Thursday, May 22, 2014

Very Rare, Not to be missed: The Rolling Stones - Pro Master Series by JFLabs (Bootleg)

The Rolling Stones - France EP 1965

Size: 393 MB
Bitrate: 320
Found in Internet
Some Artwork Included

First, JFLabs is a fictitous name i'll be using to denote bootlegs that have been mastered by myself & assistant.  I used to work as an audio mastering engineer in the music industry for almost 20 years. Now my health is not so good & i'm disabled & retired.  This gives me the time to work on projects like this long as my health is decent.  

The Rolling Stones - France Single 1965
I wish to remain anonymous for any possible legal issues regarding bootlegs...ya never know in today's world:-(  I treat each track as if they were final mixes placed on my desk to be mastered.  I only deal with high quality recorded & mixed tracks...stuff I'm gonna listen to myself after they are mastered. On to this series of tracks.

First, I chose only tracks that were recorded & mixed somewhat pretty good (except for the 2 Bonus songs...i couldn't resist adding them even though they have their share of hiccups & the quality of recording is not up to par). I did some edits (removed clicks, crackle, hiss, corrected speed/pitch, fades...etc.), then went about the mastering procces. I tried hard to stay away from compressing the mids & was real careful not to limit them to death so as to keep the dynamics/transients intact. 

The Rolling Stones - France Single 1968
They are limited to around 12.3db--15db, which is a good comprimise between loudness & dynamics. Don't expect them to sound like officially released tracks...although i do prefer some of these over their official counterpart. Some tracks were just not recorded good enough (wild horses, sweet virginia, all down the down_acoustic...etc.), but still sound pretty good. The songs are in no particular order, i figure you can make your own cd's with the tracks you like best. My deepest gratitude goes out to all who have shared/uploaded these know who you are!

The Rolling Stones - Professional Master Series by JFLabs Outtakes & Alternates (1960's - 1978)

01 - Brown Sugar (altered Mick Taylor version COTHSBurlesque)
02 - Jiving Sister Fanny (Itchy Fingers-IU)
03 - Good Time Women (Exile Outtakes)
04 - I'm Going Down (Itchy Fingers-IU)
05 - Shine A Light (Lost Sessions EVSD 332)
06 - Dance Little Sister (Extended Mix) (USMasters)
07 - Criss-Cross Man - (AGNTTW_GHSoup)
08 - Dead Flowers (Acoustic Version - Sotheby Reel)
09 - Stop Breaking Down (Best of Exile Sessions)
10 - Dear Doctor (Unplugged-IU)
11 - Memo From Turner I (ORSessions-IU)
12 - Family (Trident)
13 - Fiji Jim (Accidents)
14 - Do You Think I Really Care aka Yellow Cab (Accidents)
15 - Drift Away (AGNTTW_GHSoup)
16 - Downtown Suzie [take II] (Black Box CD2)
17 - Travelling Man (IORnR--IU)
18 - You Got The Silver (Unplugged-IU)
19 - Living In The Heart Of Love (IORnR-IU)
20 - I Ain't Lying (Best of Exile Sessions)
21 - I Don't Know Why (Itchy Fingers-IU)
22 - Sister Morphine (Unplugged-IU)
23 - Get A Line On You (Sotheby Reel)
24 - All Down The Line II (Itchy Fingers-IU)
25 - Brown Sugar (1969 Shot Of Salvation)
26 - Let The Good Times Roll (Necrophilia)
27 - Child Of The Moon (Session Impossible MUCD 027)
28 - You Can't Always Get What You Want (Unplugged-IU)
29 - Wild Horses (Unplugged-IU)
30 - Too Many Cooks (1973 MJ Single--Shot Of Salvation)
31 - Pay Your Dues (Early SFMan) (Necrophilia)
32 - Memo From Turner II (ORSessions-IU)
33 - Parachute Woman (Alternate Mix) (USMasters)
34 - Family (Retake) (Trident)
35 - All Down The Down_Acoustic (MYTPHOuttakes)
36 - Stuck Out All Alone (aka Give Me A Hamburger) (Trident)
37 - Everything's Turning To Gold (COTHSBurlesque)
38 - Sweet Virginia (USMasters)
39 - Cocksucker Blues II (Cocksucker Blues)
40 - If You Can't Rock Me (USMasters)

Bonus Tracks:
41 - Brown Sugar (w Eric Clapton 1969) (Itchy Fingers-IU)
42 - I Don't Know The Reason Why (Itchy Fingers-IU)
43 - Sympathy For The Devil (COTHSBurlesque)

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Part 2: Link
Part 3: Link
Part 1: Link
Part 2: Link
Part 3: Link

The Rolling Stones - France Single 1968

The Rolling Stones - German Single 1968

The Rolling Stones - UK Export Single 1968

The Rolling Stones - US Single 1966 

Tuesday, May 20, 2014

Various Artist - Assorted Rock, Folk, Kraut & More Radio FM 1968-71 (Bootleg)

Amon Düül II

Size: 945 MB
Bitrate: 320
Found When i Cleaned my PC
Some Artwork Included

Progressive rock, also known as prog rock or prog, is a rock music subgenre that originated in the United Kingdom, with further developments in Germany, Italy, and France, throughout the mid-to-late 1960s and 1970s. It developed from psychedelic pop (rather than psychedelic rock, as is often stated) and originated, similarly to art rock, as an attempt to give greater artistic weight and credibility to rock music. Bands abandoned the short pop single in favor of instrumentation and compositional techniques more frequently associated with jazz or classical music in an effort to give rock music the same level of musical sophistication and critical respect. Songs were replaced by musical suites that often stretched to 20 or 40 minutes in length and contained symphonic influences, extended musical themes, philosophical lyrics and complex orchestrations. The genre was not without criticism, however, as some reviewers found the concepts "pretentious" and the sounds "pompous" and "overblown".

Champion Jack Dupree
Progressive rock saw a high level of popularity throughout the 1970s, especially in the middle of the decade. Bands such as Pink Floyd, Jethro Tull, The Moody Blues, Yes, King Crimson, Genesis, and Emerson, Lake & Palmer (ELP) were the genre's most influential groups and were among the most popular acts of the era, although there were many other, often highly influential, bands who experienced a lesser degree of commercial success. The genre faded in popularity during the second half of the decade. Conventional wisdom holds that the rise of punk rock caused this, although in reality a number of factors contributed to this decline. Progressive rock bands achieved commercial success well into the 1980s, albeit with changed lineups and more compact song structures.

Delaney & Bonnie And Friends
The genre grew out of the 1960s space rock of Pink Floyd and the classical rock experiments of bands like The Moody Blues, Procol Harum and The Nice. Most of the prominent bands from the genre's 1970s heyday fall into the "symphonic prog" category, in which classical orchestrations and compositional techniques are melded with rock music. Other subgenres exist, including the more accessible neo-progressive rock of the 1980s, the jazz-influenced Canterbury sound of the 1960s and 1970s, and the more political and experimental Rock in Opposition movement of the late 1970s and onward. Progressive rock has influenced genres such as krautrock and post-punk, and it has fused with other forms of rock music to create such sub-genres as neo-classical metal and progressive metal. A revival, often known as new prog, occurred at the turn of the 21st century and has since enjoyed a cult following.

Folk rock is a musical genre combining elements of folk music and rock music. In its earliest and narrowest sense, the term referred to a genre that arose in the United States and the UK around the mid-1960s. The genre was pioneered by the Los Angeles band The Byrds, who began playing traditional folk music and Bob Dylan-penned material with rock instrumentation, in a style heavily influenced by The Beatles and other British bands The term "folk rock" was itself first coined by the U.S. music press to describe The Byrds' music in June 1965, the same month that the band's debut album was issued. The release of The Byrds' cover version of Dylan's "Mr. Tambourine Man" and its subsequent commercial success initiated the folk rock explosion of the mid-1960s. Dylan himself was also influential on the genre, particularly his recordings with an electric rock band on the Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde albums. Dylan's July 25, 1965 appearance at the Newport Folk Festival with an electric backing band is also considered a pivotal moment in the development of folk rock.

Edgar Broughton Band
The genre had its antecedents in the American folk music revival, the beat music of The Beatles and other British Invasion bands, The Animals' hit recording of the folk song "The House of the Rising Sun", and the folk-influenced songwriting of The Beau Brummels. In particular, the folk-influence evident in such Beatles' songs as "I'm a Loser" and "You've Got to Hide Your Love Away" was very influential on folk rock. The repertoire of most folk rock acts was drawn in part from folk sources but it was also derived from folk-influenced singer-songwriters such as Dylan. Musically, the genre was typified by clear vocal harmonies and a relatively "clean" (effects- and distortion-free) approach to electric instruments, as epitomized by the jangly 12-string guitar sound of The Byrds. This jangly guitar sound was derived from the music of The Searchers and from George Harrison's use of a Rickenbacker 12-string on The Beatles' recordings during 1964 and 1965.

This original incarnation of folk rock led directly to the distinct, eclectic style of electric folk (aka British folk rock) pioneered in the late 1960s by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North-American style of folk rock, Pentangle, Fairport, and other related bands began to incorporate elements of traditional British folk music into their repertoire. Shortly afterwards, Fairport bassist, Ashley Hutchings, formed Steeleye Span with traditionalist folk musicians who wished to incorporate overt rock elements into their music and this, in turn, spawned a number of other variants, including the overtly English folk rock of The Albion Band (also featuring Hutchings) and the more prolific current of Celtic rock.

Guru Guru
In a broader sense, folk rock includes later similarly-inspired musical genres and movements in the English-speaking world (and its Celtic and Filipino fringes) and, to a lesser extent, elsewhere in Europe. As with any genre, the borders are difficult to define. Folk rock may lean more toward folk or toward rock in its instrumentation, its playing and vocal style, or its choice of material; while the original genre draws on music of Europe and North America, there is no clear delineation of which folk cultures music might be included as influences. Still, the term is not usually applied to rock music rooted in the blues-based or other African American music (except as mediated through folk revivalists), nor to rock music with Cajun roots, nor to music (especially after about 1980) with non-European folk roots, which is more typically classified as world music.

Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It often uses new recording techniques and effects and draws on non-Western sources such as the ragas and drones of Indian music.

Hardin & York
It was pioneered by musicians including the Beatles, the Byrds, and the Yardbirds, emerging as a genre during the mid-1960s among folk rock and blues rock bands in the United Kingdom and United States, such as Grateful Dead, Jefferson Airplane, the Jimi Hendrix Experience, Cream, the Doors and Pink Floyd. It reached a peak in between 1967 and 1969 with the Summer of Love and Woodstock Rock Festival, respectively, becoming an international musical movement and associated with a widespread counterculture, before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas.

Psychedelic rock influenced the creation of psychedelic pop and psychedelic soul. It also bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia.

Mick Abrahams Band
Hard rock (or heavy rock) is a loosely defined subgenre of rock music which has its earliest roots in mid-1960s garage rock, blues rock and psychedelic rock. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar, drums, and often accompanied with pianos and keyboards.

Hard rock developed into a major form of popular music in the 1970s, with bands such as Led Zeppelin, The Who, Deep Purple, Aerosmith and AC/DC, and reached a commercial peak in the 1980s. The glam metal of bands like Van Halen, Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses followed up with great success in the later part of that decade, before losing popularity with the commercial success of grunge and later Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, and new hard rock bands that emerged from the garage rock and post-punk revival scenes.

Krautrock is rock and electronic music that originated in Germany in the late 1960s. The term was popularized in the English-speaking press. Later, German media started to use it as a term for all German rock bands from the late 1960s and 1970s, while abroad the term specifically referred to more experimental artists who often but not always used synthesizers and other electronic instruments.

Vanilla Fudge
The term is a result of the English-speaking world's reception of the music at the time and not a reference to any one particular scene, style, or movement, as many krautrock artists were not familiar with one another. BBC DJ John Peel in particular is largely credited with spreading the reputation of krautrock outside of the German-speaking world.

Largely divorced from the traditional blues and rock & roll influences of British and American rock music up to that time, the period contributed to the evolution of electronic music and ambient music as well as the birth of post-punk, alternative rock and New Age music. Key artists associated with the tag include Can, Amon Düül II, Ash Ra Tempel, Faust, Popol Vuh, Cluster, Tangerine Dream, Klaus Schulze, Neu!, and Kraftwerk.

Art rock is a subgenre of rock music that originated in the 1960s with influences from art (avant-garde and classical) music. The first usage of the term, according to Merriam-Webster Online Dictionary, was in 1968. Art rock was a form of music which wanted to "extend the limits of rock & roll", and opted for a more experimental and conceptual outlook on music. Art rock took influences from several genres, notably classical music, as well as experimental rock, psychedelia, avant garde, folk, baroque pop, and in later compositions, jazz.

Due to its classical influences and experimental nature, art rock has often been used synonymously with progressive rock; nevertheless, there are differences between the genres, with progressive putting a greater emphasis on symphony and melody, whilst the former tends to focus on avant-garde and "novel sonic structure". Art rock, as a term, can also be used to refer to either classically driven rock, or a progressive rock-folk fusion, making it an eclectic genre. Common characteristics of art rock include album-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections, symphonic orchestration, and an experimental style. Art rock music was traditionally used within the context of concept records, and its lyrical themes tended to be "imaginative", philosophical, and politically oriented.

Whilst art rock developed towards the end of the 1960s, it enjoyed its greatest level of popularity in the early 1970s through groups such as Jethro Tull, Electric Light Orchestra, 10cc, the Moody Blues, Emerson, Lake and Palmer and Procol Harum. Several other more experimental-based rock singers and bands of the time were also regarded as art rock artists. Art rock's success continued to the 1990s. Several pop and rock exponents of the period, including Peter Gabriel and Kate Bush, incorporated elements of art rock within their work. Art rock, as well as the theatrical nature of performances associated with the genre, was able to appeal to "artistically inclined" adolescents and younger adults, especially due to its "virtuosity" and musical "complexity".

 Medieval folk rock developed as a sub-genre of electric folk from about 1970 as performers, particularly in England, Germany and Brittany, adopted medieval and renaissance music as a basis for their music, in contrast to the early modern and nineteenth century ballads that dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 album Below the Salt. Acts in this area included Gryphon, Gentle Giant and Third Ear Band. In Germany Ougenweide, originally formed in 1970 as an acoustic folk group, opted to draw exclusively on High German medieval music when they electrified, setting the agenda for future German electric folk. In Brittany, as part of the Celtic rock movement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979. However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area of progressive rock. In the 1990s, as part of the wider resurgence of folk music in general, new medieval folk rock acts began to appear, including the Ritchie Blackmore project Blackmore's Night, German bands such as In Extremo, Subway to Sally or Schandmaul and English bands like Circulus.

In Britain the tendency to electrify brought several Progressive Folk acts into rock. This includes the acoustic duo Tyrannosaurus Rex, who became the electric combo T. Rex. Others, probably influenced by the electric folk pioneered by Fairport Convention from 1969, moved towards more traditional material, a category including Dando Shaft, Amazing Blondel, and Jack the Lad, an offshoot of northern progressive folk group Lindisfarne, who were one of the most successful UK bands of the early 1970s. Examples of bands that remained firmly on the border between progressive folk and progressive rock were the short lived (but later reunited) Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music. [List of Rock genres:]

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Part 5: Link
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Part 2: Link
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Part 5: Link

Monday, May 19, 2014

Not to be missed: Led Zeppelin - Chicago Soundcheck 1973-07-06 & Control Monitor Mixes 1973

Size: 159 MB
Bitrate: 320
Found in OuterSpace
Some Artwork Incuded

Friday and Saturday, Led Zeppelin landed at the Chicago Stadium, with nearly 20,000 turning out for each night’s show. Apparently anticipating possible problems, someone had seen to it that the place was crawling with security as well. Friday night, at least, things were peaceful enough – in fact, by current concert standards, the whole evening proceeded according to script.

For a band that attracts such an eager-for-action audience, Led Zeppelin is curiously controlled. They are not the type to urge the audience to surge forward; in fact, they play with barricades in front of the stage and Plant expressed distaste more than once for the pushing confrontations going on practically at his feet.

For a band that once relied so much on sheer musicianship, augmented by the stage sexuality of lead singer and vocal gymnast Plant, Led Zep’s picked up a lot of theatrical trappings since their last tour. A stage setting with complete lighting system, mirrored panels and silver balls, plus puffs of smoke and enveloping fogs, represents some borrowings from Pink Floyd, though it works well with Zeppelin’s style too. So does the weird electronic music of the theremin which guitarist Jimmy Page doubled on during Whole Lotta Love.

Page took a couple of solos with some flashy guitar work, and drummer John Bonham managed to make a 15 minute or so drum solo in Moby Dick, not only powerful but incredibly engrossing.

His is the first show of the second leg of the 1973 US Tour and a very rough performance for Robert's voice. At the start of the show it is completely gone and he cannot even hit his middle range. By the middle he warms up a bit but he is still rough and weak throughout. Also were there some PA problems as well as problems with fighting audience so Plant called them down several times during the show "I'd really be obliged if you could cool all that! There's no need to be fighting. I'm sure there's plenty of fights to eatch outside ... There is some sensible reason why these people are doing this ... I have never seen so much leeriness and violence, so cool it! Can you dig that?" Plant blamed the audience several times during the show). The band, however, is tense and thus brutal in their readings while PA system is invalid at some points. Jimmy's soloing is out of this world and the rhythm section commands the long improvisations in Dazed And Confused. A very poor choice for an encore due to Robert's voice and overall, an uneven performance.

Chicago Soundcheck 1973-07-06

01. Sugar Baby (Strawberry Jam) 5:06
02. Wanton Song 2:57
03. The Rover 
    live recording of: The Rover
    writer: Jimmy Page, Robert Plant 7:01
04. The Rover / A Quick One / All Along the Watchtower 5:11
05. Night Flight 
    live recording of: Night Flight
    writer: Jimmy Page, John Paul Jones (UK rock musician of Led Zeppelin & Them Crooked Vultures), Robert      Plant 7:14
06. School Days 
    live cover recording of: School Day (Ring! Ring! Goes the Bell)
    composer: Chuck Berry 
    lyricist: Chuck Berry 2:48
07. Nadine  1:03
08. Round and Round 0:40
09. Round and Round 3:41
10. Move on the Down the Line 1:50
11. Please Don't Tease  2:50
12. Move It (C'mon Pretty Baby) 1:28
13. Dynamite  1:32
14. Shakin' All Over 3:06
15. Hungry for Love 2:13
16. I'll Never Get Over You 2:16
17. Reelin' and Rockin' / Surrender / Rock and Roll 5:18

Led Zeppelin - "Salt Lake City 1973"
Control Monitor Mixes, Watchtower Records

01. Four Sticks 05:38
02. Black Dog 05:19
03. Wanton Song 04:15
04. Trampled Underfoot 04:14
05. When The Levee Breaks 05:21  

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