Not to be missed, believe me: Joseph Benjamin Hutto & the New Hawks - The Unreleased Album (1982-1984 (Bootleg)

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Found in my BluesMobile
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J.B. Hutto (April 26, 1926 – June 12, 1983) was an American blues musician. Hutto was influenced by Elmore James, and became known for his slide guitar work and declamatory style of singing. He was inducted into the Blues Hall of Fame two years after his death.

Joseph Benjamin Hutto was born in Blackville, South Carolina, United States, the fifth of seven children. His family moved to Augusta, Georgia when Hutto was three years old. His father, Calvin, was a preacher and Hutto, along with his three brothers and three sisters, formed a gospel group called The Golden Crowns, singing in local churches. Hutto's father died in 1949, and the family relocated to Chicago. Hutto served as a draftee in the Korean War in the early 1950s, driving trucks in combat zones.

Joseph Benjamin Hutto & the New Hawks  - Album 1968

In Chicago, Hutto took up the drums and played with Johnny Ferguson and his Twisters. He also tried the piano before settling on the guitar and playing on the streets with the percussionist Eddie 'Porkchop' Hines. After adding Joe Custom on second guitar, they started playing club gigs, and harmonica player George Mayweather joined after sitting in with the band. Hutto named his band The Hawks, after the wind that blows in Chicago.[4] A recording session in 1954 resulted in the release of two singles on the Chance label and a second session later the same year, with the band supplemented by pianist Johnny Jones, produced a third.

Later in the 1950s Hutto became disenchanted with music, and gave it up after a woman broke his guitar over her husband's head one night in a club where he was performing; during the next eleven years Hutto worked as a janitor in a funeral home to supplement his income. He returned to the music industry in the mid-1960s, with a new version of the Hawks featuring Herman Hassell on bass and Frank Kirkland on drums. His recording career resumed with, first, a session for Vanguard Records released on the compilation album Chicago/the Blues/Today! Vol. 1, and then albums for Testament and Delmark. The 1968 Delmark album, Hawk Squat!, which featured Sunnyland Slim on organ and piano, and Maurice McIntyre on tenor saxophone, is regarded as his best work on album up to this point.

J.B. Hutto - Trading Card
(click on picture for bigger size)

After Hound Dog Taylor died in 1975, Hutto took over his band the Houserockers for a time, and in the late 1970s he moved to Boston and recruited a new band which he called the New Hawks, with whom he recorded further studio albums for the Varrick label. His 1983 Varrick album Slippin' & Slidin', the last of his career and later reissued on CD as Rock With Me Tonight, has been described as "near-perfect". J.B.Hutto also Lived in Harvey in the Marshfeild Ave as a step Grandfather while together with Lula Bell Black, he practice with his Guitar in his hands and his step Grandson on his patting feet, I remember him as good man, he was all ways good to my Grandmother.

Hutto returned to Illinois in the early 1980s, where he was diagnosed with cancer. He died in 1983, at the age of 57, in Harvey. He was interred at Restvale Cemetery, Alsip, Illinois.

In 1985, the Blues Foundation inducted Hutto into its Hall of Fame. His nephew, Lil' Ed Williams (of Lil' Ed and the Blues Imperials) has carried on his legacy, playing and singing in a style close to his uncle's.
A "J.B. Hutto" model guitar is often used to refer to a mid-1960s, red, Montgomery Ward Res-O-Glas Airline guitar. Although he was not a paid endorser, Hutto made the guitar famous by appearing with it on the cover of his Slidewinder album.

Jack White of the White Stripes is another artist famous for using theMontgomery Ward Res-O-Glas Airline guitar.

01. Sweet Young Thing  02:59
02. Unknown  05:05
03. Recycled Woman  03:33
04. Hide & Seek (live) 05:34
05. Instrumental  03:30
06. Unknown  05:54
07. Whas the Matter with the Mill (live)  05:36
08. Unknown  04:43

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 Joseph Benjamin Hutto & the New Hawks - Unreleased Album Recorded 1982-1984. Recorded for Baron Records. None of these tracks have ever been released. 
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Joseph Benjamin Hutto & the New Hawks  - Promo Photo

Booker T - Evergreen (Great R&B, Rock US 1974)

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Playing organ and keyboards in the MG's, one the greatest R&B and soul bands in the history of pop music, Booker T. Jones was no stranger to the pop world when he recorded Evergreen in 1974. As part of the MG's, he played on innumerable Stax Records sessions backing everyone from Otis Redding to Sam & Dave, and the MG's hit the charts a few times themselves, beginning with the timeless "Green Onions" instrumental in 1962. But things began going south for Stax in the early '70s, and Jones could see the writing on the wall, leaving the label well before it filed for bankruptcy in 1975 and signing with A&M Records in 1971 and consequently releasing a series of albums with his then-wife Priscilla Coolidge. 

He signed with Epic Records in 1974, issued Evergreen, and then returned to A&M Records. Evergreen isn't a soul record, at least not the way the MG's did it, and Jones wore several hats at the sessions, playing some guitar and bass on it in addition to organ and keyboards, handled most of the vocals, and also wrote, arranged, and produced all the tracks (with the exception of a cover of Kris Kristofferson's "Why Me"). It's really a laid-back roots album, and one doesn't get any of Jones' famous organ playing until the fourth cut, an instrumental called "Flamingo," and it's there on the title track, "Evergreen," as well, but most of the album is a light-breezed mix of folk melodies, subtle calypso, and reggae rhythms, ragtime, and what is know these days as soul-jazz, and it's all very pleasing, but far from the greasy soul-funk sound of the MG's. Wounded Bird Records reissued Evergreen in 2013, adding in six bonus tracks, which included the single version of "Evergreen" and interesting cover versions of "Take Me to the River" and "Whiter Shade of Pale," none of which change the overall mood and feel of the original album.

Booker T. Jones (born November 12, 1944) is an American multi-instrumentalist, songwriter, record producer and arranger, best known as the frontman of the band Booker T. & the M.G.'s. He has also worked in the studios with many well-known artists of the 20th and 21st centuries, earning him a Grammy Award for lifetime achievement.

Booker T. Jones was born in Memphis, Tennessee, in 1944. He was named in honor of his father, Booker T. Jones, Sr., who was named in honor of Booker T. Washington, the educator; "Booker Taliaferro Jones, Jr." is his full name.

Jones was a prodigy, playing the oboe, saxophone, trombone, and piano at school and serving as organist at his church. He attended Booker T. Washington High School, the alma mater of Rufus Thomas and shared the hallowed halls with future stars like Isaac Hayes's writing partner David Porter; saxophonist Andrew Love of The Memphis Horns; soul singer/songwriter William Bell and Earth, Wind, & Fire's Maurice White.

Jones's first entry into professional music came at age sixteen, when he played baritone saxophone on Satellite (soon to be Stax) Records' first hit, "Cause I Love You", by Rufus Thomas and Carla Thomas.

While hanging around the Satellite Record Shop run by Estelle Axton, co-owner of Satellite Records with her brother Jim Stewart, Jones met record clerk Steve Cropper, who would become one of the MGs when the group formed in 1962. Besides Jones on organ and Cropper on guitar, Booker T. and the MGs featured Lewie Steinberg on bass guitar and Al Jackson, Jr. on drums (Donald "Duck" Dunn eventually replacing Steinberg). While still in high school, Jones co-wrote the group's classic instrumental "Green Onions", which became a hit in 1962.
Bob Altshuler wrote the sleeve notes on the first Booker T. & the M.G.'s album released by Stax Records in 1962 and also called Green Onions:

Booker T. And The M.G's - Netherland Single 1968

[His] musical talents became apparent at a very early age. By the time he entered high school, Booker was already a semi-professional, and quickly recognized as the most talented musician in his school. He was appointed director of the school band for four years, and in addition, organized the school dance orchestra which played for proms throughout the Mid-South. In the classroom, he concentrated on the studies of music theory and harmony. ... Booker's multiple activities earned him a coveted honour, that of being listed in the students' "Who's Who of American High Schools". Booker's first instrument was the string bass, but he soon switched to the organ. Booker came to the attention of record executive Jim Stewart in Memphis, and while still in high school, he worked as a staff musician for Stax Records, appearing as sideman on many recording dates for that label. It became obvious that one day Booker would be ready to record under his own name and several months later Booker's first recording session was set.

Over the next few years, Jones divided his time between studying classical music composition, composing and transposition at Indiana University, playing with the MGs on the weekends back in Memphis, serving as a session musician with other Stax acts, and writing songs that would become classics. He wrote, with Eddie Floyd, "I've Never Found a Girl (To Love Me Like You Do)", Otis Redding's "I Love You More Than Words Can Say", and, with William Bell, Albert King's "Born Under a Bad Sign". The latter would later be popularized in the cover version by power trio Cream.

Booker T and The M.G.S. Poster 1968

In 1970, Jones moved to California and stopped playing sessions for Stax, after becoming frustrated with Stax's treatment of the MGs as employees rather than musicians. While still under contract to Stax, he appeared on Stephen Stills' eponymous album (1970). The 1971 album, Melting Pot would be the last Booker T. & the MGs album issued on Stax.

Making the charts as a solo artist in 1981 with "I Want You", he produced Rita Coolidge, Bill Withers's debut album Just As I Am (on which he also played several instruments), and Willie Nelson's album Stardust. He has also lent his trademark keyboards to artists ranging in genre from Ray Charles to Neil Young.

On June 18, 1985 Booker married Nanine Warhurst. They have three children together, Olivia, Cicely, and Teddy. All total they have a family of eight children, including Booker T. III, Lonnie, Matthew, Brian, and Michael.
On March 1, 1995 Booker T. & the MG's won their first Grammy Award for Best Pop Instrumental Performance for "Cruisin'". Jones still plays with Booker T. & the MGs and his own Booker T. Jones Band. Booker's current touring group includes Vernon "Ice" Black (guitar), Darian Gray (drums), and Melvin Brannon (bass).
Jones was inducted into The Rock and Roll Hall of Fame in 1992, and was honored with a Grammy Award for lifetime achievement on February 11, 2007.

In 2007, Jones was inducted into the Musicians Hall of Fame and Museum in Nashville, TN.
In 2009 he released a new solo album, Potato Hole, recorded with the Drive By Truckers, and featuring Neil Young. He performed at the Bonnaroo Festival with Drive By Truckers on June 6, 2009, with a set including most tracks from Potato Hole as well as some Truckers tracks. On January 31, 2010, Potato Hole won the Best Instrumental Album award at the 52nd Grammy Awards.

He is featured on the new Rancid album, Let The Dominoes Fall, playing a Hammond B-3 on the track "Up To No Good".

Jones also played his B-3 on the track "If It Wasn't For Bad" from the Elton John and Leon Russell collaboration album titled The Union. The track was nominated at 53rd Annual Grammy Awards for Best Pop Collaboration With Vocals.

In 2011, Jones released The Road from Memphis. The backing band included Questlove (drums), "Captain" Kirk Douglas (guitar) and Owen Biddle (bass) from The Roots as well as former Motown guitarist Dennis Coffey and percussionist Stewart Killen. The album features vocals by Yim Yames, Matt Berninger, Lou Reed, Sharon Jones and Booker T. himself, as well as lyrics contributed by his daughter/manager Liv Jones.

On February 12, 2012 The Road from Memphis won at the 54th Grammy Awards for Best Pop Instrumental Album. Jones holds a total of 4 Grammy Awards.

Jones received an honorary doctorate degree from Indiana University's Jacobs School of Music at the 2012 undergraduate commencement exercises on Saturday, May 5, 2012. He had originally attended Indiana University in the 1960s, even after having recorded hits for Stax Records.

Jones was featured on organ for singer Kelly Hogan on Hogan's 2013 release on Anti- records, "I Like to Keep Myself in Pain."

In June, 2013, Jones released his 10th album, Sound The Alarm, on Stax Records. It features guest artists Anthony Hamilton, Raphael Saadiq, Mayer Hawthorne, Estelle, Vintage Trouble, Luke James, James Jay, and Booker's son Ted Jones. [AMG + Wikipedia]

01. Jamaica Song  2:25
02. Mama Stewart  2:52
03. Tennessee Voodoo  4:46
04. Flamingo  3:38
05. Song For Casey  4:52
06. Evergreen  6:30
07. Country Days  4:35
08. Why Me  3:35
09. Front Street Rag  2:14
10. Lie To Me  6:00

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Picture of the day

Illusion

The Yardbirds - US Single 1967

Roy Buchanan - The Blue Note 1985-05-24 (Bootleg)

Size: 170 MB
Bitrate: 320
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Found in my BluesMobile
Some Artwork

Roy Buchanan has long been considered one of the finest, yet criminally overlooked guitarists of the blues rock genre whose lyrical leads and use of harmonics would later influence such guitar greats as Jeff Beck, his one-time student Robbie Robertson, and ZZ Top's Billy Gibbons. Although born in Ozark, AR, on September 23, 1939, Buchanan grew up in the small town of Pixley, CA. His father was both a farmer and Pentecostal preacher, which would bring the youngster his first exposure to gospel music when his family would attend racially mixed revival meetings. But it was when Buchanan came across late-night R&B radio shows that he became smitten by the blues, leading to Buchanan picking up the guitar at the age of seven. First learning steel guitar, he switched to electric guitar by the age of 13, finding the instrument that would one day become his trademark: a Fender Telecaster. By 15, Buchanan knew he wanted to concentrate on music full-time and relocated to Los Angeles, which contained a thriving blues/R&B scene at the time. Shortly after his arrival in L.A., Buchanan was taken under the wing by multi-talented bluesman Johnny Otis, before studying blues with such players as Jimmy Nolen (later with James Brown), Pete Lewis, and Johnny "Guitar" Watson. During the mid- to late '50s, Buchanan led his own rock band, the Heartbeats, which soon after began backing rockabilly great Dale ("Suzy Q") Hawkins. 

Roy Buchanan - Netherland Single 1973

By the dawn of the '60s, Buchanan had relocated once more, this time to Canada, where he signed on with rockabilly singer Ronnie Hawkins. The bass player of Ronnie Hawkins' backing band, the Hawks, studied guitar with Buchanan during his tenure with the band. Upon Buchanan's exit, the bassist-turned-guitarist would become the leader of the group, which would eventually become popular roots rockers the Band: Robbie Robertson. Buchanan spent the '60s as a sideman with obscure acts, as well as working as a session guitarist for such varied artists as pop idol Freddy Cannon, country artist Merle Kilgore, and drummer Bobby Gregg, among others, before Buchanan settled down in the Washington, D.C., area in the mid- to late '60s and founded his own outfit, the Snakestretchers. Despite not having appeared on any recordings of his own, word of Buchanan's exceptional playing skills began to spread among musicians as he received accolades from the likes of John Lennon, Eric Clapton, and Merle Haggard, as well as supposedly being invited to join the Rolling Stones at one point (which he turned down). 

That's What I Am Here For
The praise eventually led to an hour-long public television documentary on Buchanan in 1971, the appropriately titled The Best Unknown Guitarist in the World, and a recording contract with Polydor Records shortly thereafter. 

Roy Buchanan - US Promo Single 1973

Buchanan spent the remainder of the decade issuing solo albums, including such guitar classics as his 1972 self-titled debut (which contained one of Buchanan's best-known tracks, "The Messiah Will Come Again"), 1974's That's What I Am Here For, and 1975's Live Stock, before switching to Atlantic for several releases. But by the '80s, Buchanan had grown disillusioned by the music business due to the record company's attempts to mold the guitarist into a more mainstream artist, which led to a four-year exile from music between 1981 and 1985. 

When a Guitar Plays the Blues
Luckily, the blues label Alligator convinced Buchanan to begin recording again by the middle of the decade, issuing such solid and critically acclaimed releases as 1985's When a Guitar Plays the Blues, 1986's Dancing on the Edge, and 1987's Hot Wires. But just as his career seemed to be on the upswing once more, tragedy struck on August 14, 1988, when Buchanan was picked up by police in Fairfax, VA, for public intoxication. Shortly after being arrested and placed in a holding cell, a policeman performed a routine check on Buchanan and was shocked to discover that he had hung himself in his cell. Buchanan's stature as one of blues-rock's all-time great guitarists grew even greater after his tragic death, resulting in such posthumous collections as Sweet Dreams: The Anthology, Guitar on Fire: The Atlantic Sessions, Deluxe Edition, and 20th Century Masters and the live When a Telecaster Plays the Blues, which appeared in 2009. [Source AMG]

Roy Buchanan, The Blue Note, 
Boulder, CO, 1985-05-24

01. Green Onions  6:35
02. Short Fuse  3:41
03. When a Guitar Plays the Blues  5:54
04. Good Rockin' Tonight  2:51
05. HonkyTonk  4:04
06. Sweet Dreams  3:30
07. Night Train  3:36
08. Whole Lotta Shakin'  4:12
09. Walk Don't Run  2:17
10. Peter Gunn Theme  3:02
11. Roy's Bluz  5:33
12. Hey Joe  4:08
13. Foxy Lady  6:17
14. Johnny B. Goode  4:08 
15. (Interview with the Red Rooster 05-24-85)  14:43

About the interview: 
After many years of doing a popular blues show on community station KGNU, I approached a number of commercial stations about doing Blues From the Red Rooster Lounge for them. The responses I got were a real education in radio reality. Numerous PD's told me they loved the blues but it would be suicide to air it on their station. Finally I approached KBCO, which at the time was the #2 station in the Denver/Boulder market. Amazingly, they went for it when all the much lower-rated stations passed. In early May of 1985 the one-hour show began airing at midnight on Sunday. (Over 27 years later, it still runs on Sunday night, now at 9 pm. It's also syndicated on four other stations in scattered markets around the U.S.)

I was still figuring things out at the station when, a few weeks later, the opportunity to interview Roy came about. As mentioned in the interview, I had bought the self-produced "burlap bag" album (issued on the BIOYA = Blow It Out Yer Ass label) in 1971. Roy and his wife Judy came into our tiny production studio. We talked for a while and I think my familiarity with his music helped Roy relax with me. I put on his version of "Hey Joe" and had it playing low (maybe not low enough) in the background at the start; that's something I wouldn't do now, but I didn't have the luxury of digital editing back then. In fact, this was recorded on a 10" open reel and edited the old fashioned way -- with a razor blade and splicing tape.

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Roy Buchanan - Billboard Magazine First Album Advertise

Not to be missed: Roy Buchanan - Amazing Grace Club, Evanston, IL1974-12-14 (Bootleg)

Size: 140 MB
Bitrate: 320
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Found in DC++ World
Some Artwork

Back with a gone guitar master, Roy Buchanan, and a show recorded in December 1974 in Evanston, Illinois.

Just a month before he played at New York's Town Hall to record a live album that was released in the following year and I highly recommend called Live Stock.

Most of the tracks from it are also played here.

Roy Buchanan, who was once described on a television documentary as ''the best unknown guitarist in the world'' and who went on to produce two gold records, hanged himself in a jail cell Sunday night, the Fairfax County Sheriff's Department said today. He was 48 years old.

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Mr. Buchanan was arrested Sunday night on a charge of public drunkenness and was placed alone in a receiving cell at the Fairfax County Adult Detention Center, said Carl Peed, Chief Deputy Sheriff.

Mr. Peed said deputies checked on Mr. Buchanan, who lived in Reston, Va., about 10 minutes after he was incarcerated at 10:55 P.M., but when they made a second check at 11:16 P.M., he had hanged himself with his shirt, which he had tied to a window grate.

Mr. Buchanan, who was influenced early in his career by the note-bending guitarist Jimmy Nolan, began playing in the early 1950's. He formed his own band in Los Angeles when he was 15, then he went to Oklahoma and met Dale Hawkins, with whom he toured and recorded for two years. In 1960, Mr. Buchanan joined a Canadian group that included Robbie Robertson, Rick Danko and Garth Hudson; it was the forerunner for the Band. Popular Backup Player.

Mr. Buchanan spent the next few years in recording studios backing a variety of pop and country-and-western singers. He then formed another group and started playing the Washington area.

In 1971, Rolling Stone magazine printed a laudatory review of one of his performances. A public television documentary titled ''The Best Unknown Guitarist in the World'' followed, and Polydor records signed him to a contract. As a result, he moved from local club dates to the national circuit of theaters and auditoriums.

His second of five albums for Polydor, ''Roy Buchanan's Second Album,'' sold half a million copies. He then put out three albums for Atlantic Records, including another gold album. His most recent recordings were made for Alligator Records.

He is survived by his wife, Judy, seven children and five grandchildren.

AMG Review From his 1st Album 1972:
The recording and production on this, Roy Buchanan's first record for Polydor, is delightfully bare, sparse in ornamentation, and full of bum notes and aborted ideas that would be deleted on most commercial releases. It is a loose, highly improvised affair that amply demonstrates why the leader is one of the underappreciated giants of rootsy guitar. Straddling country, blues, and traditional rock & roll, Buchanan's playing is fiery and unpremeditated. 

His tone is delightfully raw and piercing, his solo ideas impetuous and uncluttered. On the instrumental tracks, such as his famous reading of "Sweet Dreams" or Buchanan's own "The Messiah Will Come Again," one can see why he was such an influence on Jeff Beck, another master of the instrument known for his genre-blending and ragged spontaneity. There is a slight Michael Bloomfield influence felt in Buchanan's blues playing, most evident in the first chorus of "John's Blues" and the quasi-Eastern ornamentations on "Pete's Blue." 

His 1974 album

He plays with pitch, placing notes in unexpected places, constantly keeping the listener guessing. The country tracks, such as "I am a Lonesome Fugitive" and Hank Williams' "Hey, Good Lookin'," benefit greatly from Chuck Tilley's understated vocals. Despite Tilley's presence, the main focus on this record is Buchanan's wailing guitar, which punctuating the vocals with bluesy cries and country moans. The strongest track on Roy Buchanan is "The Messiah Will Come Again." 

This song opens with Buchanan's mumbled spoken word intro over quiet organ and then yields to spine-tingling, sorrow-laden Telecaster that cries and screams in existential torment before giving way in turn to percussive flurries that make less sense as melodic improvisation than as cries of passion. This is raw guitar playing and music making, not for the faint of heart. Fans of blues or country guitar, or those just curious why Jeff Beck would dedicate "'Cause We've Ended As Lovers" from Blow By Blow to Buchanan, would do themselves a favor by picking up this album.

Roy Buchanan, Amazing Grace Club
Evanston, IL
December 14 1974

01. Done Your Daddy Dirty  07:02
02. Reelin´ And Rockin´  02:15
03. Hot Cha  04:58
04. Delta Woman Blues 08:00
05. Can I Change My Mind  06:44
06. Hey Joe & Foxy Lady  07:50
07. Johnnie B. Goode  03:45
08. Further On Up The Road  02:37
09. I'm Evil  06:07
10. I Hear You Knockin'  02:43
11. Sweet Dreams  05:14

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Roy Buchanan - In The Beginning Album Advertise 1974

Gary Ogan & Bill Lamb - Portland (Great Folkrock US 1972)

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Source: Japan 24-Bit Remaster

He year was 1971 and Elektra Records A&R man, producer, and artist, Marlin Greene, had flown to Portland to hear a promising new band called, The Portland Zoo. Although this band of Reed College kids was quite popular in The Rose City at the time, and managed to impress Marlin, it was soon discovered they had no original material of their own. Marlin needed to sign an act that brought along their own songs.

Lucky for me because Greg Branson, who was hosting Marlin’s visit to Portland, also knew about two local kids fresh out of a highscool who actually did have their own songs. He quickly phoned Bill Lamb and myself to ask if we were interested in auditioning for Eleckta Records. We hussled our butts down to the old Russion Embassy headquarters which was doubling as local country radio station KUPL and an 8-track recording facility called, REX, which stills operates in Portland today.

We sat and traded a few songs with Marlin, who was impressed enough to eventually sign us on to record our first album that he co-produced with Branson.

The rest is rock n’ roll history, and Marlin has remained a very dear friend.

Most people don't recognize the name Gary Ogan although he's shared the stage with many superstars. He's a mainstay of the Portland music scene. Inspired by the Beatles, he developed his talents early with his high-school basement band. Just after graduation he recorded for his first major record label. But despite his association with the likes of Leon Russell and Michael McDonald, he's spurned the short cut to fame, choosing instead to stay true to his music.

As a veteran of 35 years in the music business, and CEO / manager of the new Portland, Oregon based music conglomerate, Sound Ground, Gary maintains a youthful enthusiasm in his quest for new music and fresh projects. From his first major label release on Elektra Records in 1972, called Portland, Gary has created an ever-evolving world of activity. Moving to Los Angeles in 1977 to sign with Leon Russell’s Paradise Records on the Warner Brothers label, Gary released his first self-titled album that year, co-produced with Russell. He also co-produced Leon and Mary Russell’s duet album, Make Love to the Music, and toured the U.S. extensively with them, including shows at Radio City Music Hall and the Universal Amphitheater.

A close cousin to the first album by Aztec Two-Step from 1972, this is one of those classic records that has continued to escape almost everyone. As a fan of this album from day one I can tell you that it deserved to remain in my list of favorite albums even though the original mastering was not quite on par with so many of my other cherished records from that era.

01. Send It Over 3:24
02. Reborn 3:33
03. Portland Rain 2:30
04. Love Lost Lady 3:01
05. Everything You Knew 1:53
06. Kac 2:25
07. Our Sweet Love 3:14
08. Just for Awhile 3:53
09. Ogan Tea 3:00
10. You Make Me Love You 5:05
11. I Wanna Live 4:43

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Pink Floyd - The Great Gig On The Moon 1972 (Bootleg)

Size: 163 MB
Bitrate: 320
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Found in DC++ World
Artwork Included
Source: Unknown

This is a good performance and great sound quality, audience noise is perfect and not annoying at all,  from a show from before DSOTM was released, you get the old school version here complete with 'On The Run' jam session and also the 'The Mortality Sequence' the place of Great Gig In The Sky.

The original info says this is the best show from 1972, well I have a bunch to go thru but this one is a pretty solid 4/5, mainly let down by a fairly ordinary performance. I think the commentators on the info must not have heard this version before!

The highlights for me are the old style 'On The Run' and 'Careful With That Axe, Eugene' but here are the notable points...

On The Run: This is the jam version, also known as 'The Travel Sequence', that was a part of the live performances before the vcs3 synth inspired musing that it became. I actually think the jam session is nicer to listen to on the whole but I agree with the vcs3 version being on the album for the feeling of paranoia it conveys and over all is a better experience with good quality sound. But I wouldn't have minded if the Floyd had cranked this out occasionally in the 1994 live performances!

Time: The lower register part of the lyrics seem a little off to me, but it isn't too bad ands they lyrics are indeed slight different as mentioned in the original info, ok so I did need to look up the word supine, it basically means to lay on your back for those of you who are interested.

Great Gig In The Sky: The old 'Religious Piece' or 'The Mortality Sequence', an organ solo with some scripture being quoted, I can’t seem to find what the scripture passage is and I am not sure if it changed, the words are not that clear on that recording. I prefer the real version, such a haunting, beautiful tune. I am glad they changed it.

Money: The sound effects are just pretty repetitive, I much prefer the variety on the album and later performances but it doesn't detract from the show at all. Good bass work. also the first solo is a sax solo and he guitar solo is great, got a real nice fuzzy sound.

Us & Them: This is an ok version, it has some vocal flourishes in there I do not care for but it isn't too bad, also one section is Dave wailing for some reason, still getting the kinks worked out.

One Of The Days - Not the best version I ever heard but pretty good, a little low on energy in my opinion, the first half at least, the second half was better. (compare this to the Return of the Sons Of Nothing bootleg which I reviewed earlier this month to see my point.)

Careful With That Axe, Eugene: It is s very toned down version until the screaming, Roger is in fine form, I think this is Roger's unique talent of seeing the big picture and gauging the overall feel of a song brilliantly and knowing how to jerk the listener out of their comfort zone when he wants to. The transition, because of the low key nature of the first section, is terrific. Great version.

Pink Floyd - The Great Gig on the Moon Sapporo Japan, on March 12th, 1972 

01. Speak To Me                     
02. Breathe                         
03. On The Run                                   
04. Time                            
05. The Great Gig In The Sky        
06. Money                          
07. Us And Them I                   
08. Us And Them II
09. 09 - Any Colour You Like             
10. Brain Damage, Eclipse                    
11. One Of These Days               
12. Careful With That Axe,Eugene  
         

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