Saturday, October 09, 2021

B.U.S. - The Unknown Secretary (Heavy Rock Italy 2016)

Size: 114 MB
Bit Rate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

Bus The Unknown Secretary is a four-piece Heavy Rock group hailing from Athens, Greece, simply known as B.U.S.

The band was formed in 2011 and have since then released two EP’s and two full length albums: “The Impious Tapes” EP (2014) and “The Cross” EP (2014), followed by “The Unknown Secretary” LP (2016) and “Never Decide” LP, released back in March 2019.

Influenced by tunes and bands that emerged from the 60’s up to the 90’s, B.U.S are heavily inspired by artists such as The Who, Alice Cooper, Sex Pistols, King Diamond, Kyuss, Nirvana and many more. The band incorporates all these influences into a deeply unique and personal style, creating a genuinely special musical identity.

During the past years the band has toured extensively throughout Greece and other European countries such as Italy, Austria, Czech Republic, Germany, Serbia and Bulgaria. They also held special shows as an opening act for Uncle Acid & The Deadbeats (UK) in Athens, for Blood Ceremony (USA) during two back to back shows in Athens and Thessaloniki, as well as for Orchid (USA), again in Athens. B.U.S. have also appeared at Athens Desert-fest in 2017.

“The Unknown Secretary” comes to further unsettle the turbulent waves of music and burn its own mark in history.

Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case. In the beginning, there was chaos…

A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can.

Angelic chants, Demon’s screams, witches dancing and woeful mortal suffering are recounted in this album’s songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil.

01. Fallen  03:33
02. Masteroid  04:45
03. New Black Volume  04:53
04. Forever Grey  03:28
05. Don't Fear Your Demon  05:04
06. Rockerbus  07:38
07. Withered Thorn  04:49
08. Over The Hills  04:56
09. Jimi  05:20

1. B.U.S.
2. B.U.S.
3. B.U.S.

Thursday, September 23, 2021

The Illinois Speed Press - Selftitled & Duet (BluesRock US 1969-70) (2CD)

The Illinois Speed Press was an American rock band formed - originally, in 1965, as The Rovin' Kind - in Chicago, later relocating to California. The band was formed by Paul Cotton - later of Poco - and Kal David. According to Allmusic, their sound "combined elements of R&B and country music in a powerful double-lead-guitar attack." Cotton and David have occasionally reunited in recent years to perform together under the name.

The Capitols were a local group formed by schoolmates at Thornton Township High School in Harvey, Illinois in 1958, including Norman Paul Cotton (then known as Norm "King" Cotton) and Keith Anderson. They became The Mus-Twangs in 1961, primarily an instrumental outfit who released a single, "Marie" on the local Nero label, which was picked up for national distribution by Smash, a subsidiary of Mercury Records. The band next became The Starfires, and Cotton also performed around 1963 as a member of the Carol Vega Trio. Around the same time, Kal David (b. David Raskin) fronted another band in Chicago, The Exceptions, who also included Peter Cetera (later of Chicago).

In early 1965, Cotton formed a new group, The Gentrys, with bassist Frank Bartell and drummer Fred Page (b. Frederick Pappalardo). They were soon joined by Kal David and keyboard player Mike Anthony, and later that year they changed their name to The Rovin' Kind to avoid confusion with the Memphis band who had a hit with "Keep On Dancing". They released their first single, "Everybody", on the Contrapoint label, and recorded several further singles for the Roulette and Dunwich labels. In 1966 they won a regional "battle of the bands" contest and, as a prize, appeared on American Bandstand. In 1967, Bartell left and was replaced by Keith Anderson. Back in Chicago, The Rovin' Kind became the house band at the Whisky A Go Go, where they were seen by producer James William Guercio, who signed them to a contract with the Columbia Records subsidiary label Epic, and persuaded them to change their name to Illinois Speed Press in February 1968. Norm Cotton changed his stage name to Paul Cotton at the same time, and the band moved to Los Angeles.

With its twin guitar sound, the band played a mixture of rock and roll, soul and country music. In 1968 they performed regularly at the Whisky a Go Go in Hollywood, and at the first Newport Pop Festival, held in Costa Mesa, California, also recording their first single, "Right On Time". Anderson was then fired, and replaced by Rob Lewine before the band recorded their first album, The Illinois Speed Press, which was produced by Guercio and released in early 1969. Columbia simultaneously released albums by Chicago Transit Authority, The Flock, and Aorta, and marketed them together as part of a so-called "Chicago Sound". All four debut albums entered the Billboard Top 200 album chart, The Illinois Speed Press reaching #144.

Before the album's release, Guercio fired Page, Anthony, and later Lewine; Page died shortly afterwards. They were replaced for performances by Jimmy Rogers (bass) and Rick Allen (drums), but the band recorded their second album, Duet, essentially as a duo of Cotton and David, supported by studio musicians including Joe Osborne (bass), Hal Blaine (drums) and Michael Lloyd (keyboards). The album was released in spring 1970, but shortly afterwards Kal David left to form The Fabulous Rhinestones with bassist Harvey Brooks. Cotton was then approached by Richie Furay to join Poco as a replacement for Jim Messina, which he did a few months later.

In 2009, Cotton and David reunited for some performances as Illinois Speed Press.

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The musical style and dual lead guitar format of Illinois Speed Press have been credited as inspiring Ronnie Van Zant and Gary Rossington to form Lynyrd Skynyrd. The band's two original albums, together with bonus tracks, were reissued on CD in 2003.

Originally known as "The Rovin Kind," ISP toured the country from 1966 to 1971 playing with such prolific musicians and bands as Jimi Hendrix, Janis Joplin, The Byrds, The Grateful Dead, Chicago and many more. Though much of the personnel changed over the years, Paul Cotton (of Poco fame) and Kal David remained as the driving force. Though the band only released two records, ISP remains an underground favorite for those who were privileged enough to see this band perform.

This is a limited edition remaster of Illinois Speed Press' two releases: "Illinois Speed Press" released in 1969, and "Duet" released in 1970. Bonus tracks, including singles, have been added to the first disc. Flash files providing band information, reviews, timelines, liner notes, have been added to the second disc. The remaster captures the music as the band meant for it to be heard. NOTE TO PURCHASERS: the original source tapes were close to unusable. 

As result, Futuredge was faced with the dilemma as to whether to cut out certain horrible sections or clean them as best as it could to preserve the integrity of the original music. Futuredge opted for the latter. You may hear in one or two songs a short digital glitch. There is nothing wrong with your CD player. Futuredge is continuing to use additional technologies to see if we can restore those few seconds to a more perfect quality.Also note that there were no source materials available for the bonus tracks. As a result, while Futuredge has made every attempt to "clean" these tracks, some noise will be heard.

The Illinois Speed Press - Selftitled US-69
01. Get in the Wind        
02. Hard Luck Story        
03. Here Today        
04. Pay the Price        
05. P.N.S.- When You Come Around        
06. Be A Woman        
07. Sky Song        
08. Beauty        
09. Free Ride        
10. Right on Time [Bonus]       
11. Night People [Bonus]        
12. G.I.T.W (Instrumental version) [Bonus]        

The Illinois Speed Press - Duet US-70       
01. Country Dumplin'        
02. Sadly Out Of Place        
03. The One Who Knows        
04. Dearly, ii. Bittersweet, iii. Random Roads (And His Big Band), iv. Dearly Theme Reprise        
05. Morning Blues        
06. Bad Weather        
07. The Life        
08. The Visit        
09. Seventeen Days  


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Friday, September 10, 2021

Masters of Reality - Roadburn Festival Germany 2001 (Bootleg) Soundquality A

Size: 258 MB
Bitrate: 320
Found at OuterSpace
Some Artwork

Masters of Reality are an American rock band formed in 1981 in Syracuse, New York by frontman Chris Goss and guitarist Tim Harrington. Notably the band's sound, along with their lineups, are ever-changing. After the first lineup the band's sound has ranged from hard rock to blues to progressive rock and even sixties-era pop. To date the band has released six studio albums and has managed to tour the world with various alternating lineups, Goss essentially the bandleader. In regards to the alternating lineups Goss has stated that Masters of Reality will always be a project with alternating lineups, stating "I can't afford paying people to tell they're in the band."

Notably the band has close ties to the Palm Desert scene with Goss being a producer and key player in that circle, working with Kyuss and Queens of the Stone Age (Along with Josh Homme and Nick Oliveri joining Masters of Reality for a period of time.) among others. While the band's name is taken from the Black Sabbath album of the same name the band's early influences were heavily derived from Sabbath and early King Crimson among a host of other classic rock acts.

Early Years and Masters of Reality (1981 - 1990)
Prior to Masters of Reality's formation Chris Goss started out with a band covering heavy 1970s rock acts (New York Dolls, Aerosmith, David Bowie, Blue Öyster Cult, Alice Cooper, Led Zeppelin) and writing his own songs since circa 1975. After getting into punk rock for a while (including performing at CBGB's in 1978), he didn't play guitar for a few years, instead preferring electronic music like Kraftwerk and becoming a club DJ.

In 1981 Goss and Tim Harrington started to make experimental home recordings with lo-fi, cheap and/or borrowed equipment that included a Sanyo boombox Rhythm Ace drum machine, a Korg, synthesizers and a Fender Vibroverb amp. The rhythm tracks of synths and a beat recorded on cassette would be played back to "overdub" vocals, guitar, more synthesizers, et cetera. They considered Manson Family as a name for their act, but never actually used it for their performances. They played regularly at CBGB's with a sound reminiscent of Suicide or somewhat like how Nine Inch Nails or Marilyn Manson would sound in the 1990s. Early original songs included "Building the Kingdom," "Voodoo Doll," "Metal Entity," "Cash," "Anchor," "Stones in Every Field" and "Doraldina's Prophecies."

By the late 1980s Masters of Reality would grow into a quartet with the addition of Googe on bass and Vinnie Ludovico on drums, developing a sound with less electronics and more of a rock sound drawing from blues and seventies metal such as Black Sabbath, Cream, Led Zeppelin and King Crimson. A demo tape would reach producer Rick Rubin, who would see the band live in late 1986 and sign the band to Def Jam. According to Goss it was Rubin who would bring out more of that blues rock side. During the recording for the band's debut album Rubin would quit Def Jam and take the band with him to his new label, Def American.

Also known as The Blue Garden, the eponymous Masters of Reality saw release on 24 January 1989 to critical acclaim at the time. According to an interview with Kyuss World, Goss would have many issues and frustrations with the recording of the album. Goss got frustrated with the band while touring the debut album. He quit the tour after Matt Dike invited him to come to Los Angeles and to get signed to his Delicious Vinyl label. They bought the rights from Rubin and released a newly sequenced version of the album with Doraldina's Prophecies as an extra track. Notably the band also played a show with Megadeth and Motorhead as part of BAM Magazine's anniversary. The band even made an appearance in 1990 Steven Seagal movie Marked For Death as Seagal was a fan of the band and personally requested them, which also led to the band interacting with Jimmy Cliff.

Sunrise on The Sufferbus (1992 - 1997)
In 1992 Masters of Reality would resurface with Goss and Googe alongside drummer Ginger Baker of Cream notoriety. Though initially Baker expressed dread thinking it was going to be a "loud and awful" heavy metal band, Baker warmed up to working with the band once he got to jamming with them. Recording in various studios in California, Masters of Reality would sign to Chrysalis Records and release their second album Sunrise on The Sufferbus on 9 February 1993. Despite their sound being altered to a degree the album was also critically acclaimed, even spawning a top ten hit in "She Got Me (When She Got Her Dress On)". Notably another song on the record was "T.U.S.A.", a rap by Baker describing the inability of Americans to make a proper cup of tea to which some American radio shows allegedly used this when a British guest would be involved.

Despite this new lineup Baker would not stay with the band and leave shortly after with Victor Indrizzo (Circus of Power, Samiam) taking over on drums. Masters Of Reality recorded the song "Climb Inside My World" for a 1994 Ren & Stimpy episode entitled "Jerry the Bellybutton Elf." The song was written by Steve Mellor who also wrote the episode in which it appeared.

The lineup of Goss, Googe and Indrizzo would then record a full-length in 1994, later titled as The Ballad of Jody Frosty, intended for release in 1995 via Epic Records. However the album would be outright rejected by the label and ultimately shelved, with live and studio versions of the songs surfacing on later albums (And ultimately the entire album leaking on the internet in 2004). In an

excerpt from the Masters of Reality archives, Goss would speak about The Ballad of Jody Frosty:

“The Ballad Of Jody Frosty!? The record company just refused to put it out... I'm glad that they showed their stupidity before the record came out... I mean... I look at it as a fine record... But... I think that the versions of the songs on the live record beat the versions of the studio record... All in all the public got the best versions of songs like 'Alder Smoke Blues'... I just want to put my best foot forward all the time, and the way the songs ended up on the live album are the best ones.”
  — Chris Goss, Masters of Reality Official

Masters of Reality were quiet for several years as Goss was occupied producing music for other bands in California, working extensively with bands that would shape the desert rock scene among others. However, the band did appear at Johnny Depp's Viper Room night club on 22 and 23 September 1996 for a two-night stand. The end result would be How High The Moon: Live At The Viper Room, released on 10 June 1997 via Malicious Vinyl. Notably this live album also featured Scott Weiland (Stone Temple Pilots) on the song "Jindalee Jindalie".

Welcome To The Western Lodge and Deep In The Hole (1998 - 2002)
Masters of Reality would establish a new lineup in 1998 to tour Europe surrounding an appearance at Dynamo Festival. This lineup of would consist of Goss, drummer John Leamy (Who would end up becoming the longtime drummer for the band), guitarist Brendon McNichol and bassist Paul Powell. Goss and Leamy would work together to record an album of new material and Welcome To The Western Lodge saw release on 21 June 1999. The same touring lineup would return to Europe that year, adding Mathias Schneeberger on keyboards. Throughout 2000 Goss would work with the likes of Queens of The Stone Age and Ian Astbury among others.

The band's connection to Queens led to Goss and Leamy collaborating with Josh Homme, Nick Oliveri, Mark Lanegen, Troy Van Leeuwen, Brandon McNichol and others at Rancho de la Luna and an abandoned Joshua Tree cabin, that Goss christened as "Robby's 511 Studio". The end result, described as "pretty fucked" by Goss, would be Deep In The Hole released on 15 June 2001 to positive reviews. On 17 October it would be announced that Homme and Oliveri would be joining Masters of Reality for a tour of Europe with Mark Lanegan (Who also participated in sets with MoR). This tour would include a headlining appearance at the seventh edition of Roadburn Festival. A collection of recordings from this tour would be made into a live album entitled Flak 'N' Flight, released on 18 February 2003.

Give Us Barabbas (2003 - 2008)
In 2003 Masters of Reality would notably cover "Devil's Radio" for the tribute album Songs From The Material World: A Tribute to George Harrison. Masters of Reality would perform once that year at the Greek Theatre in Los Angeles that November (With Tomahawk, The Cramps and Queens of the Stone Age).

The next year on 15 June 2004 saw the release of the band's fifth album Give Us Barabbas. Despite being listed as a studio album, Give Us Barabbas is largely comprised of lost and unreleased tracks, with the majority of the songs culled from The Ballad of Jody Frosty. A tour of Europe was intended for the fall of 2004 but Goss would be hospitalized and forced to postpone, even ending up in critical condition for a portion of his hospital stay though would eventually make a full recovery.

The band would sporadically tour in the meantime, largely in Europe and with occasional festival appearances such as Azkena Rock Festival in Spain circa 2005. Goss would largely keep busy through this time recording and engineering for the likes of Melissa Auf Der Maur and Queens of The Stone Age along with participation in a side project known as Goon Moon.

Pine/Cross Dover and Recent Activities (2009 - Present) Goss would begin work on a sixth studio album (And the first album of new material in a decade) through late 2007 and early 2008 at Rancho De La Luna and The Hacienda with a wide range of collaborators. After a year's worth of delays on 1 June 2009 it would be announced that this new album would be set for an August release via European label Brownhouse and Mascot Records, described by Goss as a "rock n' roll record". This album would see release in the United States via Cool Green Records on 12 October 2010. In a 2010 interview with The Aquarian, Goss would explain the recording process of the album and it's delays:

“We do our records very spontaneously. I get together with John Leamy, our drummer, who lives in New York, and in the meantime a few years go by. I accumulate little bits and pieces of ideas on the mini-recorder and have riffs and beats and ideas, blah blah blah, and bring John to the desert—this is what’s happened the last three albums of new material—and we jam.
We expound on these ideas and in the process of jamming, come up with 20 more ideas in addition to the 20 or 30 I may have had in the first place. It’s wonderful. It said in the press release, we both were so busy with production all the time of other people’s stuff, that when we get in a room together and we just go, we’re playing ourselves, and for the pure joy of it. It’s just wonderful.

It’s us, and it’s what we want to do, and there’s no one dictating anything to us. Totally by instinct. So he comes out for a few years, and we get drum tracks out of the jams, and then I finish the record with vocals and overdubs. This last record that just happened, to answer your question, we got a lot of great drum tracks, and also a lot of jams down on tape, and the task of getting those sorted and edited and made into songs took a little bit longer than I thought.

In my world, three or four months for me is a long time to do a Masters record. In “normal world,” most bands take a year or two to garner enough material to put together a cohesive record. Even though it was delayed over and over again, it really only took, in physical studio time, maybe three months, four months, spread out over a little bit of time.

For example, the last song on the record, that long jam session. We had so many of those kinds of jams for these sessions, that to actually go through and say, “Okay, what here is cohesive? What here is enjoyable and is representative of how we feel at that moment?” what we’re proud of, I guess—took longer than it would, normally.”

Pine/Cross Dover, through both it's release cycles, saw praise from the likes of The Obelisk, Under The Radar and Rock Sound[26] among others. In support of the record Masters of Reality would tour the West Coast in November 2010, followed by a tour of Europe that next January and February with the Cult and finishing with a show in New Orleans that June with Earthlings?.

Masters of Reality would tour Europe again two years later, with several festival appearances and dates supporting Queens of The Stone Age. The band would tour Europe again two years later but would go dormant afterwards. In 2019 and 2020 Masters of Reality would announce a tour of Europe for that May, including headlining appearances at Desertfest London, DesertFest Berlin, Kristonfest and Sonic Whip along with a marquee appearance at Stoned and Dusted. However with the CO-VID19 pandemic that would take place through the Spring of 2020 this tour would likely be canceled.

Studio Albums
Masters of Reality (1989, Def Jam)
Sunrise on The Sufferbus (1993, Chrysalis)
Welcome To The Western Lodge (1999, Brownhouse)
Deep In The Hole (2001, Brownhouse)
Give Us Barabbas (2004, Brownhouse)
Pine/Cross Dover (2009, Brownhouse)
Other Releases
How High The Moon: Live At The Viper Room (Live Album) (1997, Malicious Vinyl)
Flak 'N' Flight (Live Album) (2001, Brownhouse)
The Ballad of Jody Frosty (Unreleased Studio Album) (2004; Recorded 1995)

01 - Deep in the Hole  07:02
02 - Third man on the Moon  06:21
03 - Doraldina's Prophecies  08:53
04 - Annihilation of the Spirit  03:32
05 - Rabbit One  06:15 
06 - Time to Burn  03:28
07 - Blue Garden  07:28
08 - Alder Smoke Blues  08:17
09 - Why the Fly  09:40
10 - Band Intro  03:47
11 - Wish for a Fish  07:03
12 - 100 Years of Tears on the Wind  03:40
13 - Twilight Zone  02:40
14 - High Noon Amsterdam  11:29
15 - She Got Me  07:08
16 - John Brown  16.17 (Talk)

Part 1:  Masters
Part 2:  Masters
Part 1:  Masters
Part 2:  Masters
Part 1:  Masters
Part 2:  Masters

Tuesday, September 07, 2021

James Williamson & DenizTek - Two to One (Dirty Rock US 2020)

Size: 99.2 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

2 legendary proto-punk guitar heroes join forces for the first time ever on this odds-defying, razor sharp album!

Rock N Roll Hall of Famer James Williamson was the guitarist for one of the most iconic and influential albums of all-time, Iggy & The Stooges “Raw Power”, while Deniz Tek launched what became Australia’s ground zero for the forthcoming punk movement, the revered Radio Birdman!

Features 11 all-new original compositions highlighted by the first single “Stable” and the explosive lead-off track “Jet Pack Nightmare!”

When two major guitar wielders with the rock ‘n’ roll pedigrees of James “The Skull” Williamson and Deniz “Iceman” Tek join forces, it is a time for celebration, especially in these dark times. The pair have done it again on Two To One, a new album released this week. James “The Hound” Marshall spoke with both James and Deniz for PKM.
In these days of diminished expectations when anyone over 40 who can still hold a guitar gets labeled “legendary”, it’s nice to hear a new record that actually delivers the goods.

You can’t argue the credentials of the players here: James “The Skull” Williamson, bad ass Stooges guitar slinger, the man who wrote and wielded guitar on Raw Power, Kill City and other stone cold Stooges’ masterpieces turned tech wiz turned comeback kid of the century. Then there’s Deniz Tek guitarist/songwriter from Australia via Ann Arbor, Michigan who led Radio Birdman from birth through their 21-century reunion, made a half dozen classic solo albums (the last four Detroit, Mean Old Twister and the instrumental “soundtracks for imaginary films”- Lost For Words,and Fast Freight I think are his best work ever), not to mention the Soul Movers, the Visitors, New Race (with Ron Asheton), Dodge Main (with Wayne Kramer), Powertrane (with the Rationals’ Scott Morgan and Stooges drummer Scott Asheton).  He has also worked with the Lipstick Killers, Angie Pepper, the Flamin’ Groovies’ Roy Loney, Jeff Dahl, and innumerable other one offs. I’m out of breath just listing his musical accomplishments but he also found time to join the Navy and become both a jet pilot and Emergency Physician, holding the latter job until 2017.'

Two To One (Cleopatra Records) really does deliver the goods. On his last album, James Williamson & the Pink Hearts’ Behind The Shade, James spread his musical palette wide. Here, he focuses it on what he’s best known for—powerful guitar riffs and explosive solos. The opener, “Jet Pack Nightmare,” acts as a mission statement with one of those thundering Williamson riffs that would be at home on any Stooges record. Deniz Tek brings his A-game, writing half and singing all the songs, and gets his share of guitar glory. It’s all blood, guts and fire from beginning to end and I can’t imagine any fan of the Stooges or Radio Birdman (is there anyone who is a fan of one and not the other? I think not…) being disappointed.  I spoke with Deniz and James via Facetime recently to get the scoop and context of the eve of the release of Two To One.

01. Jet Pack Nightmare 03:36
02. Progress 02:42
03. Take A Look Around 03:25
04. Good As Gone 03:28
05. Stable 04:01
06. Climate Change 03:41
07. Birthday Present 03:18
08. Small Change 03:28
09. Liar 02:52
10. No Dreams 04:14
11. Melissa Blue 03:55


Electric Hot Tuna - Live at the Fillmore, San Francisco, California, December 7, 1994

Part 1: Tuna
Part 2: Tuna
Part 1: Tuna
Part 2: Tuna
Part 1: Tuna
Part 2: Tuna

Contains 22 mp3 Tracks at 320 Bit Rate, Enjoy...

B.B. King - Twist with B.B King (Great Blues US 1963) + B.B. King - Better Than Ever (US 1962)

Size: 53.2 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Released as promo album only

His reign as King of the Blues has been as long as that of any monarch on earth. Yet B.B. King continues to wear his crown well. At age 76, he is still light on his feet, singing and playing the blues with relentless passion. Time has no apparent effect on B.B., other than to make him more popular, more cherished, more relevant than ever. Don't look for him in some kind of semi-retirement; look for him out on the road, playing for people, popping up in a myriad of T.V. commercials, or laying down tracks for his next album. B.B. King is as alive as the music he plays, and a grateful world can't get enough of him. 

For more than half a century, Riley B. King - better known as B.B. King - has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over fifty albums, many of them classics. He was born September 16, 1925, on a plantation in Itta Bena, Mississippi, near Indianola. In his youth, he played on street corners for dimes, and would sometimes play in as many as four towns a night. In 1947, he hitchhiked to Memphis, TN, to pursue his music career. Memphis was where every important musician of the South gravitated, and which supported a large musical community where every style of African American music could be found. B.B. stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled B.B. further in the art of the blues. 

B.B.'s first big break came in 1948 when he performed on Sonny Boy Williamson's radio program on KWEM out of West Memphis. This led to steady engagements at the Sixteenth Avenue Grill in West Memphis, and later to a ten-minute spot on black-staffed and managed Memphis radio station WDIA. "King's Spot," became so popular, it was expanded and became the "Sepia Swing Club." Soon B.B. needed a catchy radio name. What started out as Beale Street Blues Boy was shortened to Blues Boy King, and eventually B.B. King. 

In the mid-1950s, while B.B. was performing at a dance in Twist, Arkansas, a few fans became unruly. Two men got into a fight and knocked over a kerosene stove, setting fire to the hall. B.B. raced outdoors to safety with everyone else, then realized that he left his beloved $30 acoustic guitar inside, so he rushed back inside the burning building to retrieve it, narrowly escaping death. When he later found out that the fight had been over a woman named Lucille, he decided to give the name to his guitar to remind him never to do a crazy thing like fight over a woman. Ever since, each one of B.B.'s trademark Gibson guitars has been called Lucille. 

Soon after his number one hit, "Three O'Clock Blues," B.B. began touring nationally. In 1956, B.B. and his band played an astonishing 342 one-night stands. From the chitlin circuit with its small-town cafes, juke joints, and country dance halls to rock palaces, symphony concert halls, universities, resort hotels and amphitheaters, nationally and internationally, B.B. has become the most renowned blues musician of the past 40 years. 

Over the years, B.B. has developed one of the world's most identifiable guitar styles. He borrowed from Blind Lemon Jefferson, T-Bone Walker and others, integrating his precise and complex vocal-like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist's vocabulary. His economy, his every-note-counts phrasing, has been a model for thousands of players, from Eric Clapton and George Harrison to Jeff Beck. B.B. has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. In B.B.'s words, "When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille." 

In 1968, B.B. played at the Newport Folk Festival and at Bill Graham's Fillmore West on bills with the hottest contemporary rock artists of the day who idolized B.B. and helped to introduce him to a young white audience. In ``69, B.B. was chosen by the Rolling Stones to open 18 American concerts for them; Ike and Tina Turner also played on 18 shows. 

B.B. was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 1987. He received NARAS' Lifetime Achievement Grammy Award in 1987, and has received honorary doctorates from Tougaloo(MS) College in 1973; Yale University in 1977; Berklee College of Music in 1982; Rhodes College of Memphis in 1990; Mississippi Valley State University in 2002 and Brown University in 2007. In 1992, he received the National Award of Distinction from the University of Mississippi. 

In 1991, B.B. King's Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched at Universal CityWalk in Los Angeles. A third club in New York City's Times Square opened in June 2000 and most recently two clubs opened at Foxwoods Casino in Connecticut in January 2002. In 1996, the CD-Rom On The Road With B.B. King: An Interactive Autobiography was released to rave reviews. Also in 1996, B.B.'s autobiography, "Blues All Around Me" (written with David Ritz for Avon Books) was published. In a similar vein, Doubleday published "The Arrival of B.B. King" by Charles Sawyer, in 1980. 

B.B. continues to tour extensively, averaging over 250 concerts per year around the world. Classics such as "Payin' The Cost To Be The Boss," "The Thrill Is Gone," How Blue Can You Get," "Everyday I Have The Blues," and "Why I Sing The Blues" are concert (and fan) staples. Over the years, the Grammy Award-winner has had two #1 R&B hits, 1951's "Three O'Clock Blues," and 1952's "You Don't Know Me," and four #2 R&B hits, 1953's "Please Love Me," 1954's "You Upset Me Baby," 1960's "Sweet Sixteen, Part I," and 1966's "Don't Answer The Door, Part I." B.B.'s most popular crossover hit, 1970's "The Thrill Is Gone," went to #15 pop. 

01.  You Upset Me Baby  03:04  
02.  Woke Up This Morning  02:59    
03.  Please Love 
Me  02:52    
04.  Bad Case Of Love  02:22    
05.  Groovin' Twist  02:22    
06.  Bad Luck Soul  02:19    
07.  Do What I Say  02:23    
08.  Rockin' Twist  03:17    
09.  Come By Here   02:18   
10.  Oh Baby  02:22 

Bonus: B.B. King - Better Than Ever (US 1962) 

1. King
2. King
3. King

Monday, August 16, 2021

John LittleJohn's - Chicago Blues Stars (Outstanding Blues US 1968)

Size: 92.8 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included

This November 14, 1968, session was recorded in Chicago, co-produced by Chris Strachwitz of Arhoolie Records and Willie Dixon. It's decent, though journeyman, '60s electric Chicago blues augmented by a couple of tenor saxes. Littlejohn has a pleasant voice and is a skilled guitarist, but does not have the fire or individuality that leaps from some of the musicians to whom one might compare him. Those might include figures like Buddy Guy, say, or Elmore James' more fully produced sides, or on something like "Catfish Blues," the Muddy Waters approach. Littlejohn did write most of the dozen tunes, interspersed with covers of songs by James, Dixon, Brook Benton (a refreshingly unusual choice for a mainstream '60s Chicago bluesman), and J.B. Lenoir.

John Littlejohn's stunning mastery of the slide guitar somehow never launched him into the major leagues of bluesdom. Only on a handful of occasions was the Chicago veteran's vicious bottleneck attack captured effectively on wax, but anyone who experienced one of his late-night sessions as a special musical guest on the Windy City circuit will never forget the crashing passion in his delivery. Delta-bred John Funchess first heard the blues just before he reached his teens at a fish fry where a friend of his father's named Henry Martin was playing guitar. He left home in 1946, pausing in Jackson, Mississippi; Arkansas; and Rochester, New York before winding up in Gary, Indiana. In 1951, he began inching his way into the Gary blues scene, his Elmore James-influenced slide style making him a favorite around Chicago's south suburbs in addition to steel mill-fired Gary.

Littlejohn waited an unconscionably long time to wax his debut singles for Margaret (his trademark treatment of Brook Benton's "Kiddio"), T-D-S, and Weis in 1968. But before the year was out, Littlejohn had also cut his debut album, Chicago Blues Stars, for Chris Strachwitz's Arhoolie logo. It was a magnificent debut, the guitarist blasting out a savage Chicago/Delta hybrid rooted in the early '50s rather than its actual timeframe. Unfortunately, a four-song 1969 Chess date remained in the can. After that, another long dry spell preceded Littlejohn's 1985 album So-Called Friends for Rooster Blues, an ambitious but not altogether convincing collaboration between the guitarist and a humongous horn section that sometimes grew to eight pieces. The guitarist had been in poor health for some time prior to his 1994 passing.

Recorded at Universal Studios - Chicago, III. November 14, 1968

01. What In The World You Goin' To Do (Willie Dixon)  03:53
02. Treat Me Wrong (John Funchess)  03:30
03. Catfish Blues  03:30
04. Kiddeo (Brook Benton)  03:45
05. Slidin' Home (John Funchess)  03:56
06. Dream (John Funchess)  05:15
07. Reelin' And Rockin' (John Funchess)  02:25
08. Been Around The World (John Funchess)  05:20
09. How Much More Long (J.B. Lenoir)  03:53
10. Shake Your Money Maker (Elmore James)  04:19

Bonus Tracks
11. I'm Tired (John Funchess)  04:19
12. Nowhere to Lay My Head (John Funchess)  03:44

1. John
2. John
3. John

The Beginners Mynd - Don't Lose Your Mind (Good Garagerock US 2013 - 2020)

Size: 155 MB
Birate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

"Don’t Lose Your Mind" (2017)
The glorious 2017 debut full-length album from the Beginner's Mynd has arrived! From the fuzzed-out garage title track opener on through to the dreamy, psych-pop album closer 'No Expectations', the Washington D.C.-based trio present 10 new songs that expand upon their bedrock sound of Byrdsian guitar jangle meshed with '60s-style pop-psych and '80s paisley underground moves. Adding more '60s-style garage rock grit and attitude to the proceedings, along with some the best lyrics and songs written yet by the mind behind the Mynd, Dan McNabb, end to end the album delivers an excellent way to kick your summertime music listening into high gear! - 13 O'Clock Records

“Don’t Lose Your Mind” displays the versatility of The Beginner’s Mynd while never wavering far from the band’s psychedelic roots. McNabb’s songwriting abilities and the band’s multi-instrument versatility are constantly on display. One of the strongest debut albums I’ve had the pleasure of reviewing. - It's Psychedelic Baby Magazine

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"The guitars, organ notes, every struck drumhead and cymbal crash resounds to cast the listener into their strange envelope-pushing atmospherics. The entire project recalls the exciting, challenging, and intoxicating world of some of those magical records made between 1965 and '69. It's worth noting that The Beginner's Mynd are not some cheap throwback homage with no substance - this contains depth: it's warm, fluent sounds signalling genuine appeal." - Shindig! Magazine

"This is a fantastic album of perfectly crafted late 60s psychedelic songs which is so cohesive and consistent that it elevates itself from mere album to a whole experience in itself!" - Bananas Magazine

"If the mesmerizing lenticular eye cover doesn't get you, the fuzz-and-mellotron-enhanced pop-psych of this DC aggregation will on their first album... this flows enchantingly like a freakbeat flashback fome to life on tracks like the surreal "Out of Tune", the lilting "I Want Truth" and the jangly "Nothing Wrong"." - Ugly Things Magazine

"The band’s warm guitar jangle, dream inducing keyboard play, and tremulous rhythms pay proper homage to Nuggets era psychedelia and pushes that “now sound” into the modern era, a feat seldom seen since the days of the 80s paisley underground." - Psych Out / Nashville Psych Alliance

"“Don’t Lose Your Mind” is simply a stellar step back in time for anyone who treasures a melodically mind-bending, guitar-heavy, hook-driven garage rock sound with a nostalgic nod to 60s drug-pop. Highly Recommended!" - The Quaker Goes Deaf

"Ego Death" (2018)
The Beginner's Mynd are back with a new single! On this follow-up to their debut album Don't Lose Your Mind, the Washington DC-based group present a new original song on the top side with strong 60's UK-style psych vibes in the vein of good 'ol early Syd Barrett-era Pink Floyd meets The Factory. 

On the flipside, their rendition of the Bob Dylan perennial classic, meshes jangly, folk-garage with some baroque pop-psych stylings, harpsichord included! 

A solid, very wellrounded two-sider showcasing all of the facets of the group's bedrock sound! - 13 O'Clock Records

"The garage insistence and thumping intensity that drives 'Ego Death' is punctuated by high register organ flourishes which brings a '67 UFO-style psychedelic image to the fore. This might prove their most potent offering yet." - Shinding Magazine

"Befitting the psychedelic nightmare sleeve, the wall-of-keyboards backdrop on "Ego Death" is considerably darker than this DC pop-psych quartet's previous efforts, while the cover of "Baby Blue" can best be described as early Pink Floyd meets The Byrds" - Ugly Things Magazine
"I Wish I Was Five" (2015)
Recorded at home, mixed by Mike Reina at The Brink

"The Beginner's Mynd EP" (2013)
""Hazy" is a supremely authentic two-chord wig-out cut from the same paisley cloth as any number of vintage garage-psych touchstones; it's muted power chords, treated vocals and snaking Farfisa organ lines evoking the Floyd's "Candy and a Currant Bun" and The Factory's "Try a Little Sunshine" in equal measures." - Shindig! Magazine

"A hugely promising debut... these guys have the potential to be pretty big imho" - The Active Listener

"Catchy as Hell and exactly the kind of sweet wobble you want lodged in your cranium. 

Both filler-free and coated with enough swirling baroque frosting to give you what you’re looking for..." - Sunrise Ocean Bender

"Laden with organ and psych tones, the brilliant ‘All The Time’ is followed by the more haunting and voice-effected ‘Shadows’ – a sound that continues the sixties influence of the first singles and makes this a band firmly one to follow." - The Roomshaker

The Band:
Dan McNabb: Vocals, guitars, keyboards (Mellotron, Farfisa, piano, harpsichord), percussion
Larry Ferguson: Drums
 Carrie Fergusion: Keyboards (Farfisa, piano)

01. Don't Lose Your Mind - Don't Lose Your Mind [2017]  03.23
02. Don't Lose Your Mind - Unity [2017]  03.17
03. Don't Lose Your Mind - I've Seen Stars [2017]  03.57
04. Don't Lose Your Mind - The Next One [2017]  02.24
05. Don't Lose Your Mind - I Want Truth [2017]  03.01
06. Don't Lose Your Mind - Out of Tune [2017] 05.13
07. Don't Lose Your Mind - Nothing Wrong [2017]  04.27
08. Don't Lose Your Mind - Days of Joy [2017]  03.29
09. Don't Lose Your Mind - I Am Done [2017]  03.20
10. Don't Lose Your Mind - No Expectations [2017]  04.39
11. Ego Death - Ego Death [2018]  02.55
12. Ego Death - Baby Blue [2018]  02.54
13. I Wish I Was Five [2015]  03.20
14. The Beginner's Mynd EP - Hazy [2013]  03.26
15. The Beginner's Mynd EP - Time Dilation [2013]  02.55
16. The Beginner's Mynd EP - Shadows [2013]  03.25
17. The Beginner's Mynd EP - All the Time [2013]  02.56
18. The Beginner's Mynd EP - In the Spring [2013]  03.27
19. Beware [2020]  03.02

1. Mynd
2. Mynd
3. Mynd

Tuesday, August 03, 2021

Fred McDowell - Mississippi Delta Blues (Good Blues US 1964)

Size: 150 MB
Bitrate: 256
Found from my Private Collection
Source: Japan 24-Bit Remaster

As the period of the Blues Revival began to fade, notably with the emergence of British and contemporary Folk artists who drew their influences from the treasures of the legendary Bluesmen, it was clear that the Blues was about to experience new adventures. Today we are going to talk about an important and pioneering figure of the Hill Country Blues, with Mr. Mississippi Fred McDowell. To first tell you a few words about this musical style, Hill Country Blues originated in northern Mississippi, appeared and defined in the 60s as a mix of Delta Blues, Country and West African sounds. From its less conventional and anesthetic form, Hill Country Blues exudes a certain purity through an energetic groove. Going unnoticed at first, because often too much reserved for something local and rural, from the far north of Mississippi, this musical style became something traditional, before it was an influence on some artists of the 90's/2000's when the Garage Rock Revival period appeared. Fred McDowell was obviously not the only local artist to define this new musical style, but he became the emblematic figure as early as 1964 based on the history and legacy he left behind.

Born in 1906 in Tennessee, he has been known for his retrospective fame, based on the fact that he was the pioneer of the new Blues movement and also thanks to his masterpiece Do Not Play No Rock 'n' Roll released in 1969. Unfortunately he didn't really enjoy his recognition, because McDowell left us in 1972 because of cancer. This man will forever remain a blues legend who is categorized as a historical artist who never landed in the homes of popular listeners, a job reserved for connoisseurs and historians. While losing his parents at a very young age, McDowell first gave up farming, the family business, for the food industry. Music was originally a passion that he exercised on weekends or evenings to make a few extra pennies. He also learned to play the guitar by himself. It was not until the Blues Revival at the end of the 50s that he had the chance to be recorded in the studio, he was then over 40 years old, which is not really a surprise for the bluesmen of that time. Thanks to the Blues Revival, Fred McDowell managed to become a "popular" artist in the reduced folkloric sphere. He took part in a few American compilations and tours/festivals. The exact origin of Hill Country Blues is difficult to put in context for 2 reasons. The first one is that Hill Country Blues had to be built locally over several years, 1964 remains the symbolic date of Fred McDowell's first album. And the second reason is that legend has it that Fred McDowell never really changed his way of doing blues, even though he certainly made it evolve, he was capable of great musical openness and remarkable versatility.

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But like everything else, there have to be some milestones in the history of Hill Country Blues, which brings us to 1964 and the album which is ironically called Delta Blues. In fact, Hill Country Blues was so familiar to Delta Blues that it is sometimes difficult to put the right label on it. The complete album is nowadays almost impossible to find on any platform, so you have to search the tracks one by one, because this one is one of the pearls lost by history (you will find most of them on the You Gotta Me compilation). Released by the label Arhoolie Records, created in 1960 in the middle of the Blues/folk revival period, which included mostly roots artists, Delta Blues are composed of mostly traditional songs, arranged and reworked by McDowell. McDowell, who also had alaise in both cases, alternates between electric and acoustic, with his famous slide guitar and his multiple techniques. His deep and percussive voice emanates all the rurality from which he comes from. There is this simple, sincere side which is articulated on a frantic instrumental rhythm that complements perfectly his singing. What I also love about this kind of artist and dusty record is precisely this rustic and authentic effect that offers an original flavor that is difficult to find today "because of" the technological and material advances of our contemporary production. [DoubleZ]

Track listing
01. Write Me a Few Lines
02. Louise
03. I Heard Somebody Call
04. 61 Highway
05. Mama Don't Allow Me
06. Kokomo Blues
07. Fred's Worried Life Blues
08. You Gonna Be Sorry
09. Shake 'Em on Down
10. My Trouble Blues
11. Black Minnie
12. That's Alright
13. When I Lay My Burden Down

14. Fred's Rambling Blues [bonus track]
15. Don't Look for Me on a Sunday [bonus track]
16. Good Morning Little School Girl [bonus track]
17. Little Girl, Little Girl, How Old Are You [bonus track]
18. Drop Down Mama [bonus track]
19. Early This Morning [bonus track]
20. Keep Your Lamp Trimmed and Burning [bonus track]
21. Get Right Church [bonus track]
22. I'm Going Over the Hill [bonus track]
23. Amazing Grace [bonus track]

1. Fred
2. Fred
3. Fred