Saturday, March 14, 2015

Jefferson Airplane 1967-10-05 Rehearsal's & Finished Album (Bootleg)

Size: 231 MB
Bitrate: 320
Found at CyberSpace
Some Artwork Included

After Bathing at Baxter's was released in 1967 and is the third album by the San Francisco rock band Jefferson Airplane. Unlike Surrealistic Pillow, released earlier the same year, After Bathing at Baxter's is classified as psychedelic rock because it eschews the more commercial type pop songs, such as "Somebody to Love", that appeared on the earlier LP. As such, it was a watershed album; Jefferson Airplane was now a much heavier rock group. Jorma Kaukonen's electric guitar was especially more to the forefront in both volume and tone.

Divided into "suites", this musical shift is typified by lengthier and more experimental compositions such as the nine-minute instrumental "Spare Chaynge" and Grace Slick's mammoth and unusual "reJoyce", a homage to James Joyce's novel "Ulysses", with its quirky arrangement and Jack Casady's stentorian bass-line. Many of the album tracks reflect the band's heavy use of the drug LSD. The cover art is by artist Ron Cobb.

Japane Front Cover Version
The membership of Jefferson Airplane remained relatively stable until 1970, during which time they recorded five more albums and performed extensively in the USA and Europe, but the group's music underwent a significant transformation after Surrealistic Pillow and the influence of founder Marty Balin began to wane after their first commercial peak.

The band delved deeper into acid rock with their third LP, After Bathing at Baxter's. The product of many sessions over several months, it was released on 27 November 1967, and entered the charts in December, eventually peaking at #17. Its famous cover, drawn by renowned artist and cartoonist Ron Cobb, features a whimsical re-imagining of the group's Haight-Ashbury house on Fulton Street, depicted as a Heath Robinson-inspired flying machine soaring about the chaos of American commercial culture.

Key influences on the group's new direction was the popularity and success of Jimi Hendrix and in particular the first headlining U.S. tour by British supergroup Cream, which prompted many groups including the Airplane to adopt a 'heavier' sound and to place a greater emphasis on improvisation.

Advertise From Billboard Magasine
Baxter's took more than four months to record, with little interference from the nominal producer Al Schmitt. Where the previous LP had consisted entirely of short 2-3 minute songs, the new album was dominated by long multi-part suites, demonstrating the group's growing engagement with psychedelic rock. 

It also marked the emergence of Kantner and Slick as the band's major composers and the concurrent decline as major contributor of Marty Balin, who was becoming increasingly disenchanted with the "star trips" and inflated egos that their runaway commercial success had produced.

Baxter's also marked the end of the Airplane's brief run of success on the singles chart. Both "White Rabbit" and "Somebody To Love" were US Top 10 hits, but the single from Baxter's, "The Ballad of You and Me and Pooneil", peaked at #43. None of their subsequent singles made it into the Top 50 and several did not chart at all.

Despite this, Jefferson Airplane continued to enjoy significant success as "album" artists and between 1967 and 1972 they scored a run of eight consecutive Top 20 albums in the USA, with both Surrealistic Pillow and Crown of Creation making the Top 10.

Grace Slick - vocals 
 Marty Balin - vocals
 Jorma Kaukonen - guitar 
 Paul Kantner - guitar
 Jack Casady - bass 
 Spencer Dryden - drums

Jefferson Airplane, October 05, 1967
Rehearsals for "After Bathing at Baxter's"

Disc 1
01. Satisfaction 01:03
02. It's Allright 02:22
03. It's Allright 02:13
04. Won't You Try - Saturday Afternoon 04:03
05. Won't You Try Rehearsal Session 03:49
06. Won't You Try Rehearsal Session 04:24
07. Won't You Try Rehearsal Session 00:23
08. Martha Rehearsal Session Part 1 02:54
09. Martha Rehearsal Session Part 1 & 2 06:31
10. Martha Rehearsal Session Part 2 00:21
11. Martha Rehearsal Session Part 2 00:25
12. Martha Rehearsal Session Part 2 01:49
13. Martha Rehearsal Session Part 2 00:20
14. Martha Rehearsal Session Part 2 00:23
15. Martha Rehearsal Session Part 2 07:48
16. Martha Rehearsal Session Part 2 00:23
17. Martha Rehearsal Session Part 2 02:55
18. Martha Rehearsal Session Part 2 05:05
19. It's Alright 01:22
20. Young Girl Sunday Blues 03:48
21. Go To Her 03:47

Jefferson Airplane, October 5, 1967
Pacific High Studios, San Francisco, CA
After Bathing At Baxter's studio rehearsals

Disc 2
01. It's Alright  05:44
02. Won't You Try, Saturday Afternoon  08:32
03. Jaam session - part 1  04:31
04. Won't You Try  04:00
05. Jam Session - part 2  03:00
06. Martha  17:31

The Finished Original Album 
"After Bathing at Baxter's" 1967

Disc 3
01. "The Ballad of You & Me & Pooneil" (Kantner) – 4:29 
02. "A Small Package of Value Will Come to You Shortly" (Dryden/Blackman/Thompson) – 1:39 
03. "Young Girl Sunday Blues" (Balin/Kantner) – 3:33 
The War is Over
04. "Martha" (Kantner) – 3:26 
05. "Wild Tyme" (Kantner) – 3:08 
Hymn To An Older Generation
06. "The Last Wall of the Castle" (Kaukonen) – 2:40 
07. "rejoyce" (Slick) – 4:01 
How Suite It Is
08. "Watch Her Ride" (Kantner) – 3:11 
09."Spare Chaynge" (Casady/Dryden/Kaukonen) - 9:12 
Shizoforest Love Suite
10. "Two Heads" (Slick) – 3:10 
11. "Won't You Try / Saturday Afternoon" (Kantner) - 5:09 

Bonus Tracks:
12. "The Ballad of You & Me & Pooneil" (Live Long Version) (Paul Kantner) - 11:04 
13. "Martha" (Mono Single Version) (Grace Slick)- 3:26 
14. "Two Heads" (Alternate Version) (Paul Kantner) - 3:15 
15. "Things Are Better In The East" (Demo Version) (Marty Balin) - 2:31 
16. "Young Girl Sunday Blues" (instrumental - hidden track) - 3:59 

Part 1: Baxter
Part 2: Baxter
Part 1: Baxter
Part 2: Baxter

Monday, March 09, 2015

Mondo Drag - S/T (Oakland US 2015 on CD)

The highly anticipated second album by Oakland's finest heavy-psych-rockers MONDO DRAG contains seven analogue recorded tracks.

Under the spiritual guidance of the forefathers of heavy psych, prog, and proto-
metal, Mondo Drag has created an amalgamation of sounds the likes of which have not resounded through the atmosphere for decades. The band's unique sound, and rare cohesion probably stem from the fact that core members John Gamino, Nolan Girard, and Jake Sheley actually grew up within a one mile radius from each other, attended the same schools, were a part of the same scene, and have played music with each other for 15 years. 

The album was recorded in the Winter of 2011/2012 at Future Appletree Studios Too with Patrick Stolley and features the rhythm section of Cory Berry and Zack Anderson (Radio Moscow, Blues Pills). 

The album's cover art was designed by talented and far-out artist, Robert Beatty. His unique style and surreal, other-worldly landscapes were perfect for this album.

Produced, engineered & mixed by Mondo Drag and Patrick Stolley. Mastered by Jim Brick. Buy the album at: Mondo Drag CD

01. Zephyr 2:34 
02. Crystal Visions Open Eyes 4:36 
03. The Dawn 3:04 
04. Plumajilla 6:40 
05. Shifting Sands 5:24 
06. Pillars Of The Sky 6:45 
07. Snakeskin 6:10

Under the spiritual guidance of the forefathers of heavy psych, prog, and proto-metal, Mondo Drag has created an amalgamation of sounds the likes of which have not resounded through the atmosphere for decades.  The bands unique sound, and rare cohesion probably stem from the fact that core members John Gamino, Nolan Girard, and Jake Sheley actually grew up within a one mile radius from each other, attended the same schools, were a part of the same scene, and have played music with each other for 15 years.

The band’s stellar live performances have become a thing of wonder and have seen the band share stages with contemporary artists such as Nik Turner's Hawkwind, Kadavar, Dead Meadow, Witchcraft, Pentagram, Black Mountain, Wooden Shjips, and The Black Keys to name a few. 

The release of New Rituals (Alive Records), saw the band touring the US extensively, appearing at many high-profile fests around the country including several official showcases at SXSW (and a dozen more unofficial ones) and headlining slots at both the Chicago Pysch Fest and the Cincy Psych Fest.  You can also find them on the Austin Psych Fest 3 DVD (w/ The Black Angels, The Warlocks, Warpaint, et al.). 

The band caravanned across the country last year, settling in Oakland, CA.  They will be releasing their 2nd LP on January 16th, 2015 on Kozmik Artifactz, which features the rhythm section of fast-rising Swedish-American rock band Blues Pills (Nuclear Blast).

Mondo Drag - Holy Spirit CD 2008 Auto-Production Records

01. Holy Spirit
02. Autumn Sun
03. Light as a Feather
04. Through the Eyes of Serpents
05. Deathrattles
06. Blackriver
07. My, Oh My
08. Cosmic Blues9. Into the Hollows
10. We Are Echoes
11. Bardo Cycle
12. Apple

Mondo Drag - New Rituals Alive Naturalsound Records 2010

Personnel: Johnnie Cluney (vocals, drums); Nolan Girard, Bambi Suits (vocals); Jake Sheley (guitar); Skye Merkle-Carrasco (violin); John Gamino (saxophone, keyboards).Additional personnel: Sean Moeller, Ryan Ruebling, Nicole Gregus, Nick Nielke, Melissa Gravert, Lindsay Schrloum, Joe Slonecker, Jen Lang, Jay Gamble, Hannah Harris, Dylan Moeller, Conza Borders, Chad Gooch, Andrew Knock, Amy Cronkleton, Troy Gooch, Stephanie Norden.Audio Mixers: Mondo Drag; Pat Stolley.Recording information: Future Appletree Studio Too (09/2009-10/2009).

It sounds like the five members of Iowa rock band Mondo Drag have spent a lot of time flipping through old LPs in local record stores, fishing out vinyl from late-`60s performers like the Jimi Hendrix Experience and Blue Cheer, then investigating how to replicate the guitar effects on those records. They may have worn out copies of the original Nuggets collection, too. The result on their debut album, New Rituals, is a set of tracks with the heavy feel of the hard rock of 1968. 

True to the eclecticism of that era, Mondo Drag throw in slower tempos here and there and even break out acoustic guitars for songs like "Come Through" and "Black River." But they don't necessarily stay with one tempo or set of chords throughout an entire track, sometimes shifting abruptly to something else, as when the slow closer "Tallest Tales" suddenly changes gears for a faster, harder coda to end the disc. One big difference between Mondo Drag's influences and their own performances is that the band de-emphasizes vocals, which, when they are there at all, are low in the mix and distorted. Large sections of New Rituals are instrumental, making this a psychedelic experience given over to guitar textures and spacy soundscapes.

01. New Rituals
02. Light as a Feather
03. Love Me (Like a Stranger)
04. Come Through
05. Fade Out
06. Serpent Snake
07. True Visions
08. Apple
09. Black River
10. Oh My My
11. Tallest Tales

Mondo Drag - Holy Spirit Sessions CD, Released date : March 2011 - Deep Cuts Records

Since the early 2010 release of their debut album New Rituals on Alive Records, the band has been touring coast to coast blowing back audiences’ hair with an unrivaled raw live sound. After making big splashes at SXSW and Austin Psych Fest 3 last Spring, the band looks forward to returning to Texas with an even bigger and more progressive sound than before."The fact is HOLY SPIRIT should be sought out by all lovers of anything groove based and heavy. Are you into guitar based heavy rock of the early 70’s? Well then buy this f**king album you will not regret it! People need to hear this album and realize that there are bands playing today that have taken this idiom a step further. HOLY SPIRIT is a heady mix that takes the listener on a trip into the stratosphere. It is a fantastic album that the world should hear!"

01. Holy Spirit
02. Autumn Sun
03. The Living Blues
04. Into the Hollows
05. We Are Echoes
06. Bardo Cycle
07. Apple (Extended Version)

Austin Psych Fest DVD 2010

The Austin Psych Fest 3 DVD features highlight performances from the 2010 festival. Bands in the film include The Raveonettes, The Black Angels, Silver Apples, Warpaint, Spindrift, The Warlocks, Pink Mountaintops, Headdress, Mondo Drag and more. Produced and directed by Oswald James with live audio recorded and mixed by The Pirate Studio.

Steeleye Span - Please To See The King (Classic Folk UK 1971)

Size: 245 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Please To See The King is the second album by Steeleye Span, released in 1971. A substantial personnel change following their previous effort, Hark! The Village Wait, brought about a substantial change in their overall sound, including a lack of drums and the replacement of one female vocalist with a male vocalist. The band even reprised a song from their debut, "The Blacksmith", with a strikingly different arrangement making extensive use of syncopation. Re-recording songs would be a minor theme in Steeleye's output over the years, with the band eventually releasing an entire album of reprises, Present--The Very Best of Steeleye Span.

The title of the album is derived from the "Cutty Wren" ceremony. A winter wren in a cage is paraded as if it were a king. This rite was carried out on December 26, Saint Stephen's Day, and is connected to early Christmas celebrations. The song "The King", appearing on the album, addresses this, and is often performed as a Christmas carol. Steeleye returned to this subject on Live at Last with "Hunting the Wren" and on Time with the song "The Cutty Wren". The custom of Wrenboys is mostly associated with Ireland, but it has been recently revived in England.

All songs appearing on the original album are traditional. "The False Knight on the Road" is one of the Child Ballads (#3), and concerns a boy's battle of with the devil in a game of riddles. Hart and Prior had already recorded a version of the song on their album 'Summer Solstice'. "The Lark in the Morning", one of their more popular songs, has the same title as a different song about a lusty ploughboy, though there are strong similarities. This version was collected by Ralph Vaughan Williams. "Boys of Bedlam", a variant of Tom o' Bedlam", is told from the perspective of a member of a lunatic asylum. Carthy and Prior open the song by singing into the back of banjos, producing a muffled effect. The band uses the earliest printed version of the song, from Wit and Mirth, or Pills to Purge Melancholy by Thomas d'Urfey.

Melody Maker made this their folk album of the year. Music journalist Colin Irwin in his book "In Search of Albion" describes it as one of his favourite folk-rock albums. It reached number 45 in the UK album charts, originally on B & C Records but before the year was out the rights were acquired by Mooncrest Records who re-released it the same year, with different cover art. It was issued in the US at the same time on Big Tree, when the small label was distributed by Ampex. It sold poorly and was deleted quite soon after release. Remaining copies were bought up by a couple of the 'cut-out' distributors and by that time, the band had signed with Chrysalis and the cut out original sold very well. When stock ran out, poor quality bootleg copies started to turn up in huge quantities.

Musically, this was their most electric, dense recording, with loud guitars and strong looping bass lines and no drums. In 2006, Castle Music re-issued the album as a double-CD with numerous additional tracks taken from radio and TV appearances.

The debut of Steeleye Span (Mark II), with Peter Knight on fiddle and Martin Carthy on guitar, is more solid in almost every area from repertory to production. The group still had its feet in both modern and traditional sounds simultaneously, so Please to See the King mixes very beautiful, distinctly archaic sounding songs such as "Boys of Bedlam" with amplified, electric numbers like the rousing, ironic "Female Drummer" (which was a highlight of their concerts). Although a second female voice would've been nice, the singing and harmonizing (with help from some careful overdubbing) is still impressive and the performances are tighter, the group's overall sound reflecting the quintet's status as a working band and their experience performing these songs on-stage. The use of electric guitars was also unique, and quite different from rivals such as Fairport Convention, occasionally mimicking the sound of bagpipes here. 

Songs including the haunting "The Blacksmith," the fine guitar workout on "Cold, Haily, Windy Night," the dour "Prince Charlie Stuart," the bittersweet "Lovely on the Water," and the playful, cautionary "False Knight on the Road." They would get better on later albums -- especially in their approach to the jigs and reels represented here -- but this represents a solid second beginning for the band.

Bonus tracks
Rave On! (Buddy Holly / Hardin) is an a cappella version of a Buddy Holly song. It was meant as a prank to mock Ashley's solemnity, but he ended up liking it. In 2006, Castle Music re-issued the album with the 10 original tracks and 25 bonus tracks, on 2 CDs. The bonus tracks were all poorly-recorded tapes of live BBC radio broadcasts (3 from TV). Only six of these were tracks not already available in good studio versions although the arrangements are different on some. 

The song "I Was a Young Man" is very different from the version on "Battle of the Field" by The Albion Country Band. The song "Gallant Poacher" was also on that album. Steeleye Span's bonus track version is very similar. "College Grove/Silver Spear" is a pair of jigs by Peter Knight. "Lay Down Your Weary Tune" is a Dylan song, sung a cappella. "Farther Along" is a traditional gospel-blues song, also sung a cappella. "Let's Dance" is obviously a companion-piece to "Rave On". It is the well-known hit by Chris Montez. "Bring 'Em Down/A Hundred Years Ago" is a pair of sea shanties. Incidentally, "Hitler's Downfall" is actually the instrumental "Bryan O'Lynn", already available in a studio recording.

Recorded Late 1970, Sound Techniques, Chelsea, London

Maddy Prior - vocals, spoons, tabor, tambourine
 Tim Hart - vocals, guitar, dulcimer
 Peter Knight - violin, mandolin, vocals, organ, bass
 Ashley Hutchings - bass, vocals
 Martin Carthy - vocals, guitar, banjo, organ

Disc 1:
01."The Blacksmith"
02."Cold Haily, Windy Night"
03."Jigs: Bryan O'Lynn / The Hag With The Money"
04."Prince Charlie Stuart"
05."Boys of Bedlam"
06."False Knight On The Road"
07."The Lark In The Morning"
08."Female Drummer"
09."The King"
10."Lovely on the Water"

11. Rave On!

BBC "Top Gear" session rec. June 23 1970
11. The Blacksmith
12. Female Drummer
13. Rave On!
14. I Was a Young Man
15. The Lark in the Morning

BBC "Stuart Henry Show" session July 23 1970
16. The King
17. Prince Charlie Stuart
18. The Bold Poachers

Disc 2:
"Folk on 1” BBC radio session, October 17, 1970"
01. College Grove / Silver Spear (2.51)
02. Lay Down Your Weary Tune [Bob Dylan] (4.20)
03. False Knight on the Road (Roud 20; Child 3) (3.22)
04. Jigs: Hitler's Downfall / The Hag with the Money (1.58)
05. Female Drummer (Mk I) (Roud 226; G/D 1:104) (3.50)
06. Wee Weaver (Roud 3378) (4.23)
07. Reel (2.36)

“Stuart Henry Show” BBC radio session, February 4, 1971"
08. Female Drummer (Mk II) (Roud 226; G/D 1:104) (4.12)
09. General Taylor (Roud 216) (3.36)
10. Farther Along (Roud 18084) (3.10)
11. Two Reels (2.32)

“Top Gear” BBC radio session, March 27, 1971"
12. Let's Dance [Jim Lee] (1.45)
13. Bring 'em Down / A Hundred Years Ago (Roud 926) (2.40)
14. The Lark in the Morning (Roud 151) (3.52)

BBC TV performance (date unknown)
15. The King (Roud 19109) (1.24)
16. Jigs: Bryan O'Lynn / The Hag with the Money (2.13)
17. The Blacksmith (Roud 816) (3.49)

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