Mike Bloomfield - Record Plant, Sausalito, 1973-04-22 (Bootleg)

Size: 115 MB
Bitrate: 320
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Mark Naftalin (born August 2, 1944) is an American blues keyboardist, composer, and record producer.

Born in Minneapolis, Minnesota, United States, Naftalin is the son of former Minneapolis mayor Arthur Naftalin; he is married to third wife Ellen Naftalin. His son is the San Francisco Bay Area artist, David Normal.

He moved to Chicago in 1961, and graduated from the University of Chicago in 1964, where he performed on piano at campus "twist parties," popular at the time. It was at these parties that Naftalin first played with blues harmonica player Paul Butterfield and guitarist Elvin Bishop, the nucleus of what was to become the Paul Butterfield Blues Band.

He is known for his role, from 1965-1968, in the Paul Butterfield Blues Band. On certain albums by this group he is credited as "Naffy Markham". In the late 1960s, after the first four Butterfield albums, Naftalin went out on his own, settling in the San Francisco Bay Area. There he put together the Mark Naftalin "Rhythm & Blues Revue" and has been active in blues and rock recording sessions, solo gigs and revue shows, and as a producer of concerts, festivals and radio shows. He also played with Mike Bloomfield as a duo and in a band (most often called Mike Bloomfield & Friends) from the late 1960s through the mid-1970s, and hosted Mark Naftalin's Blue Monday Party, a weekly blues show (1979-1983) that featured over 60 blues artists and groups and was the scene of 86 live radio broadcasts and three TV specials.

Naftalin has produced the Marin County Blues Festival (1981-2000), and has been the associate producer of the Monterey Jazz Festival's "Blues Afternoon" (1982-1991). His weekly radio show, Mark Naftalin's Blues Power Hour has been on the air almost continuously since 1979 on San Francisco's radio KALW-FM.

Naftalin co-founded the Blue Monday Foundation and, in 1988, started his own label, Winner Records, which has issued recordings by artists including Paul Butterfield and Percy Mayfield. He continued to perform, both solo and in an ensemble, in the Bay area and elsewhere, often with longtime associate slide guitarist, Ron Thompson.

Naftalin has also recorded with many blues players including John Lee Hooker, Otis Rush, Percy Mayfield, Lowell Fulson, Big Joe Turner, James Cotton, Mike Bloomfield, Jake Walker and Van Morrison, and as a sideman on over 100 albums.

Mike Bloomfield: 
1973 BEGAN WITH Michael Bloomfield getting involved with one of several ill-fated projects. For the first time in four years, he agreed to participate as a leader on a recording session. His longtime friend, guitarist and singer John Hammond, asked him to collaborate on an album of blues and funk. Hammond had also gotten Dr. John to sign on, and had scheduled studio sessions for January. Michael, intrigued by the opportunity to work with the New Orleans pianist, agreed to play though he was leery of getting involved in another “supergroup.”

The sessions didn't go smoothly, however, and Hammond eventually replaced some of the sidemen. Dr. John wasn't happy either, and though he and Mike had good times together at Reed St., he eventually went home to New Orleans. The remainder of the album was completed by the principals overdubbing their various parts. Columbia issued the result as "Triumvirate" in June of 1973, just as the company's president, Clive Davis, was being investigated by the FBI for embezzling funds.

Hammond arranged for the trio to tour in support of the album, and he had high hopes for a commercial breakthrough. But after he, Bloomfield and Dr. John had completed just one appearance – a Los Angeles performance that was that was also carried on TV's "In Concert" – Davis was fired and all of Columbia's projects were put on hold.

The "Triumvirate" tour was cancelled and the record received almost no promotion. Critics had panned the album anyway, faulting it for its flat, overproduced sound and undistinguished performances. Many reviewers were particularly disappointed that Bloomfield seemed not to find his solo voice. For Michael, it was another unpleasant instance of hype and its ensuing expectations – a circumstance he was now more determined than ever not to repeat.

In the spring of 1973, Bloomfield took a group to New York City for an appearance at the newly-opened Bottom Line. At the same time, he was working on a second solo album for Columbia, as was specified in his original contract with the label. Working with Nick Gravenites, Mark Naftalin and other members of his Friends aggregation, Michael concentrated on his writing skills and labored to produce a recording of high quality and broad appeal. Joining the band for the first time was a bass player and singer named Roger Troy. Nicknamed "Jellyroll," Troy had come west from Cincinnati where he had worked for the Bihari Brothers as a session man at Crown Records. Not only was a he a talented bass player, but he was a remarkable singer with near-perfect pitch, an extraordinary range and a thorough understanding of blues and soul styles. His talents added a new versatility to the Friends, allowing Michael to do soul and country-style tunes with a real authority.

Michael worked on his second Columbia album throughout the year, composing a slew of new tunes, including six of the eleven that would eventually be selected for the record. One, called "Midnight on the Radio," happily recalled Michael's early days listening to blues on his transistor radio. Another – "When It All Comes Down" – recounted a troubled relationship, but did so from a place of strength and resolve. Gone were the intensely personal and pained confessions of his first Columbia solo effort. Mike featured his vocals on a number of the performances, but Nick and Jelly Roll also were given prominent vocal spots. Bloomfield's guitar playing, though still largely in the background, again reflected the broad range of his musical interests by evoking the styles of Pop Staples, Eric Gale, Tampa Red and B.B. King. On the blues "Your Friends," the Bloomfield of the Butterfield Band and the Electric Flag was turned loose and his trademark Les Paul sound was given free reign. The album was to have a healthy mix of pop, rock, blues, soul and gospel selections, and would have likely been a commercial success.

Despite the time and effort Mike put into the sessions, however, Columbia was hesitant to take another chance on a Bloomfield production and decided against going ahead with the release. "Try It Before You Buy It," as the album was to be titled, was shelved. Though it would later be issued in a limited edition on Columbia Special Products imprint, most Bloomfield fans only heard its tunes when Michael performed them live.

And there was much opportunity to catch Bloomfield live in 1973. It during was that year that he finally began to perform in public with more regularity. There were several extensive tours that took his quartet to places as distant as Miami, Boulder, Chicago, Bangor, Boston, Toronto, Buffalo and Woodland, Alabama. Michael's working band now included his close friend and musical partner Mark Naftalin, bassist Roger Troy and drummer George Rains. Rains, a native of Fort Worth, had been a member of Mother Earth and had met Michael through Mark. The group worked together frequently enough that they developed a tight, cohesive sound, often inspiring Michael to new heights as a soloist.

In August, Bloomfield had an unexpected visitor, someone he hadn't seen in years. His old friend, Bob Dylan, dropped by Reed St. for what amounted to an audition. Over the course of several hours, Dylan ran through a series of new tunes without pause while Michael tried to play along. Bob was soon to go into the studio to record "Blood on the Tracks," and he felt that the quality of the tunes merited the playing of his old "Highway 61 Revisited" collaborator. But Michael was thrown by Dylan's D–tuning and odd fingerings, and he had trouble following the singer's changes. He suggested that Dylan give him a chance to learn the songs and work out parts, but Bob was only interested in a quick run–through. The superstar left the get together without comment, but he later decided against using Michael on what would be an historic session. Michael was nonplussed by the whole experience.

Mike Bloomfield & Mark Naftalin – 1973-04-22 
The Record Plant, Sausalito, California
SOURCE: FM radio broadcast (KSAN) 

01. KSAN introduction
02. Sonny Boy
03. Love Me Woman
04. Winter Time Blues In B-Flat
05. talking / announcements
06. I'm Blue, Really Blue
07. The TV Hymn
08. I Wonder Why [instrumental]
09. I Will Always Love You
10. At The Cross [instrumental]

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Nick Gravenites - Record Plant, Sausalito, 1973-04-22 (Bootleg)

Size: 137 MB
Bitrate: 320
mp3
Found in...
Some Artwork Included

Blue Gravy included band members Nick Gravenites (guitar, vocals), Mark Adams (harmonica), Fred Burton (guitar), Doug Kilmer (bass) and Lee Bitner (drums). Although Blue Gravy existed for a short time only, they were very popular in the Bay Area. As a matter of fact they didn't release any albums but made a three song demo at the Record Plant in Sausalito, California for Warner Brothers. 

Ted Templeman was to produce but tax issues nixed the deal and the band dismembered after a year. Mark Adams, who prior to Blue Gravy had been playing with the Muskadine Blues Band, Dan Hayes Group and Dan Hayes Blues Band, went on to play for Alice Stewart and then King Perkoff after that. Nick Gravenites teamed up with John Cipollina and worked on his solo career as well. In later years Gravenites, Adams and Kilmer played together again though.

One of Blue Gravy's concerts was recorded at the Record Plant and broadcasted April, 22 1973 on KSAN FM. The concert was introduced by Big Daddy Tom Donahue aka "The Father of Underground Radio". KSAN had been the unquestioned leader in progressive radio in the Bay Area for more than ten years from 1968 and many bands used KSAN to gain greater audiences.

Nick Gravenites had already recorded "Gypsy Good Time" on his 1969 album "My Labours"; "Buried Alive In The Blues" in 1971 with Big Brother & Holding Co.; "Drive Again" is from the Steel Yard Blues soundtrack of the same year (1973); "Dekalb Blues" can be found on his 1980 album "BlueStar"; "Anna" on the 1991 Gravenites/Cipollina album "Live At the Rodon". Only "Weird Old Crazy World" (title?), "Left Hand Soul" and "Country Mechanic" seem to be unreleased so far. The latter song being more than outstanding.

Nick Gravenites Biography:
It's not so easy to introduce Nick Gravenites because the man has done so many things that one can easily write a book or build a web site only dedicated to Gravenites who is singer, songwriter, guitarist, and producer in one person. Subsequently everything found on this page concerning Nick can only be described as incomplete. Nevertheless let's start with a short introduction Taxim Records added to one of their Bay Area Blues Sampler 'More Bay Area Blues' which contains the song 'Hard Thing' by Nick.

'Nick Gravenites grew up on the southside of Chicago hanging out in the mid-50's with a coterie of misfit white kids - Elvin Bishop, Paul Butterfield, Michael Bloomfield - who went on to form that protean powerhouse of watershed white blues, The Paul Butterfield Blues Band. Learning their lessons first-hand from the southside greats - Muddy Waters, Buddy Guy, Howlin' Wolf, Jimmy Reed, Otis Rush - Gravenites & Co. burst open the seams of the scene with a feverish intensity and undeniable authenticity, redefining the blues with as much impact as the introduction of electric instrumentation had 15 years earlier. From the late 50's through the mid 60's, Gravenites gravitated between Chicago and San Francisco, establishing himself in the Bay Area in 1965. 

In addition to authoring the classic "Born In Chicago" and the groundbreaking "East West" for Butterfield, Gravenites scribed hits for Janis Joplin and has his songs recorded by Big Brother and the Holding Company, Michael Bloomfield, the Electric Flag (of which Gravenites was a founding member), Pure Prairie League, Tracy Nelson, Roy Buchana, Jimmy Witherspoon as well as blues giants Howlin' Wolf, Otis Rush, and James Cotton. He has a couple of solo albums and has scored and played on the soundtracks for "The Trip", "Medium Cool", and "Steelyard Blues". He has appeared on some 40 albums as singer, songwriter, guitarist, and producer.
For more info write to him at: P.O.Box 564, Occidental, CA 95465'

Other bands: He formed the short lived Blue Gravy and joined Big Brother And The Holding Company early in 1969 staying until early 1972. He was involved with the Taj Mahal/Mike Bloomfield live album, and again in 1973 with "Steelyard Blues". He also formed the Nick Gravenites Band which became Nick Gravenites Blues in 1978 and in the summer of ‘78 he joined Huey Lewis' Monday Nite Live sessions but by the end of the year that too had disbanded.

Nick also worked a lot with John Cipollina, a connection that started with Nick producing the first Quicksilver Messenger Service albums. Later they built the Nick Gravenites-John Cipollina Band which toured a lot in Europe and their record label Line being based in Germany. One of the band's drummers was former Clover drummer Marcus David - who later recorded his solo album 'Greates Hits' on Line Records in 1980. Nick Gravenites himself recorded 'Bluestar' which was also released on Line in 1980 as a solo album but it already had John Cipollina on guitar. Harmonica player on this blues album was Huey Lewis - at that time being something of a session cat who, after Clover's demise, played harp also on albums by Phil Lynott, Nick Lowe, Dave Edmunds and City Boy.

The next album "Monkey Medicine" was recorded in Germany after Nick and John finished their European tour in Germany. Under very primitive conditions but with a lot of heart they recorded this album in Hamburg accompanied by Marcus David on drums and Al Staehely on bass/vocals.
In late 1984 Gravenites was again a member of one of John Cipollina's many projects - Thunder and Lightning - in San Francisco.

During the last few years Gravenites regularly played the psychedelic blues in a small club called the Bodega Bay Grange, Marin County - joined by Doug Kilmer (bass), Mark Adams (harp) and Roy Blumenfeld (drums). The German Taxim label released one of these concerts (rec. Jan. 1994) on CD in 1996.

1999 saw the release of yet another Gravenites' solo album on which Huey Lewis plays harmonica again.

Nick Gravenites & Blue Gravy 
The Record Plant Studios
Sausalito, California 1973-04-22  
FM radio broadcast (KSAN) 

01. Tom Donahue introduction
02. Dekalb Blues
03. Gypsy Good Time
04. Weird Old Crazy World
05. Left Hand Soul
06. band introductions
07. Born In Chicago
08. Country Mechanic
09. Anna [fade out; reel flip]
10. They Let Me Drive Again (Theme From Steel Yard Blues)
11. Buried Alive In The Blues

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About My Added Bootlegs..

Hi all. 

If you wonder about many added bootlegs, this site will NOT become a bootleg site but right now i have a couple of them in good quality who i will added. So don't worry, i will added my rips also, promise.

//ChrisGoesRock

The Rolling Stones - Record Mirror of May 11th 1963.
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Mahavishnu Orchestra - Two Good Concerts 1972 (Bootleg)

Size: 388 MB
Bitrate: 320
mp3
Found under my Sofa
Some Artwork

The Mahavishnu Orchestra was the name of two jazz-fusion groups led by John McLaughlin, in 1971–1976 and 1984–1987.

First Mahavishnu Orchestra:
The band's original lineup featured "Mahavishnu" John McLaughlin on acoustic and electric guitars, with members Billy Cobham on drums, Rick Laird on bass guitar, Jan Hammer on electric and acoustic piano and synthesizer, and Jerry Goodman on violin. This first incarnation of the ensemble was a multinational group: McLaughlin is from Yorkshire, England; Cobham from Panama; Hammer from Prague, Czech Republic; Goodman from Chicago, Illinois; and Laird from Dublin, Ireland. This group was considered an important pioneer in the jazz fusion movement. 

Mahavishnu Orchestra Poster 1971

McLaughlin and Cobham met while performing and recording with Miles Davis during the Bitches Brew sessions. McLaughlin was also influenced in his conception of the band by his studies with Indian guru Sri Chinmoy, who encouraged him to take the name "Mahavishnu" which means "Divine compassion, power and justice." or simply "Great Vishnu", an aspect of Vishnu.

McLaughlin had particular ideas for the instrumentation of the group, in keeping with his highly original concept of genre-blending in composition. He particularly wanted a violinist as an integral contributor to its overall sound. As the group evolved, McLaughlin adopted what became his trademark—a double neck guitar (six-string and twelve-string) which allowed for a great degree of diversity in musical textures—and Hammer became one of the first to play a Mini Moog synthesizer in an ensemble, which enabled him to add more sounds and solo more freely, alongside the guitar and the violin.

Their musical style was an original blend of genres: 
they combined the high-volume electrified rock sound that had been pioneered by Jimi Hendrix (whom McLaughlin had jammed with on his initial arrival in New York as part of the Tony Williams Lifetime), complex rhythms in unusual time signatures that reflected McLaughlin's interest in Indian classical music as well as funk, and harmonic influence from European classical music. The group's early music, represented on such albums as The Inner Mounting Flame (1971) and Birds of Fire (1973), was entirely instrumental; their later albums had songs which sometimes featured R&B or even gospel/hymn-styled vocals. 

In the aforementioned two albums, the group goes from an energetic fusion of upbeat genres (a representative example of which is the song "Vital Transformation") to very serene, chamber music-like tunes, such as "A Lotus On Irish Streams," a composition for acoustic guitar, piano and violin, and "Thousand Island Park," which drops the violin and incorporates double bass; or from low-key to extremely busy in a single piece, such as "Open Country Joy."

Mahavishnu & Zappa Poster Advertise 1973

The split of the original line-up:
Due to the pressures of sudden fame, exhaustion and a lack of communication, the original band began to tire as 1973 continued. The stress was further exacerbated by a disastrous recording session (from a personal relationship standpoint) at London's Trident Studios that found some of the players not speaking to others. Their project was never fully completed. The last straw came as John McLaughlin read an interview in Crawdaddy! magazine in which Jan Hammer and Jerry Goodman expressed their frustrations with John's leadership style. 

An effort to fix things back in New York fell short. McLaughlin in the later 1970s stated in an interview in Gig magazine that he would like the album to come out, as he thought it was good. In its place, the live album Between Nothingness and Eternity was released instead, featuring material from the studio album. Almost 30 years later, during the beginning of a renaissance of Mahavishnu's music, the incomplete album from the failed London recording was released as The Lost Trident Sessions.

John McLaughlin (musician):
John McLaughlin (born 4 January 1942, Doncaster, West Riding of Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion.

After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970's electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.

The Mahavishnu Orchestra - Photo 1972

Style:
ohn McLaughlin is a leading guitarist in jazz and jazz fusion. His style has been described as one of aggressive speed, technical precision, and harmonic sophistication. He is known for using exotic scales and unconventional time signatures. Indian music has had a profound influence on his style, and, it has been written, he is one of the first westerners to play Indian music to Indian audiences. He was influential in bringing jazz fusion to popularity with Miles Davis, playing with Davis on five of his studio albums, including Davis' first gold-certified Bitches Brew, and one live album, Live-Evil. Speaking of himself, McLaughlin has stated that the guitar is simply "part of his body," and he feels more comfortable when a guitar is present.

1960s:
From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child and took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stéphane Grappelli. He moved to London from Yorkshire in the early 1960s, playing with Alexis Korner and the Marzipan Twisters before moving on to Georgie Fame and the Blue Flames, the Graham Bond Organisation (in 1963) and Brian Auger. During the 1960s he often had to support himself with session work which he often found unsatisfying but which enhanced his playing and sight-reading.

McLaughlin moved to the U.S. in 1969 to join Tony Williams' group Lifetime. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!"

The Mahavishnu Orchestra - 1972

He played on Miles Davis' albums In A Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist on "Go Ahead John") and A Tribute to Jack Johnson. In the liner notes to Jack Johnson, Davis called McLaughlin's playing "far in." McLaughlin returned to the Davis band for one night of a week-long club date, recorded and released as part of the album Live-Evil and of the Cellar Door boxed set. His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.

1970s:
He recorded Devotion in early 1970 on Douglas Records (run by Alan Douglas), a high-energy, psychedelic fusion album that featured Larry Young on organ (who had been part of Lifetime), Billy Rich on bass and the R&B drummer Buddy Miles. Devotion was the first of two albums he released on Douglas. In 1971 he released My Goal's Beyond in the U.S., a collection of unamplified acoustic works. Side A ("Peace One" and "Peace Two") offers a fusion blend of jazz and Indian classical forms, while side B features melodic acoustic playing McLaughlin on such standards as "Goodbye Pork Pie Hat", by Charles Mingus whom McLaughlin considered an important influence. My Goal's Beyond was inspired by McLaughlin's decision to follow the Indian spiritual leader Sri Chinmoy, to whom he had been introduced in 1970 by Larry Coryell's manager. The album was dedicated to Chinmoy, with one of the guru's poems printed on the liner notes. It was on this album that McLaughlin took the name "Mahavishnu".

In 1973 McLaughlin collaborated with Carlos Santana, also a disciple of Sri Chinmoy, on an album of devotional songs, Love Devotion Surrender, which featured recordings of Coltrane compositions including a movement of A Love Supreme. McLaughlin has also worked with the jazz composers Carla Bley and Gil Evans.

McLaughlin's 1970s electric band, the Mahavishnu Orchestra, included violinist Jerry Goodman, keyboardist Jan Hammer, bassist Rick Laird, and drummer Billy Cobham. They performed a technically difficult and complex style of music that fused electric jazz and rock with Eastern and Indian influences. This band helped establish fusion as a new and growing style. McLaughlin's playing at this time was distinguished by fast solos and exotic musical scales.

The Mahavishnu Orchestra's personality clashes were as explosive as their performances, and consequently the first incarnation of the group split in late 1973 after two years and three albums, including a live recording entitled "Between Nothingness and Eternity". 

In 2001 the "Lost Trident Sessions" album was released; recorded in 1973 but shelved when the group disbanded. McLaughlin then reformed the group with Narada Michael Walden (drums), Jean-Luc Ponty (violin), Ralphe Armstrong (bass), and Gayle Moran (keyboards and vocals), and a string and horn section (McLaughlin referred to this as "the real Mahavishnu Orchestra"). This incarnation of the group recorded two more albums, Apocalypse with the London Symphony Orchestra and Visions of the Emerald Beyond. A scaled-down quartet was formed with McLaughlin, Walden on drums, Armstrong on bass and Stu Goldberg on keyboards and synthesiser, which generated a third "Mahavishnu 2" recording in 1976 largely due to contractual obligations, Inner Worlds.

Equipment:
♦ Gibson EDS-1275 – McLaughlin played the Gibson doubleneck between 1971 and 1973, his first years with the Mahavishnu Orchestra; this is the guitar which, amplified through a 100-watt Marshall amplifier "in meltdown mode," produced the signature McLaughlin sound hailed by Guitar Player as one of the "50 Greatest Tones of All Time."

♦ Double Rainbow doubleneck guitar made by Rex Bogue, which McLaughlin played from 1973 to 1975.

♦ The first Abraham Wechter-built acoustic "Shakti guitar," a customised Gibson J-200 with drone strings transversely across the soundhole.

♦ He has also played Godin electric/MIDI guitars, one of which can be seen on the Eric Clapton's Crossroads Chicago 2007 DVD.

♦ John currently is endorsed by PRS guitars.

Mahavishnu Orchestra - "Whiskey a Go Go"
Los Angeles, California FM broadcast
1972-03-27 (1st set)

• John McLaughlin: guitar
• Jan Hammer: keyboards
• Jerry Goodman: violin
• Rick Laird: bass
• Billy Cobham: drums

01. John talks, meeting of the spirits 15:25
02. Miles beyond 15:03
03. The dance of Maya 12:48
04. Band intros 1:02
05. A lotus on Irish streams 9:44
06. The noonward race 19:39

Mahavishnu Orchestra - "Nothingness Tour"
Montreal, Canada 1973-07-13

• John McLaughlin (guitar)
• Jerry Goddman (violin)
• Jan Hammer (piano, moog)
• Rick Laird (bass)
• Billy Cobham (drums)

07. Introduction 0:56
08. Meeting of the Spirits 14:32
09. Miles Beyond 12:20
10. Stepping Stones 3:13
11. Sister Andrea 9:31
12. Dream 25:18
13. I Wonder, Awakening (beginning) 05:43
14. Awakening (Part 2) 00:43
15. Awakening (Part 3) 04:51
16. Awakening (Part 4) Conclusion 06:51
17. Meeting of the Spirits 12:41

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The Mahavishnu Orchestra - Advertise Poster