Their take on some classics from the 70's is a revamping of energy and heaviness. Their originals harken back to that era in rock music adding a modern edge. Check out the band coming to a venue near you soon.


Not to be confused with New York’s King Buffalo, Michigan’s Bison Machine or any number of other large mammals in the well-populated fur-covered contingent of American heavy rockers, King Bison make their self-titled debut via Snake Charmer Coalition, comprising seven riffy bruisers owing a deep debt to Clutch and, in that, reminding a bit of their Pennsylvanian countrymen in Kingsnake. 


Songs like “One for the Money” and “March of the Sasquatch” signal a watch for stoner-roller grooves to come in “Queen of the South” and “Pariah,” the dudeliness of the proceedings practically oozing from the speakers in the gruff vocals of guitarist/vocalist Chris Wojcik, who’s joined in the trio by bassist Dean Herber and drummer Scott Carey. 

The penchant for booze and blues, ladies and US auto manufacturing holds firm in “Night Ride” and the slower “I’m Gone,” and while one might expect a closer called “Space Boogie” to flesh out a bit, King Bison instead reinforce the foundation they’ve laid all along of Southern-style heft, remaining light on pretense and heavy on riffs.

The Band:
Chris Wojcik - Guitars, Vocals
 Dean Herber - Bass
 Jason Marshall - Drums
 
01. King Bison - Queen of the South  03.22
02. King Bison - Night Ride  03.49
03. King Bison - Road Without End  04.23
04. King Bison - One Step  04.29
05. King Bison - One for the Money  05.23
06. King Bison - March of the Sasquatch  04.21
07. King Bison - Pariah  05.05
08. King Bison - I'm Gone  03.40
09. King Bison - Space Boogie  03.59
10. King Bison - Odysseus  03.41
11. King Bison - Slaughter House  03.50
12. King Bison - One Foot  03.35
13. King Bison - Petra  03.50
14. King Bison - Dr. Strange  03.36
15. King Bison - Murder on High  05.08

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Wednesday, 23 December 2020

Ape Skull - Fields Of Unconscious (Retro Hardrock Early 70's) (Italy 2020)



Size: 127 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included

Ape Skull were born in 2008. After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their genre. Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records.


After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their compositions. 

The genre can essentially be called Rock! After the first two albums (Ape Skull and Fly Camel Fly, produced by Heavy Psych Records), Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records. 

Here we find original songs that embody the sound of Ape Skull. It will also include, as in previous albums, a version customized by their sound in this case composed by The Jeronimo (1970). 

The Ape Skull's Rock still flies and lives in the present, with the ear turned to all the musical genres that inspired the musical revolution of the 60s and 70s.

The band is closer to the compositions inspired by Rock Funk and Psych Rock American and European groups such as Alamo, Jerusalem, Damnation Of Adam Blessing, Cream etc.. 

The desire to reproduce the sounds that characterized 1969 to 1972, about a golden age for rock music, are the basic inputs of the band. 

Ape Skull, after a single recording session of songs, recorded a full lenght album composed by 8 unreleased Hard Rock gems and a cover of "I got no time" from Orange Peel (Germany) for Heavy Psych Sounds Records.

The Band:
 Giuliano Padroni: drums, lead vocals, backing vocals
 Fulvio Cartacci: guitar, backing vocals
  Pastorelli: bass, backing vocals

01. Fields Of Unconscious 04:05
02. That's All I Want 06:55
03. Freedom 03:46
04. I'm Coming Home, Baby 04:10
05. Heya 07:12
06. Glory Days 06:17
07. Atom In The Sky 05:57

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Monday, 7 December 2020

Dick Dale & His Del-Tones - King Of The Surf Guitar (Surf US 1963)



Size: 80.9 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Some Artwork Included

Dick Dale was becoming one of the biggest rock & roll acts in California's history in 1962 when he was signed to Capitol Records, who reissued his album Surfer's Choice (which had already moved close to 90,000 copies on Dale's own Deltone label) and put him into the studio to cut some fresh material for his new sponsors. 


Overall, King of the Surf Guitar was probably Dale's best album for Capitol, but it also suggested a fundamental misunderstanding of Dale and his music by the label. King of the Surf Guitar begins with the title tune, in which female vocal group the Blossoms (featuring Darlene Love) urge us to "Listen! Listen to the King!" as Dale reels off trademark riffs, as if anyone who bought the record would be likely to do otherwise, and the curious opener pointed to the album's flaw. 

Dick Dale & Stevie Wonder in 1964

Capitol seemingly wanted an album that would have something for everyone, so along with Dale's ripsaw surf guitar vehicles it includes folk tunes ("Greenback Dollar"), rock & roll oldies ("Kansas City"), country standards ("You Are My Sunshine"), lovelorn ballads ("If I Never Get to Heaven"), and plenty of vocal numbers, though Dale goes out of his way to inject his forceful personality into every tune and his singing, while not as impressive as his guitar work, was nothing to complain about. 

Fender Showman Ampi, MIM PHX

Still, this album truly shines on tunes when Dale gets to play guitar at full force, and "Hava Nagila," "(Ghost) Riders in the Sky," and "Mexico" are as fiery as anything he would cut for the label. If King of the Surf Guitar isn't a Dick Dale album for purists, at the very least it leaves no doubt that he came by the title accolade honestly.

Richard Anthony Monsour (May 4, 1937 – March 16, 2019), known professionally as Dick Dale, was an American rock guitarist. He was the pioneer of surf music, drawing on Middle Eastern music scales and experimenting with reverberation. Dale was known as "The King of the Surf Guitar", which was also the title of his second studio album.

Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale's music, and often included recordings of Dale's songs in their albums. His style and music influenced guitarists such as Jimi Hendrix, Pete Townshend, Eddie Van Halen and Brian May.


He has been mentioned as one of the fathers of heavy metal. Many credit him with tremolo picking, a technique that is now widely used in many musical genres (such as extreme metal, folk etc.). His speedy single-note staccato picking technique was unmatched until metal greats like Eddie Van Halen entered the music scene.

Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier.[8] Dale also pioneered the use of portable reverb effects.

The use of his recording of "Misirlou" by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He also won a Grammy nomination for Best Rock Instrumental for the song "Pipeline" with Stevie Ray Vaughan.

Dick Dale in 2009

Dale began playing in local country western rockabilly bars where he met Texas Tiny in 1955, who gave him the name "Dick Dale" because he thought it was a good name for a country singer.

Dale employed non-Western scales in his playing. He regularly used reverb, which became a trademark of surf guitar. Being left-handed, Dale tried to play a right-handed guitar, but then changed to a left handed model. However, he did so without restringing the guitar, leading him to effectively play the guitar upside-down, often playing by reaching over the fretboard, rather than wrapping his fingers up from underneath.

He partnered with Leo Fender to test new equipment, later saying "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." His combination of loud amplifiers and heavy gauge strings led him to be called the "Father of Heavy Metal". After blowing up several Fender amplifiers, Leo Fender and Freddie Tavares saw Dale play at the Rendezvous Ballroom, Balboa, California and identified the problem arose from him creating a sound louder than the audience screaming. The pair visited the James B. Lansing loudspeaker company and asked for a custom 15-inch loudspeaker, which became the JBL D130F model, and was known as the Single Showman Amp. Dale's combination of a Fender Stratocaster and Fender Showman Amp allowed him to attain significantly louder volume levels unobtainable by then-conventional equipment.


Dale's performances at the Rendezvous Ballroom in Balboa in mid to late 1961 are credited with the creation of the surf music phenomenon. Dale obtained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues. The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out.

"Let's Go Trippin'" is one of the first surf rock songs. This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. His first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". He later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And ... it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp." His second album was named after his performing nickname, "King of the Surf Guitar".

Dale later said "There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar". His playing style reflected the experience he had when surfing, and projecting the power of the ocean to people.

Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" in the 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello. The group performed the songs "My First Love," "Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.

01. "King of the Surf Guitar" (Alonzo Willis) – 2:06
02. "The Lonesome Road" (Nathaniel Shilkret, Gene Austin) – 3:14
03. "Kansas City" (Jerry Leiber, Mike Stoller) – 2:43
04. "Dick Dale Stomp" (Dick Dale) – 2:12
05. "What'd I Say" (Ray Charles) – 3:24
06. "Greenback Dollar" (Hoyt Axton, Ken Ramsey) – 2:52
07. "Hava Nagila" (Dick Dale) – 2:04
08. "You Are My Sunshine" (Jimmie Davis, Charles Mitchell) – 1:58
09. "Mexico" (Boudleaux Bryant) – 2:10
10. "Break Time" (Dick Dale) – 2:45
11. "Riders in the Sky" (Stan Jones) – 2:11
12. "If I Never Get to Heaven" (Jenny Lou Carson, Roy Botkin) – 2:55

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Monday, 30 November 2020

Many "Japan Cardboard Sleeve CD" For Sell, and alot of them is now very rare as you will see...



Hi all.

To all collector of "Japan Cardboard Mini LP CD". I have now alot of them for sale, often to a really good price. If you find 6 copies or more, i will give you a better price for all of them.

Adress to my Japan Mini LP website: https://japan-cd.blogspot.com/ When you have scrolled down, click on "older post" and you will find my next page, and so on. I have around 300 items on my website, all albums is in Swedish Crown (SEK) so you need a currency converter.

IMPORTANT: My Email adress is now: chrisgoesrock@outlook.com


All Mini LP CD's is brand new and unplayed. What makes these Japanese CD albums interesting is that they are made as exact copies of the LP as it looked when it was released; Laminated, Relief cover, Triple Fold and much more. These CD albums started to be released in Japan from 1996 and they are available for all tastes.

Replica CDs are official audiophile releases manufactured in Japan with incredible attention to detail. CDs made in Japan are revered by collectors and specialists for their very clean sound, production quality, and they are superior in nearly every way to pressings from other countries.


The Japanese packaging of classic albums in cardboard sleeve miniature is a wonder to behold. Mini-LP CD albums are like precious stones or perfectly cut diamonds.

The superb mastering (often SHM-CD, 24 Bit, K2, DSD, or HDCD) and resultant sound quality is superior to that of MFSL releases.


Replicas are often the nearly exact duplications of the first pressings of the 12" LPs and everything that was present in the original LP may be included such as gatefolds, booklets, lyric sheets, posters, printed CD sleeves, stickers, embosses, special paper or inks, and die cuts.

In nearly all replica releases a detail sheet is included, and although the text may be in Japanese, the insert will often include the lyrics in English, which is a big plus if the original LP did not include them. Japan promotional strips, also called OBI, are usually included with the package as a way of advertising the CD to the Japanese buying public.


On occasion a replica CD will have bonus tracks included that were part of a later CD release. However, the notes about the bonus tracks are never added to the album artwork, only the promotional strip or the detail sheet. Thus the integrity of the original LP artwork is maintained.

Replica CDs are not officially for sale outside Japan, but they are worth the trouble and cost to get them. Replica CDs are expensive in Japan. New releases of replica CDs cost anywhere from $30 to $70 a piece and Japanese law forbids putting "new" CDs on sale or selling at any price other than listed on the Obi (promotional strip).


Most replica CDs are manufactured in a limited quantity and sell out quite quickly after release. Because of this replica CDs are splendid keepsakes that hold their value and will likely continue to be items sought by collectors.

The world of paper Jacquet collected the best of technology that Japan is proud of. Work is not only the music, the stunning artwork of the LP era, which has been talked about with its jacket, original color and form, of course, it has been thoroughly reprinted up to the texture and texture of the paper. Especially from the late 60's and 70's, special specification jacket elaborate stiffness are also many announcement, a perfect reproduction of them with miniaturized is also reminiscent of a miniature garden and elaborate model.


Folding the printed paper itself, pasted-made light jacket. This is called because many have been adopted in the United Kingdom (E). Especially works of 60's, laminated in order to give a gloss on the surface (PP stick) has been there are many. Other, form and the back of the upper and lower has been narrowed down, the margin of bonding there are variations, such as flipback cover.

Open When the jacket of luxury specifications on the inside, such as photos and lyrics are printed. Because it is similar to the photo of the album, there is a theory that began to call the album LP record for singles. Overseas called gatefold. Front and back, medium surface within bag work of Keefe and hypnosis that was designed (to be described later) in a consistent concept is popular. In addition, 2-Disc LP, etc., open state in the double-jacket that there is a pocket for accommodating the LP to the left or right, but what there is no pocket only one with a single thing called a semi-double jacket, double as their generic name - sometimes referred to as a jacket.


That of the jacket with a special design / production process in order to get a personality. It has been originally produced on the basis of a certain standard LP is there, spread and may become like the poster, or attach the 3D (three-dimensional), embossed ( embossing) or the processing, die cut (hollowed out) processing or the, that or use a paper that has been with the textured and pattern, the more attractive for the fans It increases. The box set that was bundled a booklet of materials and bonusand, what made a jacket with a special material.

Many are wound on the left side of the jacket, that of paper that describes the artist name and title in Japanese. Put the jacket top there is also a variation such as "covering zone". Japan and it is a unique specification, for the listener is often discarded after the purchase, a band with a valuable record LP is popular with enthusiasts around the world as "with OBI". In recent years, the design has been growing number of cases, which is also reproduced in the paper jacket CD.


Original and different (different) things jacket using the design. Or if the Publisher of the label in the UK and the US different, especially many in the world release of the mid '60s. The SHM-CD / paper jacket of Universal International, for a Def Jacquet title, has been set as much as possible in the form of "bonus paper jacket".

That of the bag to protect the records that are in the inside jacket. Although often nothing of what print is also not pure white, is designed with a jacket and a similar concept, that such as photos and lyrics are printed is reproduced even paper jacket CD. Other, there is also what is referred to as Company Sleeve which has been used the same general-purpose design and other LP that was released around the same time. The foreign Release LP disc was housed directly in these paper bags, Japanese board LP often are housed in clear plastic bag called Shaw Rex.


Generic name of the hand, adjunct that is not a bag-shaped. Many have described such as musicians, referred to as the ones that are especially me lyrics and lyrics card. Of course, it is the part that is reproduced in the paper jacket CD.

Paper label on the center of the record. Rarely in such singles some of which were the direct printing on PVC material. Artist name, album name, music, music creator, the label name is described, the production process, since the time of jacket printing to others not determined the song order is an important part reveal the recording contents. 


But usually it is used record company common design, there is also a place that changed the design to the each time as Island Records, become material, even for understanding the issue time of record. In addition, there are also those that are designed with a jacket and a consistent concept. The SHM-CD / paper jacket of Universal International, has this label was two-sided printing (AB surface) "label card" as much as possible inclusion.

//ChrisGoesRock

Tuesday, 10 November 2020

Eric Burdon & The Animals - Winds of Change (2CD) (US/UK 1967)



Size: 195 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included (US & UK)
Source: Japan SHM-CD Remaster

Winds of Change is an album released in 1967 by Eric Burdon & The Animals.

The original band, The Animals, broke up in 1966 and this band was entirely new except for lead singer Eric Burdon and drummer Barry Jenkins, who joined the original lineup when John Steel left in February 1966. With the new band, featuring guitarist Vic Briggs, bassist Danny McCulloch and electric violinist John Weider, Burdon began to move from the gritty blues sound of the original mid-1960s group into psychedelic music.


The album opened with the sound of waves washing over the title track, "Winds of Change". "Poem by the Sea" is a spoken-word piece by Burdon with a swirl of echo-drenched instruments. "Good Times" and "San Franciscan Nights" were two of the most popular tracks, the latter breaking into the Top 10 in 1967. Burdon was a fan and friend of Jimi Hendrix and wrote the fifth track as an answer song to Hendrix's "Are You Experienced", which was still unreleased at the time the "answer" was recorded.


In their retrospective review, Allmusic described Winds of Change as the band's first real psychedelic rock album. They praised the closing track "It's All Meat" and the cover of "Paint It, Black" as rare examples of psychedelic rock songs by the Animals that are strong and convincing.

Winds of Change opened the psychedelic era in the history of Eric Burdon & the Animals -- although Burdon's drug experiences had taken a great leap forward months earlier with his first acid trip, and he and the group had generated some startlingly fresh-sounding singles in the intervening time, it was Winds of Change that plunged the group headfirst into the new music. The record was more or less divided into two distinctly different sides, the first more conceptual and ambitious psychedelic mood pieces and the second comprised of more conventionally structured songs, although even these were hard, mostly bluesy and blues-based rock, their jumping-off point closer to Jimi Hendrix than Sonny Boy Williamson. 


The band's new era opened with waves washing over the title track, which included sitar and electric violin, while Burdon's voice, awash in reverb, calmly recited a lyric that dropped a lot of major names from blues, jazz, and rock. "Poem by the Sea" was a recitation by Burdon, amid a swirl of echo-drenched instruments, and it led into one of the group's handful of memorable covers from this period, "Paint It Black" -- driven by John Weider's electric violin and Vic Briggs' guitar, and featuring an extended vocal improvisation by Burdon, their approach to the song was good enough to make it part of the group's set at the Monterey International Pop Festival that June, and also to get a spot in the documentary movie that followed. 

"The Black Plague" opens with a Gregorian chant structure that recalls "Still I'm Sad" by the Yardbirds, and was another vehicle for Burdon's surreal spoken contributions. There were also, as with most of the group's work from this period, a few easily accessible tracks that could make good singles, in this instance "Good Times" and "San Franciscan Nights," a Top Ten record in various countries around the world in the last quarter of 1967, although, as Alan Clayson points out in his notes, the latter song was overlooked in England for nearly 12 months after its release elsewhere, and then appeared as the B-side to the relatively straightforward, brooding, moody rocker "Anywhere." 

Burdon was so inspired by Jimi Hendrix's music that he wrote one of the psychedelic era's rare "answer" songs, "Yes I Am Experienced," as an homage to the guitarist; the latter's influence could also be heard in "It's All Meat," the LP's closing track, and a song that calls to mind an aspect of this band that a lot of scholars in earlier years overlooked -- the fact that Briggs, Weider, et al. had the skills to make music in that style that was convincing and that worked on record, on their terms. [AMG]

Personnel
♦ Eric Burdon - Vocals
♦ Vic Briggs - Guitar, Piano and Arrangements
♦ John Weider - Guitar and Violin
♦ Danny McCulloch - Bass
♦ Barry Jenkins - Drums

Disc 1 (Stereo)
01. Winds Of Change - 04:01     
02. Poem By The Sea - 02:12     
03. Paint It Black - 06:03     
04. The Black Plague - 06:08     
05. Yes I Am Experienced - 03:55     
06. San Franciscan Nights - 03:25     
07. Man - Woman - 06:03     
08. Hotel Hell - 04:19     
09. Good Times - 03:09     
10. Anything - 03:30     
11. It`s All Meat - 02:10

Bonus     
12. Ain`t That So - 03:24 (Single Version)     
13. Gratefully Dead - 04:00 (Single Version) 

Disc 2 (Mono)
01. Winds Of Change - 03:59    
02. Poem By The Sea - 02:15    
03. Paint It Black - 05:59    
04. The Black Plague - 06:03    
05. Yes I Am Experienced - 03:42    
06. San Franciscan Nights - 03:21    
07. Man - Woman - 06:02    
08. Hotel Hell - 04:14    
09. Good Times - 03:01    
10. Anything - 03:23    
11. It`s All Meat - 02:06

Bonus    
12. Anything - 02:51 (Single Version/Stero Mix) 

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