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Bitrate: 320
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Some Artwork Included
The Electric Fuzz Band is a psychedelic southern rock jam band formed in 1996 in Norfolk, VA. EFB was a full time band from 1996-2002. During this time they worked their local scene, did some touring, played some festivals (Jerry’s Birthday Bash at Sunshine Daydream, Treehugger’s Ball, and their own Wild Billstock), and won 9Volt Magazine, the official journal of entertainment in Hampton Roads, VA, Jam Band of the Year Award in 2002.
Through the years the EFB has built up a strong faithful following. They continued to have reunions a couple times a year, even throwing a couple more Wild Billstocks. However, the last reunion was in 2008. After 6 years, EFB will be having a few reunion shows in May 2014 and are hoping to keep the EFB more relevant in the future.
Now the easy part. All you have to do is mark May 15th – 16th on your calendar and check these guys out. You’ll be glad you did. Thanks for reading and thank you for supporting local music in Virginia!
The Electric Fuzz Band
2014-05-16 The Taphouse
Norfolk, VA
FM Broadcast
The Electric Fuzz Band
♣ Jay Morgan - Guitar, vocals
♣ Ryan Russell - Guitar, vocals
♣ Derek Givans - Drums, vocals
♣ Cory Potrafka - Bass, vocals
DISC 1
01. Gettin Better
02. Searching For Sunshine
03. Fried Neckbones
04. Jingo
05. Blue Hats Little Sister
06. Iron Maiden tease
07. Neighborhood Dispute
08. Sister Sunday
09. Fire On The Mountain
10. Pain and Tears
DISC 2
01. Tienas Llerba Buena
02. Muy Gordo
03. Machine Gun
04. Get Out Of Norfolk
05. 20th and DeBree
06. Wanna Take You Higher
07. Tripsong
08. Super Slick Butt Kck Mix
09. Revolution Revelation
DISC 3
01. Southbound
02. Grinning In Your Face
03. Franklin's Tower
04. Olde Crowe
05. Voodoo Child
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Size: 142 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Inckuded
Source: Japan SHM-CD Remaster
Thin Lizzy is the first studio album by Irish hard rock band Thin Lizzy, released in 1971.
Thin Lizzy were originally conceived as a power trio in the image of Cream and the Jimi Hendrix Experience, but Eric Bell lacked the charisma of these groups' guitarists, forcing vocalist/bassist Philip Lynott to take center stage from day one. Despite his already poetic, intensely personal lyrics, Lynott was only beginning to develop as a songwriter, and the band's unfocused, folk-infused early efforts are a far cry from their mid-'70s hard rock glory. Recorded on a shoestring budget, their self-titled debut is surprisingly mellow; many songs, such as "Clifton Grange Hotel" and "The Friendly Ranger of Clontarf Castle," sound confused and unfinished. Quiet ballads like "Honesty Is No Excuse," "Eire," and "Saga of the Ageing Orphan" abound, while supposed rockers such as "Ray-Gun" and "Return of the Farmer's Son" fall remarkably flat. In fact, Lizzy only bare their claws on "Look What the Wind Blew In," a gutsy rocker that hints at things to come. Four bonus tracks (originally released as singles) were added to this CD reissue, and of these "Things Ain't Working Out Down at the Farm" is quite memorable, while the mournful "Dublin" contains Lynott's first great lyric.
Biography:
Despite a huge hit single in the mid-'70s ("The Boys Are Back in Town") and becoming a popular act with hard rock/heavy metal fans, Thin Lizzy are still, in the pantheon of '70s rock bands, underappreciated. Formed in the late '60s by Irish singer/songwriter/bassist Phil Lynott, Lizzy, though not the first band to do so, combined romanticized working-class sentiments with their ferocious, twin-lead guitar attack. As the band's creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Bruce Springsteen, and virtually all of the Irish literary tradition. Also, as a black man, Lynott was an anomaly in the nearly all-white world of hard rock, and as such imbued much of his work with a sense of alienation; he was the outsider, the romantic guy from the other side of the tracks, a self-styled poet of the lovelorn and downtrodden. His sweeping vision and writerly impulses at times gave way to pretentious songs aspiring to clichéd notions of literary significance, but Lynott's limitless charisma made even the most misguided moments worth hearing.
After a few early records that hinted at the band's potential, Lizzy released Fighting in 1975, and the band (Lynott, guitarists Brian Robertson and Scott Gorham, and drummer Brian Downey) had molded itself into a pretty tight recording and performing unit. Lynott's thick, soulful vocals were the perfect vehicle for his tightly written melodic lines. Gorham and Robertson generally played lead lines in harmonic tandem, while Downey (a great drummer who had equal amounts of power and style) drove the engine. Lizzy's big break came with their next album, Jailbreak, and the record's first single, "The Boys Are Back in Town." A paean to the joys of working-class guys letting loose, the song resembled similar odes by Bruce Springsteen, with the exception of the Who-like power chords in the chorus. With the support of radio and every frat boy in America, "Boys" became a huge hit, enough of a hit as to ensure record contracts and media attention for the next decade ("Boys" is now used in beer advertising).
Never the toast of critics (the majority writing in the '70s hated hard rock and heavy metal), Lizzy toured relentlessly, building an unassailable reputation as a terrific live band, despite the lead guitar spot becoming a revolving door (Eric Bell, Gary Moore, Brian Robertson, Snowy White, and John Sykes all stood next to Scott Gorham). The records came fast and furious, and despite attempts to repeat the formula that worked like a charm with "Boys," Lynott began writing more ambitious songs and wrapping them up in vaguely articulated concept albums. The large fan base the band had built as a result of "Boys" turned into a smaller, yet still enthusiastic bunch of hard rockers. Adding insult to injury was the rise of punk rock, which Lynott vigorously supported, but made Lizzy look too traditional and too much like tired old rock stars.
By the mid-'80s, resembling the dinosaur that punk rock wanted to annihilate, Thin Lizzy called it a career. Lynott recorded solo records that more explicitly examined issues of class and race, published a now-out-of-print book of poetry, and sadly, became a victim of his longtime abuse of heroin, cocaine, and alcohol, dying in 1986 at age 35. Since the mega-popular alternative rock bands of the mid-'90s appropriated numerous musical messages from their '70s forebears, the work of Phil Lynott and Thin Lizzy will hopefully continue to be seen for the influential rock & roll it is.
In 1999, Thin Lizzy reunited with a lineup featuring guitarists Scott Gorman and John Sykes, and keyboardist Darren Wharton, which was rounded out by a journeyman rhythm section of bassist Marco Mendoza and drummer Tommy Aldridge. The quintet's ensuing European tour produced the live album One Night Only, which was released in the summer of 2000 to set the stage for a subsequent American concert tour.
01."The Friendly Ranger at Clontarf Castle" (Eric Bell, Phil Lynott) – 3:01
02."Honesty Is No Excuse" (Lynott) – 3:40
03."Diddy Levine" (Lynott) – 7:04
04."Ray-Gun" (Bell) – 3:05
05."Look What the Wind Blew In" (Lynott) – 3:23
06."Eire" (Lynott) – 2:07
07."Return of the Farmer's Son" (Brian Downey, Lynott) – 4:14
08."Clifton Grange Hotel" (Lynott) – 2:26
09."Saga of the Ageing Orphan" (Lynott) – 3:40
10."Remembering" (Lynott) – 5:59
Bonus Tracks:
11."The Farmer"
12."Dublin"
13."Remembering Pt. 2 (New Day)"
14."Old Moon Madness"
15."Things Ain't Working Out Down at the Farm"
16."Look What the Wind Blew In" (1977 overdubbed and remixed version)
17."Honesty Is No Excuse" (1977 overdubbed and remixed version)
18."Dublin" (1977 overdubbed and remixed version)
19."Things Ain't Working Out Down at the Farm" (1977 overdubbed and remixed version)
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Size: 215 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Scandinavian Nights is a live album by Deep Purple. It was originally recorded by Swedish National Radio for a radio show called Tonkraft at the Stockholm Konserthuset on 12th November 1970.
Live in Stockholm is a live album by English hard rock group Deep Purple. The album was recorded in the capital of Sweden on November 12 1970, at Stockholm Konserthus and recorded by Swedish "Tonkraft" (a radio show).
This concert was originally released in 1988 as Scandinavian Nights in Europe and as Live and Rare in the USA. The original mastertapes were later discovered and are remixed for this release.
Additionally, the Scandinavian Nights 2CD had the same running-order as the vinyl release, the set being adjusted to fit the timing-restrictions of vinyl. For Live in Stockholm the correct order was restored and this, together with the improved sound-quality, makes it the definitive release of this recording.
Songs on the album are from the Deep Purple in Rock album, and long instrumentals from earlier albums. The two songs "Mandrake Root" and "Wring that Neck" took up half the concert in the early days, until the Fireball tour.
This early live set by Purple Mark II, complete on two discs, was recorded in Stockholm, Sweden in 1970, and it showcases the band at its most extended. The jams on "Wring That Neck" and "Mandrake Root" clock in at around half an hour apiece.
An instrumental version of the Rolling Stones' "Paint It Black" leads into the requisite drum solo, and also included is the longest-ever recording of "Child in Time." Some of this (especially "Mandrake Root") can be trying to the patience of someone who wasn't there.
But this was the era when hundreds of bands were stretching out every night, and Purple, with the skills and imaginations of Jon Lord and Ritchie Blackmore to call on, did it better than many, at its climaxes reaching a fiery intensity matched by few others.
Disc 1:
01."Wring That Neck" (Blackmore, Nick Simper, Lord, Paice) - 32:06
02."Speed King" - 10:20
03."Into the Fire" - 04:00
04"Paint It, Black" (Mick Jagger, Keith Richards) - 09:08
Disc 2:
01."Mandrake Root" (Rod Evans, Blackmore, Lord) - 28:42
02."Child in Time" - 20:29
03."Black Night" - 06:54
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Part 2:
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Part 2:
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Part 2:
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Size: 196 MB
Bitrate: 320
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Found in OuterSpace
FM Broadcast
Some Artwork Included
This has got to be one of the finest sounding shows ever to circulate and this version delivers an astonishing upgrade to all known previous versions of this excellent show. All thanks to the tape contribution provided by fzmoi69, which was diligently transferred via NAK DR-1 by doctorzap then made available in the Shoebox.
If you have heard this show from any other known source, then be prepared to experience an absolute jaw dropping experience. It captures FZ & The Mothers Of Invention during their final North American Tour in 1973 with superb clarity and amazingly detailed stereo separation. Speed correction advice by flambay."
Armadillo World Headquarters Music Hall: The Armadillo World Headquarters (usually called simply The 'Dillo) was a music hall and entertainment center in Austin, Texas, United States from 1970 to 1980.
In 1970, Austin's flagship rock music venue, the Vulcan Gas Company, closed, leaving the city's nascent live music scene without an incubator. One night, Eddie Wilson, manager of the local group Shiva's Headband, stepped outside a nightclub where the band was playing and noticed an old, abandoned National Guard armory.
Wilson found an unlocked garage door on the building and was able to view the cavernous interior using the headlights of his automobile. He had a desire to continue the legacy of the Vulcan Gas Company, and was inspired by what he saw in the armory to create a new music hall in the derelict structure. The armory was estimated to have been built in 1948, but no records of its construction could be located.
The building was ugly, uncomfortable, and had poor acoustics, but offered cheap rent and a central location. Posters for the venue usually noted the address as 525½ Barton Springs Road (Rear), behind the Skating Palace (approximate coordinates 30.258 -97.750).
The name for the Armadillo was inspired by the use of armadillos as a symbol in the artwork of Jim Franklin, a local poster artist, and from the building itself. In choosing the mascot for the new venture, Wilson and his partners wanted an "armored" animal since the building was an old armory. The nine-banded armadillo (Dasypus novemcinctus) was chosen because of its hard shell that looks like armor, its history as a survivor (virtually unchanged for 50 million years), and its near-ubiquity in central Texas.
Wilson also believed the building looked like it had been some type of headquarters at one time. He initially proposed "International Headquarters" but in the end it became "World Headquarters."
In founding the Armadillo, Wilson was assisted by Franklin, Mike Tolleson, an entertainment attorney, Bobby Hedderman from the Vulcan Gas Company and Hank Alrich. Funding for the venture was initially provided by Shiva's Headband founder, Spencer Perskin, and Mad Dog, Inc. an Austin literati group.
The Armadillo World Headquarters officially opened on August 7, 1970 with Shiva's Headband, the Hub City Movers, and Whistler performing. The hall held about 1,500 patrons, but chairs were limited, so most patrons sat on the floor on sections of carpet that had been pieced together.
The Armadillo caught on quickly with the hippie culture of Austin because admission was inexpensive and the hall tolerated marijuana use. Even though illicit drug use was flagrant, the Armadillo was never raided. Anecdotes suggest the police were worried about having to bust their fellow officers as well as local and state politicians.
Soon, the Armadillo started receiving publicity in national magazines such as Rolling Stone. Time magazine wrote that the Armadillo was to the Austin music scene what The Fillmore had been to the emergence of rock music in the 1960s. The clientele became a mixture of hippies, cowboys, and businessmen who stopped by to have lunch and a beer and listen to live music. At its peak, the amount of Lone Star draft beer sold by the Armadillo was second only to the Houston Astrodome. The Neiman-Marcus department store even offered a line of Armadillo-branded products.
The unique blend of country and rock music performed at the hall became known by the terms "The Austin Sound," "Redneck Rock," progressive country or "Cosmic Cowboy." Artists that almost single handedly defined this particular genre and sound were Michael Martin Murphy, Jerry Jeff Walker and The Lost Gonzo Band. Many upcoming and established acts such as Willie Nelson, Ray Charles, Stevie Ray Vaughan, and ZZ Top played the Armadillo. Freddie King, Frank Zappa, and Commander Cody all recorded live albums there. Bruce Springsteen played five shows during 1974. The Australian band AC/DC played their first American show at the Armadillo with Canadian band Moxy in July 1977.
The Clash played live at The Armadillo with Joe Ely on October 4, 1979 (a photo from that show appears on the band's London Calling album). The show was so successful that Joe Ely and The Clash teamed up for a 1980 U.S. tour.
Despite its successes, the Armadillo always struggled financially. The addition of the Armadillo Beer Garden in 1972 and the subsequent establishment of food service were both bids to generate positive cash flow. However, the financial difficulties continued. In an interview for the 2010 book Weird City, Eddie Wilson remarked:
"People don’t remember this part: the months and months of drudgery. People talk about the Armadillo like it was a huge success, but there were months where hardly anyone showed up. After the first night when no one really came I ended up crying myself to sleep up on stage."
With the success of the Armadillo and Austin's burgeoning music scene, KLRN (now KLRU), the local PBS television affiliate, created Austin City Limits, a program showcasing popular local, regional, and national music acts.
The Armadillo Christmas Bazaar began in 1976 at the Armadillo, and is still held annually during the Christmas season. The Bazaar was another attempt to improve cash flow for the hall. When the Armadillo closed, the Bazaar first moved to Cherry Creek Plaza (1981–1983), and then on to the Austin Opry House (1984–1994). In 1995, the Bazaar settled at the Austin Music Hall for twelve years. Due to remodeling of the Austin Music Hall, the Bazaar had to move its 2007 show to the Austin Convention Center.
The Bazaar has become one of the top-ranked arts and crafts shows in the nation with a long waiting list of artisans who wish to show their work.
On August 19, 2006, the City of Austin dedicated a commemorative plaque at the site where the Armadillo once stood. Co-founder Eddie Wilson was on hand and stated:
"It is still on the lips and minds of a lot of people 26 years after it closed.
This is noteworthy for me because of the zero-tolerance mentality, and now the city erected a memorial that glorifies the things of the past that are not accepted today."
Frank Zappa & The Mothers Of Invention
Armadillo World Headquarters
Austin, Texas 1973 10 26
THE BAND:
✪ Frank Zappa
✪ Napoleon Murphy Brock
✪ Tom Fowler
✪ George Duke
✪ Ruth Underwood
✪ Bruce Fowler
✪ Ralph Humphrey Chester Thompson
THE SHOW:
01. Cosmik Debris (06:59)
02. Inca Roads (10:29)
03. Pygmy Twylyte (4:56)
04. The Idiot Bastard Son (2:15)
05. Cheepnis (3:38)
06. Big Swifty (9:25)
07. San Clemente Magnetic Deviation Preamble (1:26)
08. Dickie’s Such An Asshole (world premiere) (8:41)
09. Farther Oblivion (14:41)
10. Encore Tune Up (1:41)
11. Mr Green Genes Medley (16:07)
Medley includes: Son Of Mr. Green Genes, King Kong, Chunga’s Revenge, Mr. Green Genes & Dickie’s Such An Asshole reprise.
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Size: 88.3 MB
Bit Rate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
GRAHAM BELL info
Graham Bell (vocals) Veteran vocalist from the British scene. He released a solo single in 1966! It was 'How do you say I don't love you / If you're gonna go'.
It was early 1966, when The Chosen Few get a new singer, Graham Bell, and change their band name to Skip Bifferty. They established themselves in London. After several years as a tight unit, they released a self-titled album, Skip Bifferty, in 1968. Some of their songs were produced by Ronnie Lane, and arranged by Steve Marriott.
In 1969, due to legal problems with their manager Don Arden, they changed their name (again), this time to Heavy Jelly, releasing a single,'I keep singing that same old song / Blue'. But they parted ways that same year. Bell was to reunite with Gibson and White very soon, while Gallagher and Turnbull formed Arc in 1970, but they soon were to rejoin Graham, as we're going to read. After the Skip Bifferty/Heavy Jelly separation, Gibson and White formed a new band, Happy Magazine, still in 1969. When their vocalist left, Graham Bell was called, and the band changed the name to Griffin. A terrific lineup. But they only released two singles, being 'I am the dark noise in your head / Don't you know' (1969) the first one.
Colin Gibson and Craddock joined Ginger Baker's Airforce, and Alan White joined Balls (with Denny Laine) for a while, also going to Ginger Baker's Airforce. Graham joined a new band in May 1970: Every Which Way, formed by drummer Brian Davidson (ex-The Nice). The band was short-lived, and after a debut album, Every Which Way, and a successful presentation at The Marquee, they sadly split. Graham started thinking about a solo career. He wrote some demos, and called his old mates (now in Arc) to back him. All went so well, that they decided forming a stable lineup, under the name Bell & Arc.
They released Bell & Arc, with lots of great guests: Kenny Craddock (guitar, keyboards), Bud Beadle (sax), Steve Gregory (sax), Jeff Condon (trumpet), John Woods (percussion), Alan White (drums, percussion). But after the album, Rob Tait left, being replaced by John Woods. But John Woods wasn't to stay too much time in the band. For their American tour in November/December 1971, they got Alan White. After the tour, Alan White left, being replaced by a great drummer, Ian Wallace.
In January 1972, Gallagher left, and another great replacement arrives, Kenny Craddock. But, after one month, they disbanded in February 1972. Graham Bell went solo again. He released his first solo album, Graham Bell, that same year, with these musicians (some parts were recorded in UK, some parts in Nashville).
He also appeared in the symphonic version of The Who's Tommy, released in November 1972. It was recorded with The London Symphony Orchestra, The English Chamber Choir, plus a cast of thousands: Sandy Denny, Graham Bell (who sings lead in '1921'), Maggie Bell, Steve Winwood, Richie Havens, Merry Clayton, Ringo Starr, Rod Stewart, Richard Harris, plus The Who, of course.
To celebrate the release, on December 9th, 1972, the whole work was played live at The Rainbow, with mostly the same artists as in the album, plus some added stars, such as actor Peter Sellers, Roy Wood, Roger Chapman, Elkie Brooks, David Essex, Marsha Hunt, Vivian Stanshall, etc. Graham Bell was also there.
And now I have a very big gap in Graham Bell's career. Any help with info would be very appreciated. Some time later, he formed a band with old mate Kenny Craddock. They were called Stotts, but their live was too short. The next (happy) news was finding Graham Bell again!
It was in 1988, when he joined exquisite guitarist Snowy White, in a new venture, Snowy White's Blues Agency.
They released two albums, Change my life and Open for business (rereleased under the title Blues on me). But they sadly split in 1990. All the members (except Graham) went to play with Mick Taylor All Star Band.
Does anybody know what is Graham doing now, please?
01. Before You Can Be A Man
02. The Thrill Is Gone
03. After Midnight
04. Down In The City
05. Watch The River Flow
06. Too Many People
07. How Long Will It Last
08. The Whole Town Wants You Hung
09. The Man With Angeless Eyes
10. So Black And So Blue
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