John Mellencamp - Deer Creek Music Center 1992 (Bootleg)

Johnny Cougar - US Promo Single 1976

Size: 282 MB
Bitrate: 420
mp3
Found in my BluesMobile
Some Artwork Included

Biography:
John Mellencamp, also known as John Cougar Mellencamp (born October 7, 1951), is an American rock singer-songwriter, musician, painter and occasional actor known for his catchy, populist brand of heartland rock which emphasizes traditional instrumentation. He has sold over 40 million albums worldwide and has amassed 22 Top 40 hits in the United States. In addition, he holds the record for the most tracks by a solo artist to hit number-one on the Hot Mainstream Rock Tracks chart, with seven, and has been nominated for 13 Grammy Awards, winning one. His latest album, No Better Than This, was released on August 17, 2010 to widespread critical acclaim.

Mellencamp is also one of the founding members of Farm Aid, an organization that began in 1985 with a concert in Champaign, Illinois to raise awareness about the loss of family farms and to raise funds to keep farm families on their land. The Farm Aid concerts have remained an annual event over the past 28 years, and as of 2013 the organization has raised over $43 million to promote a strong and resilient family farm system of agriculture.

Mellencamp was inducted into the Rock and Roll Hall of Fame on March 10, 2008. His biggest musical influences are Bob Dylan, Woody Guthrie, James Brown and The Rolling Stones. Said longtime Rolling Stone contributor Anthony DeCurtis: "Mellencamp has created an important body of work that has earned him both critical regard and an enormous audience. His songs document the joys and struggles of ordinary people seeking to make their way, and he has consistently brought the fresh air of common experience to the typically glamour-addled world of popular music."

Early life
Mellencamp has German ancestry. He was born with spina bifida, for which he had corrective surgery as an infant. He formed his first band, Crepe Soul, at the age of 14 and later played in the local bands Trash, Snakepit Banana Barn and the Mason Brothers. He eloped with his pregnant girlfriend Priscilla Esterline at the age of 18 and became a father in December 1970, six months after he graduated from high school. His daughter Michelle became a mother at age 19, making Mellencamp a grandfather at 37.

Mellencamp attended Vincennes University, a two-year college in Vincennes, Indiana, starting in 1972. During this time he experimented with drugs and alcohol, stating in a 1986 Rolling Stone interview, "When I was high on pot, it affected me so drastically that when I was in college there were times when I wouldn't get off the couch. I would lie there, listening to Roxy Music, right next to the record player so I wouldn't have to get up to flip the record over. I'd listen to this record, that record. There would be four or five days like that when I would be completely gone."

Upon graduating from Vincennes University in 1974, Mellencamp played in a couple of local bands, including the aforementioned glitter-band Trash, which was named after a New York Dolls song, and he later got a job in Seymour installing telephones. At this time, Mellencamp, who had given up drugs and alcohol for good before graduating from Vincennes University, decided to pursue a career in music and traveled to New York City in an attempt to land a record contract.

John Cougar - Netherland Single 1979

Music career Performing as Johnny Cougar and John Cougar (1976–1982)
After about 18 months of traveling back and forth from Indiana to New York City in 1974 and 1975, Mellencamp finally found someone receptive to his music and image in Tony DeFries of MainMan Management. DeFries insisted that Mellencamp's first album, Chestnut Street Incident, a collection of covers and a handful of original songs, be released under the stage name Johnny Cougar, suggesting that the bumpy German name "Mellencamp" was too hard to market. Mellencamp reluctantly agreed, but the album was a complete failure, selling only 12,000 copies. Mellencamp confessed in a 2005 interview, "That was put on me by some manager. I went to New York and everybody said, 'You sound like a hillbilly.' And I said, 'Well, I am.' So that's where he came up with that name. I was totally unaware of it until it showed up on the album jacket. When I objected it to it, he said, 'Well, either you're going to go for it, or we’re not going to put the record out.' So that was what I had to do... but I thought the name was pretty silly."

Mellencamp recorded The Kid Inside, the follow-up to Chestnut Street Incident, in 1977, but DeFries eventually decided against releasing the album and Mellencamp was dropped from MCA records (DeFries finally released The Kid Inside in early 1983, after Mellencamp broke through to stardom). Mellencamp drew interest from Rod Stewart's manager, Billy Gaff, after parting ways with DeFries and was signed to the tiny Riva Records label. At Gaff's request, Mellencamp moved to London, England for nearly a year to record, promote and tour behind 1978's A Biography. The record wasn't released in the United States, but it yielded a hit in Australia with "I Need a Lover". Riva Records added "I Need a Lover" to Mellencamp's next album released in the United States, 1979's John Cougar, where the song became a No. 28 single in late 1979. Pat Benatar recorded "I Need a Lover" on her debut album In the Heat of the Night.

In 1980, Mellencamp returned with the Steve Cropper-produced Nothin' Matters and What If It Did, which yielded two Top 40 singles — "This Time" (No. 27) and "Ain't Even Done With the Night" (No. 17). "The singles were stupid little pop songs," he told Record Magazine in 1983. "I take no credit for that record. It wasn't like the title was made up — it wasn't supposed to be punky or cocky like some people thought. Toward the end, I didn't even go to the studio. Me and the guys in the band thought we were finished, anyway. It was the most expensive record I ever made. It cost $280,000, do you believe that? The worst thing was that I could have gone on making records like that for hundreds of years. 

Hell, as long as you sell a few records and the record company isn't putting a lot of money into promotion, you're making money for 'em and that's all they care about. PolyGram loved Nothin' Matters. They thought I was going to turn into the next Neil Diamond."

In 1982, Mellencamp released his breakthrough album, American Fool, which contained the singles "Hurts So Good," an uptempo rock tune that spent four weeks at No. 2 and 16 weeks in the top 10, and "Jack & Diane," which was a No. 1 hit for four weeks. A third single, "Hand to Hold On To," made it to No. 19. "Hurts So Good" went on to win the Grammy Award for Best Male Rock Vocal Performance at the 25th Grammys. "To be real honest, there's three good songs on that record, and the rest is just sort of filler," Mellencamp told Creem Magazine of American Fool in 1984. "It was too labored over, too thought about, and it wasn't organic enough. The record company thought it would bomb, but I think the reason it took off was – not that the songs were better than my others – but people liked the sound of it, the 'bam-bam-bam' drums. It was a different sound."

John Cougar - German Single 1982

Performing as John Cougar Mellencamp (1983–1990)
With some commercial success under his belt, Mellencamp had enough clout to force the record company to add his real surname, Mellencamp, to his stage moniker. The first album recorded under his new name John Cougar Mellencamp was 1983's Uh-Huh, a Top-10 album that spawned the Top 10 singles "Pink Houses,"and "Crumblin' Down" as well as the No. 14 hit "Authority Song," which he said is "our version of "I Fought the Law.'" During the recording of Uh-Huh, Mellencamp's backing band settled on the lineup it would retain for the next several albums: Kenny Aronoff on drums and percussion, Larry Crane and Mike Wanchic on guitars, Toby Myers on bass and John Cascella on keyboards. In 1988, Rolling Stone magazine called this version of Mellencamp's band "one of the most powerful and versatile live bands ever assembled." On the 1984 Uh-Huh Tour, Mellencamp opened his shows with cover versions of songs he admired growing up, including Elvis Presley's "Heartbreak Hotel," the Animals' "Don't Let Me Be Misunderstood," Lee Dorsey's "Ya Ya" and the Left Banke's "Pretty Ballerina."
Since college, Mellencamp has, with the exception of his continuing addiction to nicotine, lived a drug and alcohol-free lifestyle. In 1984, when asked about his views on drugs, he told Bill Holdship of Creem magazine, "If you want to stick needles in your arms, go ahead and fucking do it. 

You're the one that's going to pay the consequences. I don't think it's a good idea, and I sure don't advocate it, but I'm not going to judge people. Hell, if that was the case, you wouldn't like anyone in the music business because everyone's blowing cocaine."

In 1985, Mellencamp released Scarecrow, which peaked at No. 2 in the fall of '85 and spawned five Top 40 singles: "Lonely Ol' Night" (No. 6), "Small Town" (No. 6), and "R.O.C.K. in the U.S.A. (A Salute to '60s Rock)" (No. 2), "Rain on the Scarecrow" (No. 21) and "Rumbleseat" (No. 28). According to the February 1986 edition of Creem Magazine, Mellencamp wanted to incorporate the sound of classic '60s rock into Scarecrow, and he gave his band close to a hundred old singles to learn "almost mathematically verbatim" prior to recording the album.
"Learning those songs did a lot of positive things," Mellencamp explained to Creem writer Bill Holdship. "We realized more than ever what a big melting pot of all different types of music the '60s were. Take an old Rascals song for example – there's everything from marching band beats to soul music to country sounds in one song. Learning those opened the band's vision to try new things on my songs. It wasn't let's go back and try to make this part fit into my song, but I wanted to capture the same feeling – the way those songs used to make you feel. After a while, we didn't even have to talk about it anymore. If you listen to the lead Larry [Crane] plays on 'Face The Nation', he never would have played that 'cause he didn't really know who the Animals were. He's young, and he grew up on Grand Funk Railroad. You hear it, and it's like 'where did that come from?' It had to be from hearing those old records."

Scarecrow was the first album Mellencamp recorded at his own recording studio, "Belmont Mall," located in Belmont, Indiana and built in 1984. Mellencamp sees Scarecrow as the start of the alternative country genre: "I think I invented that whole 'No Depression' thing with the Scarecrow album, though I don’t get the credit," he told Classic Rock magazine in October 2008.

John Cougar Mellencamp - Australian Single 1986

Shortly after finishing Scarecrow, Mellencamp helped organize the first Farm Aid benefit concert with Willie Nelson and Neil Young in Champaign, Illinois on September 22, 1985. The Farm Aid concerts remain an annual event and have raised over $43 million for struggling family farmers as of 2013.

Prior to the 1985–86 Scarecrow Tour, during which he covered some of the same 1960s rock and soul songs he and his band rehearsed prior to the recording of Scarecrow, Mellencamp added fiddle player Lisa Germano to his band. Germano would remain in Mellencamp's band until 1994, when she left to pursue a solo career.

Mellencamp's next LP, 1987's The Lonesome Jubilee, included the singles "Paper in Fire," (No. 9) "Cherry Bomb," (No. 8), "Check It Out," (No. 14) and "Rooty Toot Toot" (No. 61) along with the popular album tracks "Hard Times for an Honest Man" and "The Real Life," both of which garnered significant radio airplay even though they didn't achieve any chart position. "We were on the road for a long time after Scarecrow, so we were together a lot as a band," Mellencamp said in a 1987 Creem Magazine feature. "For the first time ever, we talked about the record before we started. We had a very distinct vision of what should be happening here. At one point, The Lonesome Jubilee was supposed to be a double album, but at least 10 of the songs I'd written just didn't stick together with the idea and the sound we had in mind. So I just put those songs on a shelf, and cut it back down to a single record. Now, in the past, it was always 'Let's make it up as we go along' – and we did make some of The Lonesome Jubilee up as we went along. But we had a very clear idea of what we wanted it to sound like, even before it was written, right through to the day it was mastered."

As Frank DiGiacomo of Vanity Fair wrote in 2007, "The Lonesome Jubilee was the album in which Mellencamp defined his now signature sound: a rousing, crystalline mix of acoustic and electric guitars, Appalachian fiddle, and gospel-style backing vocals, anchored by a crisp, bare-knuckle drumbeat and completed by his own velveteen rasp.

During the 1987-88 Lonesome Jubilee Tour, Mellencamp was joined onstage by surprise guest Bruce Springsteen at the end of his May 26, 1988 gig in Irvine, California, for a duet of Bob Dylan's "Like a Rolling Stone", which Mellencamp performed as the penultimate song during each show on that tour.
After the Lonesome Jubilee Tour, Mellencamp divorced his second wife, Vicki.

In 1989, Mellencamp released the personal album Big Daddy, with the key tracks "Jackie Brown," "Big Daddy of Them All" and "Void in My Heart" accompanying the Top 15 single "Pop Singer." The album, which Mellencamp called at the time the most "earthy" record he'd ever made, is also the last to feature the "Cougar" moniker.
Mellencamp was heavily involved in painting at this time in his life and decided not to tour behind Big Daddy, stating: "What's the point?... This other step that people keep wanting me to take to become another level of recording artist - to be Madonna? To sell out? To bend over? To kiss somebody's ass? I ain't gonna do it." In his second painting exhibition, at the Churchman-Fehsenfeld Gallery in Indianapolis in 1990, Mellencamp's portraits were described as always having sad facial expressions and conveying "the same disillusionment found in his musical anthems about the nation's heartland and farm crisis."

John Mellencamp - Netherland Promo Single 1988

Performing as John Mellencamp (1991–1997)
Mellencamp's 1991 album, Whenever We Wanted, was the first with a cover billed to John Mellencamp—the Cougar was now gone forever. Whenever We Wanted yielded the Top 40 hits "Get a Leg Up" and "Again Tonight," but "Last Chance," "Love and Happiness" and "Now More Than Ever" all garnered significant airplay on rock radio. "It's very rock 'n' roll," Mellencamp said of Whenever We Wanted. "I just wanted to get back to the basics."
In 1993, he released Human Wheels, and the title track peaked at No. 48 on the Billboard singles chart. "To me, this record is very urban," Mellencamp told Billboard magazine of Human Wheels in the summer of '93. "We had a lot of discussions about the rhythm and blues music of the day. We explored what a lot of these (current) bands are doing — these young black bands that are doing more than just sampling."

Mellencamp's 1994 Dance Naked album included a cover of Van Morrison's "Wild Night" as a duet with Meshell Ndegeocello. "Wild Night" became Mellencamp's biggest hit in years, peaking at No. 3 on the Billboard Hot 100. The album also contained two protest songs in "L.U.V." and "Another Sunny Day 12/25", in addition to the title track, which hit No. 41 on the Hot 100 in the summer of 1994. "This is as naked a rock record as you're going to hear," Mellencamp said of Dance Naked in a 1994 Billboard magazine interview. "All the vocals are first or second takes, and half the songs don't even have bass parts. Others have just one guitar, bass, and drums, which I haven't done since American Fool."

With guitarist Andy York now on board as Larry Crane's full-time replacement, Mellencamp launched his Dance Naked Tour in the summer of 1994, but a minor heart attack suffered after a show at Jones Beach in New York on August 8 of that year eventually forced him to cancel the last few weeks of the tour. "I was up to 80 cigarettes a day," Mellencamp told the Boston Herald in September 1996 about the habits that led to his heart malfunction two years prior. "We'd finish a show and I'd go out and have steak and french fries and eggs at 4 in the morning and then go to sleep with all that in my gut. It was just a terrible lifestyle."
He returned to the concert stage in early 1995 by playing a series of dates in small Midwestern clubs under the pseudonym Pearl Doggy.

In September 1996, the experimental album Mr. Happy Go Lucky, which was produced by Junior Vasquez, was released to critical acclaim. "It's been fascinating to me how urban records use rhythm and electronics, and it's terribly challenging to make that work in the context of a rock band," Mellencamp told Billboard magazine in 1996. "But we took it further than an urban record. The arrangements are more ambitious, with programs and loops going right along with real drums and guitars."

Mr. Happy Go Lucky spawned the No. 14 single "Key West Intermezzo (I Saw You First)" (Mellencamp's last Top 40 hit) and "Just Another Day," which peaked at No. 46.

Year 1998 to present is not added in this biography. Full story at: http://en.wikipedia.org/wiki/John_Mellencamp


About this concert:
Most of this was posted late 2009 by rocknbear on Dime (originally uploaded by hatnham). glasnostrd19 balanced the levels (the left side was about 1 db lower than the right side) in the second half part of the show, applied DC offset to most tracks (some didn't need it) and spliced in "Play Guitar", "Pink Houses", the band introductions and "R.O.C.K. In The U.S.A." completely from his own FM master tape of a partial re-broadcast, and a complete "Love And Happiness" from a silver CD source. (The previous post had interruptions in all those songs and did not include the band introductions.) Thanks also go to bc2hander for providing the source of the complete 1st song. The quality of both other sources are similar, and both are FM master recordings. After assembling all the WAV files for this posting, sb's were aligned during flac conversion.

Rocknbear's post included this notation:
There is a tape flip during Play Guitar & Pink Houses and there is drop off in 2 spots during Jackie Brown which is from the original broadcast. All are minor and do not compromise the songs. The missing sections of Jackie Brown are momentary, and not too significant. 

The only other missing sections left in here now are a few short sections of "Jackie Brown", and just a second or two in one part of "Pop Singer" for a senseless censorship broadcast edit. (As seen on Jimmy Kimmel Live, but this isn't from a TV show, it's an infant attempt at government policy for radio in the U.S.A. brought on by a president suffering from severe altheimer's disease that helped lead to the demise of all FM radio in the U.S. not long after this show, especially rock and the progressive arts.)
Songs marked with * were spliced in from different, complete sources.

This is from the "Whenever We Wanted" tour, the 1st to not include the "Cougar" used in John's earlier albums.

While John Mellencamp’s biggest commercial success came in the 1980s, his first album of the 1990s also fared quite well on the charts. The disc, Whenever We Wanted, which was released on October 8, 1991, cracked the top 20 on the Billboard charts, peaking at #17. The first single, Get A Leg Up, did even better, climbing to #14 on the charts. Mellencamp went on tour in support of the album in 1992, including this show in his home state of Indiana on July 4, 1992, 21 years ago today. Download this one to hear Mellencamp sing songs about America’s heartland from the very place that helped inspire those tunes.

John Mellencamp
Deer Creek Music Center, Noblesville, Indiana, U.S.A
July 4th, 1992, FM Broadcast

Personnel:
♣ John Mellencamp - vocals, guitar
♣ Pat Peterson - vocals
♣ Ginny Douglas McCray - vocals
♣ John Cascella - sax, keyboards, accordian
♣ Lisa Germano - fiddle
♣ David Grissom - guitar
♣ Michael Wanchic - guitar
♣ Toby Jeffrey Myers - bass, backing vocals
♣ Kenny Aronoff - drums

Disc 1:
01 Love And Happiness 7:31
02 Paper And Fire 4:36 
03 Jack And Diane  6:05 
04 Lonely Ol' Night 4:29 
05 Check It Out 5:39 
06 Rain On The Scarecrow 4:01 
07 Martha Say  5:19 
08 The Real Life 4:29
09 Rumble Seat 4:33 
10 Get A Leg Up  4:47 
11 Jackie Brown 5:33 

Disc 2:
12 Small Town 5:27 
13 Minutes To Memories 5:01 
14 Now More Than Ever 3:44 
15 Pop Singer (w/ one senseless censorship broadcast edit) 5:17 
16 Crumblin' Down 4:22 
17 R.O.C.K. In The U.S.A. 3:47 
18 Play Guitar 7:30 
19 Hurts So Good 4:27 
20 Authority Song (w/ Land Of 1000 Dances?) 8:59 
21 Pink Houses 9:43 
22 Band Introductions 1:21 
23 Cherry Bomb 6:28 

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Marianne Faithfull - Come My Way (1st Album UK 1965)

Size: 160 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Come My Way is the first studio album by Marianne Faithfull. The album was arranged by acoustic guitarist, Jon Mark. The cover photography is by Gered Mankowitz.

When Marianne Faithfull released her first two albums for the U.K. market in the spring of 1965, she took the unusual step of issuing them simultaneously. One, simply titled Marianne Faithfull, was the pop-oriented collection that listeners of her hit singles would have expected. The other, Come My Way, by contrast was comprised solely of folk tunes, most of them traditional, the acoustic settings arranged by guitarist Jon Mark.

Faithfull at this very early stage in her career still had the tremulous soprano common to many woman folk singers of the era. While her singing here is pleasant and competent, it's rather average when stacked against the emotional commitment and personality the best interpreters of such tunes brought to the material at the time. Indeed, Faithfull herself would do the same kind of repertoire, with considerably greater vocal imagination and more forceful musical backing, on her underrated third U.K. album, 1966's North Country Maid. 

Still, it's an OK record, Faithfull putting her pipes to reverent use on folk revival staples like "Portland Town," "House of the Rising Sun," "Once I Had a Sweetheart," and "Black Girl," taking on a contemporary writer with Ian Tyson's "Four Strong Winds." Her reading of "Lonesome Traveller" stands out for the propulsive backing, with hasty 12-string guitar strums and what sound like bongos. The CD reissue, available briefly in Britain in the early '90s and then in Japan in the early 2000s, adds four bonus tracks: the 1964 B-side "Blowin' in the Wind"; "Et Maintenant," from a 1965 EP; the poppy and bluesy 1966 B-side "That's Right Baby"; and her classic 1969 single "Sister Morphine," which predated the Rolling Stones' version by a couple of years.

Well, what can one say about Marianne Faithfull that hasn't been written

Netherland Single 1965

a million times before? A true legend in British music, boasting a career that spans more than forty years that is showing no sign of slowing down yet. Over the course of a dozen or so albums and any number of hit singles she's consistently re-invented herself; from the teenage convent schoolgirl folk-pop of her early Decca recordings (penned by Jagger/Richards, Donovan, Tim Hardin, Jackie De Shannon, Bert Jansch et al) through the controversial years of "Sister Morphine", Girl On A Motorcycle and her well-publicised late '60s drug-induced breakdown to her rebirth in the late-'70s with the manifesto that is Broken English and subsequent acceptance into the pantheon of great rock and roll survivors. 

Not to mention the fact that she now sounds better than ever and puts on one hell of a good show! In a classic spin by her manager/mentor Andrew Loog Oldham, Faithfull's first two long players were released on the same day in April 1965. While Marianne Faithfull was full of the kind of fragile, baroque torch-pop with which she'd become successfully associated, it's the sister release Come My Way that was effectively a pure folk album with shades of children's songs and a sense of the avant garde. Magnificent!

Mono:
01. "Come My Way"
02. "Jabberwoc"
03. "Portland Town"
04. "House of the Rising Sun"
05. "Spanish Is a Loving Tongue"
06. "Fare Thee Well"
07. "Lonesome Travelers" (Lee Hays)
08. "Down in the Salley Garden"
09. "Mary Ann"
10. "Full Fathom Five"
11. "Four Strong Winds" (Ian Tyson)
12. "Black Girl - also known as In the Pines"
13. "Once I Had a Sweetheart"
14. "Bells of Freedom"

Stereo:
15. "Come My Way"
16. "Jabberwoc"
17. "Portland Town"
18. "House of the Rising Sun"
19. "Spanish Is a Loving Tongue"
20. "Fare Thee Well"
21. "Lonesome Travelers" (Lee Hays)
22. "Down in the Salley Garden"
23. "Mary Ann"
24. "Full Fathom Five"
25. "Four Strong Winds" (Ian Tyson)
26. "Black Girl - also known as In the Pines"
27. "Once I Had a Sweetheart"
28. "Bells of Freedom"

Extra Bonus:
29. "Greensleeves" [Bonus Mono]
30. "Blowin' in The Wind" [Mono]
31. "House of The Rising Sun" [Single Version]
32. "Come My Way" [Version Two]
33. "Mary Ann" [Version Two]

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Otis Rush and His Blues Band - Joe´s Place 1973 (Bootleg)

Size: 132 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

Otis Rush (born April 29, 1935 in Philadelphia, Mississippi) is a blues musician, singer and guitarist. His distinctive guitar style features a slow burning sound and long bent notes. With similar qualities to Magic Sam and Buddy Guy, his sound became known as West Side Chicago blues and became an influence on many musicians including Michael Bloomfield and Eric Clapton.

Rush is left-handed and, unlike many other left-handed guitarists, plays a left-handed instrument strung upside-down with the low E string at the bottom. He played often with the little finger of his pick hand curled under the low E for positioning. It is widely believed that this contributes to his distinctive sound. He has a wide-ranging, powerful tenor voice.

Otis Rush - The Blues Vol. II - Part 1 UK EP 1965

After moving to Chicago, Illinois in 1948, Rush made a name for himself playing in clubs on both the South Side and West Side blues scenes. From 1956 to 1958, he recorded for the Cobra Records and released eight singles, some featuring Ike Turner or Jody Williams on guitar. His first single "I Can't Quit You Baby" in 1956 reached No. 6 on Billboard's R&B chart. During his tenure with Cobra, he recorded some of his well known songs such as "Double Trouble" and "All Your Love (I Miss Loving)."

After Cobra Records went bankrupt in 1959, Rush landed a recording contract with Chess in 1960. He recorded eight tracks for the label, four of which were released on two singles that year. Six tracks including the two singles later came out on "Door To Door" album in 1969, a compilation also featuring Chess recordings by Albert King.

He also went into the studio for Duke Records in 1962, but only one single "Homework/I Have to Laugh" was issued from the label. It also received a release in Great Britain on Vocalion VP9260 in 1963. In 1965, he recorded for Vanguard which can be heard on the label's compilation album, Chicago/The Blues/Today! Vol.2.

In the 1960s, Rush began playing in other cities in the U.S. and also to Europe, most notably the American Folk Blues Festival.

Otis Rush - Us Single 1956

In 1969, the album Mourning in the Morning was released on Cotillion Records. Recorded at the FAME Studios in Muscle Shoals, Alabama, the album was produced by Michael Bloomfield and Nick Gravenites (then of Electric Flag). The sound that incorporated soul and rock was a brand new direction for Rush.

In 1971, Rush recorded the album Right Place, Wrong Time in San Francisco, California for Capitol Records, but Capitol decided not to release it. The album was finally released in 1976 when Rush purchased the master from Capitol and had it released by P-Vine Records in Japan. Bullfrog Records released it in the U.S. soon after. The album generally has since gained a reputation as one of the best works by Rush.
In the 1970s, he also released some albums on Delmark Records and also from Sonet Records in Europe, but by the end of the decade he stopped performing and recording.

Rush made a come back in 1985 making a U.S. tour and releasing the live album, Tops, recorded at the San Francisco Blues Festival.

In 1994, Rush released Ain't Enough Comin' In, the first studio album in 16 years. Any Place I'm Goin' followed in 1998, and Rush earned his first Grammy Award for Best Traditional Blues Album in 1999.
Though he has not recorded a new studio album since 1998, he continued to tour and perform. In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley - A Tribute!, performing the song "I'm A Man" produced by Carla Olson.

However, he suffered a stroke in 2004 which has kept him from performing since. In 2006, Rush released his latest CD, Live and From San Francisco on Blues Express Records, a live recording from 1999. Video footage of the same show was released on the DVD Live Part 1 in 2003.

Rush has two daughters and two sons from a previous marriage and 2 daughters from his second marriage, Lena and Sophia.

OTIS RUSH & HIS BLUES BAND, 1973-04-05 Joe´s Place, Boston, MA WBCN-Superb FM Master Broadcast

01. Intro
02. Watermelon Man
03. It takes a little Time
04. I can´t quit you Baby
05. Keep loving me Baby
06. Popcorn
07. Gambler´s Blues
08. Why I sing the Blues
09. Please love me
10. Double Trouble
11. Everything´s gonna work out fine

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Otis Rush 1967 Poster

Grateful Dead - Live Dead (First Live Recording US 1969) + Extra Studio Bonus 1970

Size: 163 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Live/Dead is the first official live album released by the San Francisco-based band Grateful Dead. It was recorded over a series of live concerts in early 1969 and released later in the year on November 10. At the time of its release, Robert Christgau wrote that side two of the double album "contains the finest rock improvisation ever recorded." A landmark live album that captured the Grateful Dead's improvisations at their best—Allmusic would write that "Few recordings have ever represented the essence of an artist in performance as faithfully as Live/Dead".

It was the final album with keyboardist Tom Constanten.

The songs were recorded with a mobile 16-track studio. Owsley "Bear" Stanley also asked Ron Wickersham to invent a mic splitter that fed both into the PA and the record inputs with no loss in quality. "Dark Star" and "St. Stephen" pairing was taken from the February 27, 1969 show at the Fillmore West; "The Eleven" and "Turn On Your Lovelight" were from the January 26, 1969 show at the Avalon Ballroom; "Death Don't Have No Mercy," "Feedback," and "And We Bid You Goodnight" were from the March 2, 1969 show at the Fillmore West.

Unlike in later years, in early 1969 the contents of the Dead's set lists varied little. They improvised the medley of "Dark Star"/"St. Stephen"/"The Eleven" several times a week, which enabled them to explore widely within the songs' simple frameworks. The album was a financial success for the band in the eyes of their label, Warner Bros. Constanten had commented that "Warner Bros. had pointed out that they had sunk $100,000-plus into Aoxomoxoa ... so someone had the idea that if we sent them a double live album, three discs for the price of one wouldn't be such a bad deal."

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A six-and-a-half-minute edit of "Turn On Your Lovelight" was issued first on Warner/Reprise Loss Leader album The Big Ball in 1970, and later on Skeletons from the Closet: The Best of Grateful Dead.

The cover art for Live/Dead is by R.D. Thomas. The word "Live" is seen on the front cover, and the word "Dead" fills the back cover. The top part of the word "Dead" on the back cover spells "acid", a slang term for LSD.

The original Warner Bros. LP [#2WS 1830] included a 8.5" X 11" bi-fold art and lyric book containing the lyrics to "Saint Stephen", "The Eleven", and "Dark Star".

The Grateful Dead's fourth title was likewise their first extended concert recording. Spread over two LPs, Live/Dead (1969) finally was able to relay the intrinsic sonic magnificence of a Dead show in real time. Additionally, it unleashed several key entries into their repertoire, including the sidelong epic and Deadhead anthem"Dark Star" as well as wailing and otherwise electrified acidic covers of the Rev. Gary Davis blues standard "Death Don't Have No Mercy" and the R&B rave-up "(Turn on Your) Lovelight." Finally, the conundrum of how to bring a lengthy performance experience to the listener has been solved. The album's four sides provided the palette from which to replicate the natural ebb and flow of a typical Dead set circa early 1969. 

Tomes have been written about the profound impact of "Dark Star" on the Dead and their audience. It also became a cultural touchstone signifying that rock music was becoming increasingly experimental by casting aside the once-accepted demands of the short, self-contained pop song. This version was recorded on February 27, 1969, at the Fillmore West and is presented pretty much the way it went down at the show. The same is true of the seven remaining titles on Live/Dead. The rousing rendition of "St. Stephen" reinvents the Aoxomoxoa (1968) prototype with rip-roaring thunder and an extended ending which slams into an instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature. 

The second LP began with a marathon cover of "(Turn on Your) Lovelight," which had significant success for both Bobby "Blue" Bland and Gene Chandler earlier in the decade. With Ron "Pigpen" McKernan at the throttle, the Dead barrel their way through the work, reproportioning and appointing it with fiery solos from Garcia and lead vocal raps courtesy of McKernan. "Death Don't Have No Mercy" is a languid noir interpretation of Rev. Gary Davis' distinct Piedmont blues. Garcia's fretwork smolders as his solos sear through the melody. Likewise notable is the criminally underrated keyboard work of Tom Constanten, whose airy counterpoint rises like a departing spirit from within the soul of the song. The final pairing of "Feedback" -- which is what is sounds like it might be -- with the "lowering down" funeral dirge "And We Bid You Goodnight" is true to the way that the band concluded a majority of their performances circa 1968-1969. 

They all join in on an a cappella derivative of Joseph Spence and the Pinder Family's traditional Bahamian distillation. Few recordings have ever represented the essence of an artist in performance as faithfully as Live/Dead. It has become an aural snapshot of this zenith in The Grateful Dead's 30-year evolution and as such is highly recommended for all manner of enthusiasts. [Wikipedia + AMG]

Grateful Dead:
Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's most beloved musical ambassadors as well as its most enduring survivors, spreading their message of peace, love, and mind-expansion across the globe throughout the better part of three decades. The object of adoration for popular music's most fervent and celebrated fan following — the Deadheads, their numbers and devotion legendary in their own right — they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries.

The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a longtime bluegrass enthusiast who began playing the guitar at age 15. Upon relocating to Palo Alto, CA, in 1960, he soon befriended Robert Hunter, whose lyrics later graced many of Garcia's most famous melodies; in time, he also came into contact with aspiring electronic music composer Phil Lesh. By 1962, Garcia was playing banjo in a variety of local folk and bluegrass outfits, two years later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks, their lineup now additionally including Lesh on bass as well as Bill Kreutzmann on drums. 

The Warlocks made their electric debut that July; Ken Kesey soon tapped them to become the house band at his notorious Acid Tests, a series of now-legendary public LSD parties and multimedia "happenings" mounted prior to the drug's criminalization. As 1965 drew to its close, the Warlocks rechristened themselves the Grateful Dead, the name taken from a folk tale discovered in a dictionary by Garcia; bankrolled by chemist/LSD manufacturer Owsley Stanley, the band members soon moved into a communal house situated at 710 Ashbury Street in San Francisco, becoming a fixture on the local music scene and building a large fan base on the strength of their many free concerts. Signing to MGM, in 1966 the Dead also recorded their first demos; the sessions proved disastrous, and the label dropped the group a short time later. 

As 1967 mutated into the Summer of Love, the Dead emerged as one of the top draws on the Bay Area music scene, honing an eclectic repertoire influenced by folk, country, and the blues while regularly appearing at top local venues including the Fillmore Auditorium, the Avalon Ballroom, and the Carousel. In March of 1967 the Dead issued their self-titled Warner Bros. debut LP, a disappointing effort which failed to recapture the cosmic sprawl of their live appearances; after performing at the Monterey Pop Festival, the group expanded to a six-piece with the addition of second drummer Mickey Hart. Their follow-up, 1968's Anthem of the Sun, fared better in documenting the free-form jam aesthetic of their concerts, but after completing 1969's Aoxomoxoa, their penchant for time-consuming studio experimentation left them over 100,000 dollars in debt to the label. 

The Dead's response to the situation was to bow to the demands of fans and record their first live album, 1969's Live/Dead; highlighted by a rendition of Garcia's "Dark Star" clocking in at over 23 minutes, the LP succeeded where its studio predecessors failed in capturing the true essence of the group in all of their improvisational, psychedelicized glory. It was followed by a pair of classic 1970 studio efforts, Workingman's Dead and American Beauty; recorded in homage to the group's country and folk roots, the two albums remained the cornerstone of the Dead's live repertoire for years to follow, with its most popular songs — "Uncle John's Band," "Casey Jones," "Sugar Magnolia," and "Truckin'" among them — becoming major favorites on FM radio. 

Despite increasing radio airplay and respectable album sales, the Dead remained first and foremost a live act, and as their popularity grew across the world they expanded their touring schedule, taking to the road for much of each year. As more and more of their psychedelic-era contemporaries ceased to exist, the group continued attracting greater numbers of fans to their shows, many of them following the Dead across the country; dubbed "Deadheads," these fans became notorious for their adherence to tie-dyed fashions and excessive drug use, their traveling circus ultimately becoming as much the focal point of concert dates as the music itself. Shows were also extensively bootlegged, and not surprisingly the Dead closed out their Warners contract with back-to-back concert LPs — a 1971 eponymous effort and 1972's Europe '72. 

The latter release was the final Dead album to feature Pigpen McKernan, a heavy drinker who died of liver failure on March 8, 1973; his replacement was keyboardist Keith Godchaux, who brought with him wife Donna Jean to sing backing vocals. 1973's Wake of the Flood was the first release on the new Grateful Dead Records imprint; around the time of its follow-up, 1974's Grateful Dead From the Mars Hotel, the group took a hiatus from the road to allow its members the opportunity to pursue solo projects. After returning to the live arena with a 1976 tour, the Dead signed to Arista to release Terrapin Station, the first in a series of misguided studio efforts that culminated in 1980's Go to Heaven, widely considered the weakest record in the group's catalog — so weak, in fact, that they did not re-enter the studio for another seven years.

The early '80s was a time of considerable upheaval for the Dead — the Godchauxs had been dismissed from the lineup in 1979, with Keith dying in a car crash on July 23, 1980. (His replacement was keyboardist Brent Mydland.) After a pair of 1981 live LPs, Reckoning and Dead Set, the group released no new recordings until 1987, focusing instead on their touring schedule — despite the dearth of new releases, the Dead continued selling out live dates, now playing to audiences which spanned generations. As much a cottage industry as a band, they traveled not only with an enormous road crew but also dozens of friends and family members, many of them Dead staffers complete with health insurance and other benefits. 

Still, the Dead were widely regarded as little more than an enduring cult phenomenon prior to the release of 1987's In the Dark; their first studio LP since Go to Heaven, it became the year's most unlikely hit when the single "Touch of Grey" became the first-ever Dead track to reach the Top Ten on the pop charts. Suddenly their videos were in regular rotation on MTV, and virtually overnight the ranks of the Deadheads grew exponentially, with countless new fans flocking to the group's shows. Not only did concert tickets become increasingly tough to come by for longtime followers, but there were also more serious repercussions — the influx of new fans shifted the crowd dynamic considerably, and once-mellow audiences became infamous not only for their excessive drug habits but also for their violent encounters with police. 

Other troubles plagued the Dead as well: in July 1986, Garcia — a year removed from a drug treatment program — lapsed into near-fatal diabetic coma brought on by his continued substance abuse problems, regaining consciousness five days later. His health remained an issue in the years which followed, but the Dead spent more time on tour than ever, with a series of dates with Bob Dylan yielding the live album Dylan & the Dead. Their final studio effort, Built to Last, followed in 1989. Tragedy struck in October of that year when a fan died after breaking his neck outside of a show at the New Jersey Meadowlands; two months later, a 19-year-old fan on LSD also died while in police custody at the Los Angeles Forum.

As ever, the Dead themselves were also not immune to tragedy — on July 26, 1990, Mydland suffered a fatal drug overdose, the third keyboardist in group history to perish; he was replaced not only by ex-Tubes keyboardist Vince Welnick but also by satellite member Bruce Hornsby, a longtime fan who frequently toured with the group. In the autumn of 1992 Garcia was again hospitalized with diabetes and an enlarged heart, forcing the Dead to postpone their upcoming tour until the year's end; he eventually returned to action looking more fit than he had in years. Still, few were surprised when it was announced on August 9, 1995, that Garcia had been found dead in his room at a substance abuse treatment facility in Forest Knolls, CA; the 53 year old's death was attributed to a heart attack. 

While Garcia's death spelled the end of the Dead as a continuing creative entity, the story was far from over. As the surviving members disbanded to plot their next move, the band's merchandising arm went into overdrive — in addition to Dick's Picks, a series of archival releases of classic live material, licensed products ranging from Dead T-shirts to sporting goods to toys flooded the market. Plans were also announced to build Terrapin Station, an interactive museum site. In 1996, Weir and Hart mounted the first Furthur Festival, a summer tour headlined by their respective bands RatDog and Mystery Box; in 1998, they also reunited with Lesh and Hornsby to tour as the Other Ones. In spirit if not in name, the Grateful Dead's trip continued on.

Grateful Dead:
♦ Tom Constanten – keyboards
♦ Jerry Garcia – guitar, vocals
♦ Mickey Hart – drums, percussion
♦ Bill Kreutzmann – drums, percussion
♦ Ron "Pigpen" McKernan – vocals, congas; organ on "Death Don't Have No Mercy"
♦ Phil Lesh – bass guitar, vocals
♦ Bob Weir – guitar, vocals

01. "Dark Star" (Jerry Garcia, Mickey Hart, Robert Hunter, Bill Kreutzmann, Phil Lesh, Ron "Pigpen" McKernan, and Bob Weir) 23:18
02. "St. Stephen" (Garcia, Hunter, and Lesh) 6:31
03. "The Eleven" (Hunter and Lesh) 9:18
04. "Turn On Your Love Light" (Deadric Malone and Joseph Scott) 15:05
05. "Death Don't Have No Mercy" (Reverend Gary Davis) 10:28
06. "Feedback" (Tom Constanten, Garcia, Hart, Kreutzman, Lesh, McKernan, and Weir) 7:49
07. "And We Bid You Goodnight" (Traditional, arr. by Grateful Dead) 0:35

Bonus Tracks:
08. "Dark Star" (Single Version)
09. "WB Commercial For Live Dead"

Extra Bonus: KQED Studios, San Francisco 1970 (Bootleg)
01. ... Easy Wind [7:08]
02. Candyman [7:18]
03. Casey Jones [4:49]
04. Brokedown Palace [3:44] 
05. Uncle John's Band [5:43]

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Grateful Dead - Workingman's Dead (Great Album of Country Rock US 1970)

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Workingman's Dead is the fifth album by the rock band the Grateful Dead. It was recorded in February 1970 and originally released on June 14, 1970.

The title of the album comes from a comment from Jerry Garcia to lyricist Robert Hunter about how "this album was turning into the Workingman's Dead version of the band".

The band returned to the Pacific High Recording Studio in San Francisco to record the album and spent just nine days there. Garcia noted that "let's do it all in three weeks and get it the hell out of the way". Besides the weight of their debt in producing their previous album, Aoxomoxoa, the band was also dealing with the stress of a recent drug bust in New Orleans—which could have possibly resulted in jail time—and their manager Lenny Hart (father of drummer Mickey Hart) skipping town with a sizable chunk of the band's wealth. "In midst of all this adverse stuff that was happening ... [recording the album] was definitely an upper," said Garcia in an interview.

Garcia has commented that much of the sound of the album comes both from his pairing with Hunter as well as the band's friendship with Crosby, Stills and Nash. "Hearing those guys sing and how nice they sounded together, we thought, 'We can try that. Let's work on it a little,'" commented Garcia.

Songs such as "Uncle John's Band", "High Time", and "Cumberland Blues" were brought to life with soaring harmonies and layered vocal textures that had not been a part of the band's sound until then. According to the 1992 Dead oral history, Aces Back To Back, in the summer of 1968, Stephen Stills vacationed at Mickey Hart's ranch in Novato. "Stills lived with me for three months around the time of CSN's first record," recalls Hart, "and he and David Crosby really turned Jerry and Bobby onto the voice as the holy instrument. You know, 'Hey, is this what a voice can do?' That turned us away from pure improvisation and more toward songs."

Warner Bros. released "Uncle John's Band" backed with "New Speedway Boogie" as a single, but it received limited airplay. This was neither, as once postulated, because of length issues nor concerns about profanity, since the single issue had been edited to a very radio-friendly three-minute length and the word "goddamn" removed. "Casey Jones" was also released as a single, but did not chart in the U.S.
Lyricist Robert Hunter appears as the seventh member on the cover of the album.

The album was voted by readers of Rolling Stone as the best album of 1970, in front of Crosby, Stills, Nash and Young's Déjà Vu and Van Morrison's Moondance.

01. "Uncle John's Band" 4:42
02. "High Time" 5:12
03. "Dire Wolf" 3:11
04. "New Speedway Boogie" 4:01
05. "Cumberland Blues" (Garcia, Hunter, and Phil Lesh) 3:14
06. "Black Peter" 5:41
07. "Easy Wind" (Hunter) 4:57
08. "Casey Jones" 4:24

Bonus Tracks:
09. "New Speedway Boogie (alternate mix)" 4:10
10. "Dire Wolf" (live) 2:31
11. "Black Peter" (live) 9:07
12. "Easy Wind" (live) 8:09
13. "Cumberland Blues" (live) 4:52
14. "Mason's Children" (Garcia, Hunter, Lesh, and Bob Weir) 6:32
15. "Uncle John's Band" (live) 7:57
16. "Radio Promo Spot" 

Bonus tracks production details: 
♣ "Dire Wolf" recorded at Santa Rosa Veteran's Memorial Hall on 6/27/1969
♣ "Black Peter" recorded at Golden Hall Community Concourse in San Diego on 1/10/1970
♣ "Easy Wind" recorded at Springer's Ballroom in Portland on 1/16/1970
♣ "Cumberland Blues" recorded at the Oregon State University Gym on 1/17/1970
♣ "Mason's Children" recorded at the Civic Auditorium in Honolulu on 1/24/1970
♣ "Uncle John's Band" recorded at Winterland on 10/04/1970 (incorrectly listed in sleevenotes as recorded at   Winterland, 12/23/70)

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