Friday, September 10, 2021

Masters of Reality - Roadburn Festival Germany 2001 (Bootleg) Soundquality A

Size: 258 MB
Bitrate: 320
Found at OuterSpace
Some Artwork

Masters of Reality are an American rock band formed in 1981 in Syracuse, New York by frontman Chris Goss and guitarist Tim Harrington. Notably the band's sound, along with their lineups, are ever-changing. After the first lineup the band's sound has ranged from hard rock to blues to progressive rock and even sixties-era pop. To date the band has released six studio albums and has managed to tour the world with various alternating lineups, Goss essentially the bandleader. In regards to the alternating lineups Goss has stated that Masters of Reality will always be a project with alternating lineups, stating "I can't afford paying people to tell they're in the band."

Notably the band has close ties to the Palm Desert scene with Goss being a producer and key player in that circle, working with Kyuss and Queens of the Stone Age (Along with Josh Homme and Nick Oliveri joining Masters of Reality for a period of time.) among others. While the band's name is taken from the Black Sabbath album of the same name the band's early influences were heavily derived from Sabbath and early King Crimson among a host of other classic rock acts.

Early Years and Masters of Reality (1981 - 1990)
Prior to Masters of Reality's formation Chris Goss started out with a band covering heavy 1970s rock acts (New York Dolls, Aerosmith, David Bowie, Blue Öyster Cult, Alice Cooper, Led Zeppelin) and writing his own songs since circa 1975. After getting into punk rock for a while (including performing at CBGB's in 1978), he didn't play guitar for a few years, instead preferring electronic music like Kraftwerk and becoming a club DJ.

In 1981 Goss and Tim Harrington started to make experimental home recordings with lo-fi, cheap and/or borrowed equipment that included a Sanyo boombox Rhythm Ace drum machine, a Korg, synthesizers and a Fender Vibroverb amp. The rhythm tracks of synths and a beat recorded on cassette would be played back to "overdub" vocals, guitar, more synthesizers, et cetera. They considered Manson Family as a name for their act, but never actually used it for their performances. They played regularly at CBGB's with a sound reminiscent of Suicide or somewhat like how Nine Inch Nails or Marilyn Manson would sound in the 1990s. Early original songs included "Building the Kingdom," "Voodoo Doll," "Metal Entity," "Cash," "Anchor," "Stones in Every Field" and "Doraldina's Prophecies."

By the late 1980s Masters of Reality would grow into a quartet with the addition of Googe on bass and Vinnie Ludovico on drums, developing a sound with less electronics and more of a rock sound drawing from blues and seventies metal such as Black Sabbath, Cream, Led Zeppelin and King Crimson. A demo tape would reach producer Rick Rubin, who would see the band live in late 1986 and sign the band to Def Jam. According to Goss it was Rubin who would bring out more of that blues rock side. During the recording for the band's debut album Rubin would quit Def Jam and take the band with him to his new label, Def American.

Also known as The Blue Garden, the eponymous Masters of Reality saw release on 24 January 1989 to critical acclaim at the time. According to an interview with Kyuss World, Goss would have many issues and frustrations with the recording of the album. Goss got frustrated with the band while touring the debut album. He quit the tour after Matt Dike invited him to come to Los Angeles and to get signed to his Delicious Vinyl label. They bought the rights from Rubin and released a newly sequenced version of the album with Doraldina's Prophecies as an extra track. Notably the band also played a show with Megadeth and Motorhead as part of BAM Magazine's anniversary. The band even made an appearance in 1990 Steven Seagal movie Marked For Death as Seagal was a fan of the band and personally requested them, which also led to the band interacting with Jimmy Cliff.

Sunrise on The Sufferbus (1992 - 1997)
In 1992 Masters of Reality would resurface with Goss and Googe alongside drummer Ginger Baker of Cream notoriety. Though initially Baker expressed dread thinking it was going to be a "loud and awful" heavy metal band, Baker warmed up to working with the band once he got to jamming with them. Recording in various studios in California, Masters of Reality would sign to Chrysalis Records and release their second album Sunrise on The Sufferbus on 9 February 1993. Despite their sound being altered to a degree the album was also critically acclaimed, even spawning a top ten hit in "She Got Me (When She Got Her Dress On)". Notably another song on the record was "T.U.S.A.", a rap by Baker describing the inability of Americans to make a proper cup of tea to which some American radio shows allegedly used this when a British guest would be involved.

Despite this new lineup Baker would not stay with the band and leave shortly after with Victor Indrizzo (Circus of Power, Samiam) taking over on drums. Masters Of Reality recorded the song "Climb Inside My World" for a 1994 Ren & Stimpy episode entitled "Jerry the Bellybutton Elf." The song was written by Steve Mellor who also wrote the episode in which it appeared.

The lineup of Goss, Googe and Indrizzo would then record a full-length in 1994, later titled as The Ballad of Jody Frosty, intended for release in 1995 via Epic Records. However the album would be outright rejected by the label and ultimately shelved, with live and studio versions of the songs surfacing on later albums (And ultimately the entire album leaking on the internet in 2004). In an

excerpt from the Masters of Reality archives, Goss would speak about The Ballad of Jody Frosty:

“The Ballad Of Jody Frosty!? The record company just refused to put it out... I'm glad that they showed their stupidity before the record came out... I mean... I look at it as a fine record... But... I think that the versions of the songs on the live record beat the versions of the studio record... All in all the public got the best versions of songs like 'Alder Smoke Blues'... I just want to put my best foot forward all the time, and the way the songs ended up on the live album are the best ones.”
  — Chris Goss, Masters of Reality Official

Masters of Reality were quiet for several years as Goss was occupied producing music for other bands in California, working extensively with bands that would shape the desert rock scene among others. However, the band did appear at Johnny Depp's Viper Room night club on 22 and 23 September 1996 for a two-night stand. The end result would be How High The Moon: Live At The Viper Room, released on 10 June 1997 via Malicious Vinyl. Notably this live album also featured Scott Weiland (Stone Temple Pilots) on the song "Jindalee Jindalie".

Welcome To The Western Lodge and Deep In The Hole (1998 - 2002)
Masters of Reality would establish a new lineup in 1998 to tour Europe surrounding an appearance at Dynamo Festival. This lineup of would consist of Goss, drummer John Leamy (Who would end up becoming the longtime drummer for the band), guitarist Brendon McNichol and bassist Paul Powell. Goss and Leamy would work together to record an album of new material and Welcome To The Western Lodge saw release on 21 June 1999. The same touring lineup would return to Europe that year, adding Mathias Schneeberger on keyboards. Throughout 2000 Goss would work with the likes of Queens of The Stone Age and Ian Astbury among others.

The band's connection to Queens led to Goss and Leamy collaborating with Josh Homme, Nick Oliveri, Mark Lanegen, Troy Van Leeuwen, Brandon McNichol and others at Rancho de la Luna and an abandoned Joshua Tree cabin, that Goss christened as "Robby's 511 Studio". The end result, described as "pretty fucked" by Goss, would be Deep In The Hole released on 15 June 2001 to positive reviews. On 17 October it would be announced that Homme and Oliveri would be joining Masters of Reality for a tour of Europe with Mark Lanegan (Who also participated in sets with MoR). This tour would include a headlining appearance at the seventh edition of Roadburn Festival. A collection of recordings from this tour would be made into a live album entitled Flak 'N' Flight, released on 18 February 2003.

Give Us Barabbas (2003 - 2008)
In 2003 Masters of Reality would notably cover "Devil's Radio" for the tribute album Songs From The Material World: A Tribute to George Harrison. Masters of Reality would perform once that year at the Greek Theatre in Los Angeles that November (With Tomahawk, The Cramps and Queens of the Stone Age).

The next year on 15 June 2004 saw the release of the band's fifth album Give Us Barabbas. Despite being listed as a studio album, Give Us Barabbas is largely comprised of lost and unreleased tracks, with the majority of the songs culled from The Ballad of Jody Frosty. A tour of Europe was intended for the fall of 2004 but Goss would be hospitalized and forced to postpone, even ending up in critical condition for a portion of his hospital stay though would eventually make a full recovery.

The band would sporadically tour in the meantime, largely in Europe and with occasional festival appearances such as Azkena Rock Festival in Spain circa 2005. Goss would largely keep busy through this time recording and engineering for the likes of Melissa Auf Der Maur and Queens of The Stone Age along with participation in a side project known as Goon Moon.

Pine/Cross Dover and Recent Activities (2009 - Present) Goss would begin work on a sixth studio album (And the first album of new material in a decade) through late 2007 and early 2008 at Rancho De La Luna and The Hacienda with a wide range of collaborators. After a year's worth of delays on 1 June 2009 it would be announced that this new album would be set for an August release via European label Brownhouse and Mascot Records, described by Goss as a "rock n' roll record". This album would see release in the United States via Cool Green Records on 12 October 2010. In a 2010 interview with The Aquarian, Goss would explain the recording process of the album and it's delays:

“We do our records very spontaneously. I get together with John Leamy, our drummer, who lives in New York, and in the meantime a few years go by. I accumulate little bits and pieces of ideas on the mini-recorder and have riffs and beats and ideas, blah blah blah, and bring John to the desert—this is what’s happened the last three albums of new material—and we jam.
We expound on these ideas and in the process of jamming, come up with 20 more ideas in addition to the 20 or 30 I may have had in the first place. It’s wonderful. It said in the press release, we both were so busy with production all the time of other people’s stuff, that when we get in a room together and we just go, we’re playing ourselves, and for the pure joy of it. It’s just wonderful.

It’s us, and it’s what we want to do, and there’s no one dictating anything to us. Totally by instinct. So he comes out for a few years, and we get drum tracks out of the jams, and then I finish the record with vocals and overdubs. This last record that just happened, to answer your question, we got a lot of great drum tracks, and also a lot of jams down on tape, and the task of getting those sorted and edited and made into songs took a little bit longer than I thought.

In my world, three or four months for me is a long time to do a Masters record. In “normal world,” most bands take a year or two to garner enough material to put together a cohesive record. Even though it was delayed over and over again, it really only took, in physical studio time, maybe three months, four months, spread out over a little bit of time.

For example, the last song on the record, that long jam session. We had so many of those kinds of jams for these sessions, that to actually go through and say, “Okay, what here is cohesive? What here is enjoyable and is representative of how we feel at that moment?” what we’re proud of, I guess—took longer than it would, normally.”

Pine/Cross Dover, through both it's release cycles, saw praise from the likes of The Obelisk, Under The Radar and Rock Sound[26] among others. In support of the record Masters of Reality would tour the West Coast in November 2010, followed by a tour of Europe that next January and February with the Cult and finishing with a show in New Orleans that June with Earthlings?.

Masters of Reality would tour Europe again two years later, with several festival appearances and dates supporting Queens of The Stone Age. The band would tour Europe again two years later but would go dormant afterwards. In 2019 and 2020 Masters of Reality would announce a tour of Europe for that May, including headlining appearances at Desertfest London, DesertFest Berlin, Kristonfest and Sonic Whip along with a marquee appearance at Stoned and Dusted. However with the CO-VID19 pandemic that would take place through the Spring of 2020 this tour would likely be canceled.

Studio Albums
Masters of Reality (1989, Def Jam)
Sunrise on The Sufferbus (1993, Chrysalis)
Welcome To The Western Lodge (1999, Brownhouse)
Deep In The Hole (2001, Brownhouse)
Give Us Barabbas (2004, Brownhouse)
Pine/Cross Dover (2009, Brownhouse)
Other Releases
How High The Moon: Live At The Viper Room (Live Album) (1997, Malicious Vinyl)
Flak 'N' Flight (Live Album) (2001, Brownhouse)
The Ballad of Jody Frosty (Unreleased Studio Album) (2004; Recorded 1995)

01 - Deep in the Hole  07:02
02 - Third man on the Moon  06:21
03 - Doraldina's Prophecies  08:53
04 - Annihilation of the Spirit  03:32
05 - Rabbit One  06:15 
06 - Time to Burn  03:28
07 - Blue Garden  07:28
08 - Alder Smoke Blues  08:17
09 - Why the Fly  09:40
10 - Band Intro  03:47
11 - Wish for a Fish  07:03
12 - 100 Years of Tears on the Wind  03:40
13 - Twilight Zone  02:40
14 - High Noon Amsterdam  11:29
15 - She Got Me  07:08
16 - John Brown  16.17 (Talk)

Part 1:  Masters
Part 2:  Masters
Part 1:  Masters
Part 2:  Masters
Part 1:  Masters
Part 2:  Masters

Tuesday, September 07, 2021

James Williamson & DenizTek - Two to One (Dirty Rock US 2020)

Size: 99.2 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

2 legendary proto-punk guitar heroes join forces for the first time ever on this odds-defying, razor sharp album!

Rock N Roll Hall of Famer James Williamson was the guitarist for one of the most iconic and influential albums of all-time, Iggy & The Stooges “Raw Power”, while Deniz Tek launched what became Australia’s ground zero for the forthcoming punk movement, the revered Radio Birdman!

Features 11 all-new original compositions highlighted by the first single “Stable” and the explosive lead-off track “Jet Pack Nightmare!”

When two major guitar wielders with the rock ‘n’ roll pedigrees of James “The Skull” Williamson and Deniz “Iceman” Tek join forces, it is a time for celebration, especially in these dark times. The pair have done it again on Two To One, a new album released this week. James “The Hound” Marshall spoke with both James and Deniz for PKM.
In these days of diminished expectations when anyone over 40 who can still hold a guitar gets labeled “legendary”, it’s nice to hear a new record that actually delivers the goods.

You can’t argue the credentials of the players here: James “The Skull” Williamson, bad ass Stooges guitar slinger, the man who wrote and wielded guitar on Raw Power, Kill City and other stone cold Stooges’ masterpieces turned tech wiz turned comeback kid of the century. Then there’s Deniz Tek guitarist/songwriter from Australia via Ann Arbor, Michigan who led Radio Birdman from birth through their 21-century reunion, made a half dozen classic solo albums (the last four Detroit, Mean Old Twister and the instrumental “soundtracks for imaginary films”- Lost For Words,and Fast Freight I think are his best work ever), not to mention the Soul Movers, the Visitors, New Race (with Ron Asheton), Dodge Main (with Wayne Kramer), Powertrane (with the Rationals’ Scott Morgan and Stooges drummer Scott Asheton).  He has also worked with the Lipstick Killers, Angie Pepper, the Flamin’ Groovies’ Roy Loney, Jeff Dahl, and innumerable other one offs. I’m out of breath just listing his musical accomplishments but he also found time to join the Navy and become both a jet pilot and Emergency Physician, holding the latter job until 2017.'

Two To One (Cleopatra Records) really does deliver the goods. On his last album, James Williamson & the Pink Hearts’ Behind The Shade, James spread his musical palette wide. Here, he focuses it on what he’s best known for—powerful guitar riffs and explosive solos. The opener, “Jet Pack Nightmare,” acts as a mission statement with one of those thundering Williamson riffs that would be at home on any Stooges record. Deniz Tek brings his A-game, writing half and singing all the songs, and gets his share of guitar glory. It’s all blood, guts and fire from beginning to end and I can’t imagine any fan of the Stooges or Radio Birdman (is there anyone who is a fan of one and not the other? I think not…) being disappointed.  I spoke with Deniz and James via Facetime recently to get the scoop and context of the eve of the release of Two To One.

01. Jet Pack Nightmare 03:36
02. Progress 02:42
03. Take A Look Around 03:25
04. Good As Gone 03:28
05. Stable 04:01
06. Climate Change 03:41
07. Birthday Present 03:18
08. Small Change 03:28
09. Liar 02:52
10. No Dreams 04:14
11. Melissa Blue 03:55


Electric Hot Tuna - Live at the Fillmore, San Francisco, California, December 7, 1994

Part 1: Tuna
Part 2: Tuna
Part 1: Tuna
Part 2: Tuna
Part 1: Tuna
Part 2: Tuna

Contains 22 mp3 Tracks at 320 Bit Rate, Enjoy...

B.B. King - Twist with B.B King (Great Blues US 1963) + B.B. King - Better Than Ever (US 1962)

Size: 53.2 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Released as promo album only

His reign as King of the Blues has been as long as that of any monarch on earth. Yet B.B. King continues to wear his crown well. At age 76, he is still light on his feet, singing and playing the blues with relentless passion. Time has no apparent effect on B.B., other than to make him more popular, more cherished, more relevant than ever. Don't look for him in some kind of semi-retirement; look for him out on the road, playing for people, popping up in a myriad of T.V. commercials, or laying down tracks for his next album. B.B. King is as alive as the music he plays, and a grateful world can't get enough of him. 

For more than half a century, Riley B. King - better known as B.B. King - has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over fifty albums, many of them classics. He was born September 16, 1925, on a plantation in Itta Bena, Mississippi, near Indianola. In his youth, he played on street corners for dimes, and would sometimes play in as many as four towns a night. In 1947, he hitchhiked to Memphis, TN, to pursue his music career. Memphis was where every important musician of the South gravitated, and which supported a large musical community where every style of African American music could be found. B.B. stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled B.B. further in the art of the blues. 

B.B.'s first big break came in 1948 when he performed on Sonny Boy Williamson's radio program on KWEM out of West Memphis. This led to steady engagements at the Sixteenth Avenue Grill in West Memphis, and later to a ten-minute spot on black-staffed and managed Memphis radio station WDIA. "King's Spot," became so popular, it was expanded and became the "Sepia Swing Club." Soon B.B. needed a catchy radio name. What started out as Beale Street Blues Boy was shortened to Blues Boy King, and eventually B.B. King. 

In the mid-1950s, while B.B. was performing at a dance in Twist, Arkansas, a few fans became unruly. Two men got into a fight and knocked over a kerosene stove, setting fire to the hall. B.B. raced outdoors to safety with everyone else, then realized that he left his beloved $30 acoustic guitar inside, so he rushed back inside the burning building to retrieve it, narrowly escaping death. When he later found out that the fight had been over a woman named Lucille, he decided to give the name to his guitar to remind him never to do a crazy thing like fight over a woman. Ever since, each one of B.B.'s trademark Gibson guitars has been called Lucille. 

Soon after his number one hit, "Three O'Clock Blues," B.B. began touring nationally. In 1956, B.B. and his band played an astonishing 342 one-night stands. From the chitlin circuit with its small-town cafes, juke joints, and country dance halls to rock palaces, symphony concert halls, universities, resort hotels and amphitheaters, nationally and internationally, B.B. has become the most renowned blues musician of the past 40 years. 

Over the years, B.B. has developed one of the world's most identifiable guitar styles. He borrowed from Blind Lemon Jefferson, T-Bone Walker and others, integrating his precise and complex vocal-like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist's vocabulary. His economy, his every-note-counts phrasing, has been a model for thousands of players, from Eric Clapton and George Harrison to Jeff Beck. B.B. has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. In B.B.'s words, "When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille." 

In 1968, B.B. played at the Newport Folk Festival and at Bill Graham's Fillmore West on bills with the hottest contemporary rock artists of the day who idolized B.B. and helped to introduce him to a young white audience. In ``69, B.B. was chosen by the Rolling Stones to open 18 American concerts for them; Ike and Tina Turner also played on 18 shows. 

B.B. was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 1987. He received NARAS' Lifetime Achievement Grammy Award in 1987, and has received honorary doctorates from Tougaloo(MS) College in 1973; Yale University in 1977; Berklee College of Music in 1982; Rhodes College of Memphis in 1990; Mississippi Valley State University in 2002 and Brown University in 2007. In 1992, he received the National Award of Distinction from the University of Mississippi. 

In 1991, B.B. King's Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched at Universal CityWalk in Los Angeles. A third club in New York City's Times Square opened in June 2000 and most recently two clubs opened at Foxwoods Casino in Connecticut in January 2002. In 1996, the CD-Rom On The Road With B.B. King: An Interactive Autobiography was released to rave reviews. Also in 1996, B.B.'s autobiography, "Blues All Around Me" (written with David Ritz for Avon Books) was published. In a similar vein, Doubleday published "The Arrival of B.B. King" by Charles Sawyer, in 1980. 

B.B. continues to tour extensively, averaging over 250 concerts per year around the world. Classics such as "Payin' The Cost To Be The Boss," "The Thrill Is Gone," How Blue Can You Get," "Everyday I Have The Blues," and "Why I Sing The Blues" are concert (and fan) staples. Over the years, the Grammy Award-winner has had two #1 R&B hits, 1951's "Three O'Clock Blues," and 1952's "You Don't Know Me," and four #2 R&B hits, 1953's "Please Love Me," 1954's "You Upset Me Baby," 1960's "Sweet Sixteen, Part I," and 1966's "Don't Answer The Door, Part I." B.B.'s most popular crossover hit, 1970's "The Thrill Is Gone," went to #15 pop. 

01.  You Upset Me Baby  03:04  
02.  Woke Up This Morning  02:59    
03.  Please Love 
Me  02:52    
04.  Bad Case Of Love  02:22    
05.  Groovin' Twist  02:22    
06.  Bad Luck Soul  02:19    
07.  Do What I Say  02:23    
08.  Rockin' Twist  03:17    
09.  Come By Here   02:18   
10.  Oh Baby  02:22 

Bonus: B.B. King - Better Than Ever (US 1962) 

1. King
2. King
3. King