Snooks Eaglin - Possum Up a Simmon Tree (1959-60, US 1971)

Size: 143 MB

Bitrate: 256

mp3

Ripped by: ChrisGoesRock

Artwork Included

Source: Japan 24-Bit Remaster

When they referred to consistently amazing guitarist Snooks Eaglin as a human jukebox in his New Orleans hometown, they weren't dissing him in the slightest. The blind Eaglin was a beloved figure in the Crescent City, not only for his gritty, Ray Charles-inspired vocal delivery and wholly imaginative approach to the guitar, but for the seemingly infinite storehouse of oldies that he was liable to pull out on-stage at any second -- often confounding his bemused band in the process! 

His earliest recordings in 1958 for Folkways presented Eaglin as a solo acoustic folk-blues artist with an extremely eclectic repertoire. His dazzling fingerpicking was nothing short of astonishing, but he really wanted to be making R&B with a band. Imperial Records producer Dave Bartholomew granted him the opportunity in 1960, and the results were sensational. Eaglin's fluid, twisting lead guitar on the utterly infectious "Yours Truly" (a Bartholomew composition first waxed by Pee Wee Crayton) and its sequel, "Cover Girl," was unique on the New Orleans R&B front, while his brokenhearted cries on "Don't Slam That Door" and "That Certain Door" were positively mesmerizing.

Eaglin stuck with Imperial through 1963, when the firm closed up shop in New Orleans, without ever gaining national exposure. Eaglin found a home with Black Top Records in the 1980s, releasing four albums with the label, including 1988's Out of Nowhere (re-released on CD by P-Vine in 2007) and 1995's Soul's Edge. In 2003 P-Vine put out Soul Train from Nawlins, an album drawn from a live set Eaglin did at 1995's Park Tower Blues Festival. 

A collection of Eaglin's earliest recordings, all done on acoustic guitar, was released in 2005 by Smithsonian Folkways as New Orleans Street Singer. Snooks Eaglin continued performing and recording into the 21st century -- including his final album, 2002's The Way It Is -- and near the end of his life few knew that he had been diagnosed with prostate cancer; Eaglin was admitted to New Orleans' Ochsner Medical Center in February 2009, where he died of a heart attack on the 18th of that month at age 73. [AMG]

Snooks Eaglin, born Fird Eaglin, Jr. (January 21, 1936 – February 18, 2009), was a New Orleans-based guitarist and singer. He was also referred to as Blind Snooks Eaglin in his early years.

His vocal style is reminiscent of Ray Charles; in the 1950s, when he was in his late teens, he would sometimes bill himself as "Little Ray Charles". Generally regarded as a legend of New Orleans music, he played a wide range of music within the same concert, album, or even song: blues, rock and roll, jazz, country, and Latin.[6] In his early years, he also played some straight-ahead acoustic blues.

His ability to play a wide range of songs and make them his own earned him the nickname "the human jukebox." Eaglin claimed in interviews that his musical repertoire included some 2,500 songs.

At live shows, he did not usually prepare set lists, and was unpredictable, even to his bandmates. He played songs that came to his head, and he also took requests from the audience. He was universally loved and respected by fellow musicians and fans alike.

Childhood

Eaglin lost his sight not long after his first birthday after being stricken with glaucoma, and spent several years in the hospital with other ailments. Around the age of five Eaglin received a guitar from his father; he taught himself to play by listening to and playing along with the radio. A mischievous youngster, he was given the nickname "Snooks" after a radio character named Baby Snooks.

Early years

In 1947, at the age of 11, Eaglin won a talent contest organized by the radio station WNOE by playing "Twelfth Street Rag". Three years later, he dropped out of the school for the blind to become a professional musician. In 1952, Eaglin joined the Flamingoes, a local seven-piece band started by Allen Toussaint. The Flamingoes did not have a bass player, and according to Eaglin, he played both the guitar and the bass parts at the same time on his guitar. He stayed with The Flamingoes for several years, until their dissolution in the mid-1950s.

As a solo artist, his recording and touring were inconsistent, and for a man with a career of about 50 years, his discography is rather slim. His first recording was in 1953, playing guitar at a recording session for James "Sugar Boy" Crawford.

The first recordings under his own name came when Harry Oster, a folklorist from Louisiana State University, found him playing in the streets of New Orleans. Oster made recordings of Eaglin between 1958 and 1960 during seven sessions which later became records on various labels including Folkways, Folklyric, and Prestige/Bluesville. These recordings were in folk blues style, Eaglin with an acoustic guitar without a band.

1960s and 1970s

From 1960 to 1963, Eaglin recorded for Imperial. He played electric guitar on Imperial sessions with backup from a band including James Booker on piano and Smokey Johnson on drums. He recorded a total of 26 tracks which can be heard on The Complete Imperial Recordings. Much of the material on Imperial was written by Dave Bartholomew. Unlike the Harry Oster recordings, these works on Imperial are New Orleans R&B in the style for which he is widely known today. After Imperial, in 1964, he recorded alone at his home with a guitar for the Swedish Broadcasting Corporation, released as I Blueskvarter 1964: Vol.3. For the remainder of the 1960s, he apparently made no recordings.

His next work came on the Swedish label Sonet in 1971. Another album Down Yonder was released in 1978 featuring Ellis Marsalis on piano. Apart from his own work, he joined recording sessions with Professor Longhair in 1971 and 72 (Mardi Gras in Baton Rouge). He also played some funky guitar on The Wild Magnolias' first album recorded in 1973.

Black Top and later years

He joined Nauman and Hammond Scott of Black Top Records in the 1980s which led to a recording contract with the label. Eaglin's Black Top years were the most consistent years of his recording career. Between 1987 and 1999, he recorded four studio albums and a live album, and appeared as a guest on a number of recordings by other Black Top artists, including Henry Butler, Earl King, and Tommy Ridgley.

After Black Top Records closed its doors, Eaglin released The Way It Is on Money Pit Records, produced by the same Scott brothers of Black Top. In 1997, Eaglin's version of "St. James Infirmary", was featured in a UK television advertisement for Budweiser lager.

Death

Eaglin died of a heart attack at Ochsner Medical Center in New Orleans on February 18, 2009. He had been diagnosed with prostate cancer in 2008 and had been hospitalized for treatment. He was scheduled to make a comeback appearance at the New Orleans Jazz Fest in Spring of 2009. In honor of his contributions to New Orleans music, he was depicted in an artist's rendering on the cover of the "Jazz Fest Bible" edition of Offbeat Magazine for the New Orleans Jazz Fest in 2009.

For many years, Eaglin lived in St. Rose in the suburbs of New Orleans with his wife Dorothea. Though he did not play many live shows, he regularly performed at Rock n' Bowl in New Orleans, and also at the New Orleans Jazz & Heritage Festival. [Wikipedia]

(Original Album)

01. Possum Up A Simmon Tree

02. That's All Right

03. Veal Chop And Pork Chop

04. I Ain't Gonna Study War No More (Down By The Riverside)

05. Model T And The Train

06. Jack O'Diamonds

07. Death Valley Blues

08. This Train

09. Bottle Up And Go

10. Mardi Gras Mambo

11. Rock Me Mama

12. John Henry

13. Locomotive Train

14. I Had A Little Woman

15. Don't Leave Me Mama (Rock Me Mama)

(Bonus Tracks)

16. Give Me The Good Old Boxcar

17. This Train (alternate take)

18. Bottle Up And Go (alternate take)

19. Mardi Gras Mambo (alternate take)

20. I've Had My Fun

21. Bottle Up And Go (take 4)

22. Going Back To New Orleans

23. Mama Don't You Tear My Clothes

24. Walking Blues

25. Mailman Passed (And Didn't Leave No News)

26. Country Boy Down In New Orleans

1. Snooks

or

2. Snooks

or

3. Snooks

Tea For Two: The Last Photos Of Jimi Hendrix Alive, By Monika Dannemann

Tea For Two: The Last Photos Of Jimi Hendrix Alive, By Monika Dannemann

On September 17, 1970, Jimi Hendrix with in London his German girlfriend, the former ice-skating teacher Monika Dannemann. She had rented rooms at the Samarkand, a self-catering apartment hotel in Notting Hill. After a day out at Kensington Market and the Cumberland Hotel, Jimi and Monika took tea in the garden behind her flat. Monika also took some photographs.

The next day Hendrix was dead, choked to death on his own vomit.

Monika had the pictures developed. They are the last photos of the great musician alive.

//ChrisGoesRock

Blind Golem - A Dream of Fantasy (70s Hardrock Retro) (UK 2021)

Size: 178 MB

Bitrate: 320

mp3

Ripped by: ChriGoesRock

Artwork Included

There’s no talking about Blind Golem’s first full-length album without mentioning Uriah Heep. The Italians initially began as a Heep tribute band and desired to write their own music in a similar Seventies Rock style, going so far as to give the artwork that Demons and Wizards aesthetic and even getting Ken Hensley himself to record keyboards and slide guitar just months before his tragic passing. A Dream Of Fantasy (MaRaCash Records) makes for an inevitably derivative listen with that established, but it is also an undeniably infectious labor of love.

Right off the bat, the musicians absolutely nail the tropes for the style at hand. The guitars and keyboards in particular are dead on; the former mixes in an array of wah effects and acoustic minstrelry with its Classic Rock grooves as the latter chimes in with period perfect washes of organ and piano. The vocals don’t attempt too many of David Byron’s signature falsettos but deliver the melodies in a husky but pleasant timbre. Top it off with an extra vibrant, retro friendly production job.

The songwriting also does a good job of conveying the different vibes that made classic Heep so beloved. Songs like the opening ‘Devil In A Dream’ and ‘Scarlet Eyes’ hit the upbeat spirit of ‘Easy Livin’ while others like ‘The Ghost Of Eveline’ and ‘Star Of The Darkest Night’ expand on the ominous Proto-Doom of ‘Rainbow Demon.’ Their softer side also finds different ways to express itself as ‘The Day Is Gone’ is a somber slow burn, ‘Night Of Broken Dreams’ and ‘The Gathering’ are lighter-worthy power ballads, and ‘Carousel’ tries out some pleasant acoustics. The only thing that seems to be missing is a pastoral rocker on par with ‘The Wizard’ or a ‘Salisbury’-style epic.'

The bands of the early and mid-seventies still hold a very special place in my heart. The musicianship of such artists as DEEP PURPLE, RAINBOW, LUCIFER’S FRIEND, MAGNUM and URIAH HEEP is legendary; and a cut above much of the work that has been produced since. The lyrical content of these artists, particularly with LUCIFER’S FRIEND, URIAH HEEP and early RAINBOW, was filled with mystic imagery and tales of medieval, possibly even Tolkien-esque, quests; overflowing with stories of wizards and kings flowing through their songs.

While there isn’t a great deal of that imagery at work on BLIND GOLEM’S debut release “A Dream Of Fantasy”, there seems to be some, and the record has the sound and feel that it has come from that same era; and from a band that would have been right at home amongst those artists. The band comes by their sound honestly, as they are made up of members of the blues band BULLFROG and FOREVER HEEP, who were dedicated to the continuation of the music of URIAH HEEP; and who have worked in the past as the backing band for the late Ken Hensley (URIAH HEEP). It was indeed with Hensley’s blessing that the band was formed, and that, in and of itself, was enough to gain my immediate interest.

“Devil In A Dream” opens this fourteen song, seventy minute opus with a sweeping Hammond organ and vocal harmonies unlike anything I have heard recorded in years. The musical work on this song was amazing, with the entire band indeed showing their passion through the notes they play. Vocally, they were equally impressive. The heavy hitting “Sunbreaker” follows; and follows suit. As a matter of fact, the deeper I dove into this album, the more absolutely enamored with the band’s ability I became. By the time I got to “The Day Is Gone”, which features Ken Hensley (in one of the last recorded works he was part of, before his passing in November of 2020) on slide guitar and keyboards, I was 100% all in for the ride.

Every song on this release is its own highlight. The record took me places I have not been in a long time, in a musical sense; and by the time I got to the hauntingly beautiful “A Spell And A Charm”, I found myself wanting for more, and digging through my own vast vinyl collection. This band is not a “parrot act”, by any stretch of the imagination. Their works here are entirely original; and astounding in their presentation. I wish more artists today felt the passion these five gentlemen possess. Rest in peace, Ken, with the knowledge that you have once again been part of something amazing.

Band Line-up:

♦ Andrea Vilardo, lead vocals

♦ Simone Bistaffa, Hammond Organ, Piano, Keyboards

♦ Silvano Zago, Guitars

♦ Francesco Dalla Riva, Bass, Lead & Backing Vocals

♦ Walter Mantovanelli, Drums

01. Devil In A Dream  04:05

02. Sunbreaker  03:41

03. Screaming To The Stars  05:24

04. Scarlet Eyes  04:22

05. Bright Light  06:10

06. The Day Is Gone (featuring Ken Hensley)  05:11

07. The Ghost Of Eveline  07:39

08. Night Of Broken Dreams  03:03

09. Pegasus  04:37

10. The Gathering  05:49

11. Star Of The Darkest Night  05:05

12. Carousel  04:50

13. Living And Dying  05:52

14. A Spell And A Charm  03:51 

1: Blind Golem

or

2: Blind Golem

or

3: Blind Golem

New York Dolls - Complete Early Studio Demos 1972-73

Size: 397 MB

Bitrate: 320

mp3

Ripped by: ChrisGoesRock

Artwork Included

The New York Dolls were an American rock band formed in New York City in 1971. Along with the Velvet Underground and the Stooges, they were one of the first bands of the early punk rock scenes. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. 

On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.

According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members in 2004. 

After reuniting, they recorded and released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.

Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.

Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.

The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.

In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.

Billy Murcia's death

While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.

Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.

New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.

For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.

By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. 

He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.

In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later found W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.

The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.

After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.

Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.

A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.

Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.

Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.

In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.

During the later 1980’s, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.

The success of this act led him to be invited to appear in multiple films: “Scrooged,”  “Freejack, “Let it Ride”  among others.

He also formed a band called The Harry Smiths David Johansen and the Harry Smithsnamed after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.

During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.

According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."

When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling [sic] their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.

By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."

Disc 1

Blue Rock Studio, NYC June 1972

01. Bad Girl  03:46

02. Looking For A Kiss  03:43

03. Don't Start Me Talking (Written-By – Williamson)  03:42

04. Don't Mess With Cupid (Written-By – Parker, Floyd, Cropper)  03:07

05. Human Being  06:16

06. Personality Crisis 4:13

07. Pills (Written-By – McDaniel) 03:15

08. Jet Boy  05:14

09. Frankenstein   07:03

Escape Studios, England October 1972

10. Personality Crisis 04:04

11. Looking For A Kiss  03:27

12. Bad Girl  03:27

13. Subway Train  04:44

Planet Studios, NYC, March 1973

14. Seven Day Weekend (Written-By – Pomus, Shuman)  03:23

15. Frankenstein  05:43

16. Mystery Girls  02:57

17. (There's Gonna Be A) Showdown (Written-By – Huff, Gamble)  01:34

18. Back In The USA (Written-By – Berry)  02:15

Disc 2

Planet Studios, NYC, March 1973 Contd.

01. Endless Party  06:17

02. Jet Boy  04:46

03. It's Too Late (False Start)  01:27

04. It's Too Late (Full Version)  03:29

05. Bad Detective (Written-By – Lewis)  03:29

06. Lonely Planet Boy  04:07

07. Subway Train  05:00

08. Private World (Written-By – Kane)  03:48

09. Trash   03:10

10. Human Being  05:56

11. Don't Start Me Talking (Written-By – Williamson)  03:20

12. Hoochie Coochie Man (Written-By – Dixon)  04:33

13. (Give Him A) Great Big Kiss (Written-By – Morton)  03:35

14. Vietnamese Baby  03:36

15. Babylon  03:27

16. Bad Girl  03:16

17. Pills (UWritten-By – McDanie)  03:21

18. Personality Crisis  03:58

Part 1: York Dolls

Part 2: York Dolls

Part 3: York Dolls

or

Part 1: York Dolls

Part 2: York Dolls

Part 3: York Dolls

or

Part 1: York Dolls

Part 2: York Dolls

Part 3: York Dolls

ReUp: Buster Brown - The New King of The Blues (Outstanding Blues Album US 1961)

Size: 115 MB

Bitrate: 256

mp3

Ripped by: ChrisGoesRock

Artwork Included

Source: Japan 24-Bit Remaster

Buster Brown (August 15, 1911 – January 31, 1976) was an American blues and R&B singer best known for his hit, "Fannie Mae".

Brown was born in Cordele, Georgia. In the 1930s and 1940s he played harmonica at local clubs and made a few non-commercial recordings. These included "I'm Gonna Make You Happy" (1943), which was recorded when he played at the folk festival at Fort Valley (GA) State Teachers College, and was recorded by the Library of Congress' Folk Music Archive.

Brown moved to New York in 1956, where he was discovered by Fire Records owner Bobby Robinson. In 1959, at almost fifty years of age, Brown recorded the rustic blues, "Fannie Mae", which featured Brown's harmonica playing and whoops, which went to # 38 in the U.S. Top 40, and to #1 on the R&B chart in April 1960. His remake of Louis Jordan's "Is You Is or Is You Ain't My Baby" reached # 81 on the pop charts later in 1960, but did not make the R&B chart. "Sugar Babe" was his only other hit, in 1962, reaching # 19 on the R&B chart and # 99 on the pop chart.

In later years he recorded for Checker Records and for numerous small record labels. He also co-wrote the song "Doctor Brown" with J. T. Brown, which was later covered by Fleetwood Mac on their 1968 album, Mr. Wonderful.

Brown died in New York in 1976, at the age of 64. It is often erroneously cited that Brown's real name was "Wayman Glasco" - however, that was Brown's manager who, after his death, bought all of Brown's publishing - thus unintentionally creating the confusion. Though likely a nickname, or alias, Buster Brown may have been his birth name.

If blues musicians took up residency in Vegas during the late '50s, it might come out sounding like this. Brown's gleeful run through myriad blues related styles (gospel, R&B, doo wop, New Orleans, early rock & roll) casts a vaudevillian sheen over many of the 16 tracks here, placing the performance squarely in the realm of Louis Jordan's own showy style. The fact Brown had a very brief hour in the sun with his unexpected 1959 hit "Fannie Mae" further indicates his pop approach to blues probably was better suited to the lounges of the chitlin circuit than the main venues of blues and rock & roll. 

His almost perfunctory versions of war horses like "St. Louis Blues" and "Blueberry Hill" reveal the downside the situation. But he does have his moments, particularly when he plies a hard, Chicago blues groove à la Little Walter on cuts like "Don't Dog Your Woman"; his harmonica sound borrows from both Walter and Sonny Terry while his singing is punctuated with timely whoops taken straight from Terry's animated vocal style. Even with more than just a few bright moments here, the good amount of watered down material ultimately makes this Brown collection a secondary choice next to prime titles by Muddy Waters, Howlin' Wolf, Wynonie Harris, and even Big Jay McNeely.

01. Fannie Mae

02. John Henry

03. The Madison Shuffle

04. St. Louis Blues

05. When Things Go Wrong (It Hurts Me Too)

06. Lost in a Dream [False Start]

07. Lost in a Dream

08. Gonna Love My Baby

09. I Got the Blues When It Rains

10. Is You Is or Is You Ain't My Baby?

11. Don't Dog Your Woman

12. Blueberry Hill

13. Sincerely

14. I'm Goin', But I'll Be Back

Bonus Tracks

15. Good News

16. Raise a Ruckus Tonight

17. Doctor Brown

18. Sugar Babe

19. No More

20. Fannie Mae [Alternate Take]

21. Raise a Ruckus Tonight [Alternate Version]

Link 1: Buster

or

Link 2: Buster

or

Link 3: Buster

Fannie May UK Single 1965

John Lennon - Milk And Honey Sessions (3CD)

Size: 518 MB

Bitrate: 320

mp3

Found in OuterSpace

Artwork Included

Recorded At The Hit Factory & Record Plant New York City, August – October 1980

Disc 01

I'm Stepping Out

01. Vocal Booth Rehearsal #1

02. Vocal Booth Rehearsal #2

03. Vocal Booth Rehearsal #3

04. Vocal Booth Rehearsal #4

05. Vocal Booth Rehearsal #5

06. Studio Rehearsal #6

07. Take 1

08. Take 2

09. Vocal Booth #1

10. Vocal Booth #2

11. Vocal Booth #3

12. Vocal Booth talk

13. Vocal Booth #4

14. Alternate Take #1

15. Alternate Take #2

16. Alternate Take #3

Disc 02

01. Alternate Take #4

02. Rough Mix Unedited

03. Rough Mix

I Don't Wanna Face It

04. Alternate Take #1

05. Alternate Take #2

06. Alternate Take #3

07. Rough Mix #1

08. Rough Mix #2

09. Rough Mix #3

Don't Be Scared

10. Rough Mix

Nobody Told Me

11. Take 1

12. Take 1 Rough Mix

13. Take 2

14. Rough Mix #1

15. Rough Mix #2

(Forgive Me) My Little Flower Princess

16. Rehearsal #1

17. Vocal Booth #1

18. Vocal Booth #2

19. Alternate Take #1

20. Alternate Take #2

Disc 03

Borrowed Time

01. Rehearsal

02. Over Dub #1

03. Over Dub #2

04. Take 1

05. Take 2

06. Take 2 Rough Mix #1

07. Take 2 Rough Mix #2

08. Take 2 Rough Mix #3

09. Take 3 Rough Mix

10. Studio Talk

11. Gone From This Place

Grow Old With Me

12. Take 1

13. Take 2

No One Can See Me Like You Do

14. Rehearsal

Walking on Thin Ice

15. Vocal Booth

16. Rough Mix #1

17. Rough Mix #2

18. Rough Mix #3

Part 1: Honey Sessions

Part 2: Honey Sessions

Part 3: Honey Sessions

or

Part 1: Honey Sessions

Part 2: Honey Sessions

Part 3: Honey Sessions

or

Part 1: Honey Sessions

Part 2: Honey Sessions 

Part 3: Honey Sessions 

The Artwoods - Art Gallery Album UK 1966 (R&B UK 1964-67 w John Lord) + Bonus Tracks

Size: 303 MB

Bitrate: 256

mp3

Ripped by: ChrisGoesRock

Artwork Included

Japan 24-Bit Remaster

The Artwoods were formed in 1963, and over the next two years became an extremely popular live attraction, rivaling groups such as the Animals, although, despite releasing a clutch of singles and an album, their record sales never reflected this popularity. Singer Arthur Wood, from whom the band took their name, was the elder brother of The Rolling Stones' Ronnie Wood. He had been a vocalist with Alexis Korner's Blues Incorporated for a short period during 1962, simultaneously fronting his own group, the Art Wood Combo..

When keyboardist Jon Lord and guitarist Derek Griffiths joined from Red Bludd's Bluesicians they re-christened themselves the Artwoods. Keef Hartley, formerly with Rory Storm & The Hurricanes, joined on drums in '64 and the band turned professional, secured a residency at London's 100 Club and gained a recording contract with Decca Records.

The intended debut single, a cover of Muddy Waters' "Hoochie Coochie Man" was shelved in favour of a version of an old Leadbelly song, Sweet Mary". Although it didn't reach the Charts it got sufficient airplay to bring them a lot of live work, including an appearance on the first live edition of Ready Steady Go! The second record, "Oh My Love", was another blues cover. Like its predecessor, and subsequent releases, it failed to chart.

The Artwoods were dropped by Decca at the end of 1966 and signed a one record deal with Parlophone, but "What Shall I Do" also flopped. Later in 1967 a final "one-off" single appeared on Fontana under the name "St. Valentine's Day Massacre" but by the time of its release the Artwoods had effectively ceased to exist.

The Artwoods' early records today stand up well against the work of more successful groups such as the Rolling Stones, the Yardbirds or ironically, the Birds, who included Art's younger brother Ron. But at the time they came out, despite appearances on programs like Ready, Steady, Go! their singles never seemed to connect with the record-buying public. In live performance, on the other hand, it was a different matter. They had a virtuoso lineup, Lord's piano and organ sound was a great complement to Wood's singing, Griffith's guitar work was tastefully flashy, and Keef Hartley was animated as well as powerful, with a big sound on the drums. Club audiences always knew they were good for a great show and the band loved playing live. Ultimately, in fact, the group's success in touring and their love of playing live may have hurt them.

The group broke up in mid '67 with Hartley going on to play with John Mayall's Bluesbreakers,Malcolm Pool played with Colosseum and Lord becoming a founder member of Deep Purple.

Singles

♦ Nov '64 - Sweet Mary/If I Ever Get My Hands On You (Decca F 12015) 

♦ Feb '65 - Oh My Love/Big City (Decca F 12091) 

♦ Aug '65 - Goodbye Sisters/She Knows What To Do (Decca F 12206) 

♦ Apr '66 - I Take What I Want/I'm Looking For A Saxophonist (Decca F 12384) 

♦ Aug '66 - I Feel Good/Molly Anderson's Cookery Book (Decca F 12465) 

♦ Apr '67 - What Shall I Do/In The Deep End (Parlophone R 5590) 

♦ 1967 - Buddy Can You Spare A Dime/Al's Party (Fontana H883) (as St. Valetine's Day Massacre) 

EP

♦ Apr '66 Jazz In Jeans - These Boots Are Made For Walkin'/Taste Of Honey/Our Man Flint/Routine (Decca DFE 8654) 

LP

♦ Nov '66 "Art Gallery" (Decca LK 4830)

Band Members

♦ Art Wood - vocals (born Arthur Wood, 6 June 1937, at Hillingdon Hospital, Hillingdon, Middlesex died 3 November 2006, in London)

♦ Derek Griffiths - guitar

♦ Jon Lord - keyboards (born John Douglas Lord, 9 June 1941, in Leicester, Leicestershire)

♦Malcolm Pool - bass guitar (born 10 January 1943, at Corwell Nursing Home, Hayes End, Middlesex)

♦ Keef Hartley - drums (born Keith Hartley, 8 March 1944, in Preston, Lancashire)

01. Can You Hear Me  

02. Down In The Valley  

03. Things Get Better  

04. Walk On The Wild Side  

05. I Keep Forgettin'  

06. Keep Lookin'  

07. One More Heartache  

08. Work, Work, Work  

09. Be My Lady  

10. If You Gotta Make A Fool Of Somebody  

11. Stop And Think It Over  

12. Don't Cry No More 

13. Sweet Mary [Bonus]

14. If i Ever Gets My Hands on You [Bonus]

15. Big City [Bonus]

16. Oh My Love [Bonus]

17. Goodbye Sister [Bonus]

18. She Knows What to Do [Bonus]

19. I Take What i Want [Bonus] 

20. I´m Looking For a saxophonist [Bonus]

21. I Feel Good [Bonus]

22. Molly Anderson´s Cookery [Bonus]

Extra Bonus Album: 30 Acetates, Singles & EP Tracks

Part 1: Art Gallery

Part 2: Art Gallery

or

Part 1: Art Gallery

Part 2: Art Gallery

or

Part 1: Art Gallery

Part 2: Art Gallery