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Saturday, September 24, 2022

dBpoweramp Music Converter 2022.09.02 Reference (The Latest Version)



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1. dbPower
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3. dbPower

Friday, September 16, 2022

The Youngbloods - Selftitled (US Psychedelic Folk-Rock US 1967) + 2 Bonus Albums



The Youngbloods - Selftitled (US Psychedelic Folk-Rock US 1967) 

Size: 163 MB
Bit Rate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The Youngbloods is an album by the American rock band The Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies.

"Get Together" was written by Chet Powers (aka Dino Valenti of Quicksilver Messenger Service) and had already appeared in 1966 as a track on the first album by The Jefferson Airplane. Upon first release as a single by The Youngbloods in 1967, it only went to #62 in the pop charts. Two years later, after being featured in radio and television commercials, the track was re-released and climbed to number 5 in charts, selling more than a million records.


The first song on the album, "Grizzly Bear" (spelled "Grizzely Bear" on the album cover), was also released as a single reaching #52 in the pop charts in December 1966. Jerry Corbitt took credit for writing this song, but it had appeared on a 1928 recording by singer/songwriter Jim Jackson. The song featured the "jug band" style popularized by The Lovin' Spoonful, Jim Kweskin Jug Band and other similar groups of the middle 1960s. The title refers to a popular dance style of the 1910s. Corbitt also wrote the second song on the LP, the ballad "All Over the World (La La)". Side one also featured Blind Willie McTell's "Statesboro Blues" and another ballad, "One Note Man" written by fellow Cambridge folk musician Paul Arnoldi (spelled "Arnaldi" on the record label).


Side Two featured two more songs written by fellow folk singer-songwriters, Fred Neil's "The Other Side of This Life" and "Four in the Morning" by George "Robin" Remailly (who became a member of the Holy Modal Rounders in the 1970s).

Jesse Colin Young wrote two ballads on side two, "Tears Are Falling" and "Foolin' Around (The Waltz)" which alternates between 4/4 and 3/4 time signatures. Classical cello was added to "Foolin' Around" by George Ricci. Side two ends with two blues standards, Jimmy Reed's "Ain't That Lovin' You" and Mississippi John Hurt's "C.C. Rider". The last song featured a hard-rocking guitar jam that was common in the late 1960s, especially for San Francisco, which would soon become the Youngbloods' destination both geographically and musically.

The Youngbloods were an American rock band consisting of Jesse Colin Young (vocals, bass), Jerry Corbitt (gitar), Lowell Levinger, nicknamed "Banana" (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was "Get Together".

Jesse Colin Young (born Perry Miller, November 22, 1941, Queens, New York City) was a moderately successful folk singer with two LPs under his belt – Soul of a City Boy (1964) and Youngblood (1965) – when he met fellow folk singer and former bluegrass musician from Cambridge, Jerry Corbitt (born Jerry Byron Corbitt, January 7, 1943, Tifton, Georgia). When in town, Young would drop in on Corbitt, and the two played together exchanging harmonies.

Beginning in January 1965, the two began performing on the Canadian circuit as a duo, eventually adopting the name "The Youngbloods". Young played bass, and Corbitt played piano, harmonica and lead guitar. Corbitt introduced Young to a bluegrass musician, Lowell Levinger (born Lowell Levinger III, 1946, Cambridge, Massachusetts). Levinger, known as "Banana", could play the piano, banjo, mandolin, mandola, guitar and bass; he had played in the Proper Bostonians and the Trolls, and played mainly piano and guitar in the Youngbloods. He knew of a fellow tenant who could flesh out the band, Joe Bauer (born September 26, 1941, Memphis, Tennessee), an aspiring jazz drummer with experience playing in society dance bands.

Once the line-up was set, Jesse Colin Young and the Youngbloods, as the group was then known, began building a reputation from their club dates. (Early demo sides from 1965 were later issued by Mercury Records on the Two Trips album.) Their first concert had been at Gerde's Folk City in Greenwich Village; months later, they were the house band at the Cafe Au Go Go and had signed a recording contract with RCA Records. Young, however, was not satisfied with RCA. "Nobody at [RCA] was really mean or anything; everybody was just kind of stupid," he explained to Rolling Stone magazine. "They never knew what to make of us, and tried to set us up as a bubblegum act... they never knew what we were, and never knew how to merchandise us."

The arrangement did produce one charting single in "Grizzly Bear" (#52, 1967). Several critically praised albums followed: The Youngbloods (1967, later retitled Get Together); Earth Music (1967); and Elephant Mountain (1969), with its track, "Darkness, Darkness".

In 1967, when "Get Together", a paean to universal brotherhood, first appeared, it did not sell very well, reaching only No. 62 on the chart. But two years later – after Dan Ingram had recorded a brotherhood promotion for WABC-AM in which the song was used as a bed for the promotion, and after the National Council of Christians and Jews subsequently used the song as their theme song on television and radio commercials – the track was re-released and cracked the Top 5. This disc sold over one million copies, and received a gold record, awarded by the R.I.A.A. on 7 October 1969.

Johnny Carson once reportedly refused to allow the band to perform on The Tonight Show Starring Johnny Carson, saying they were overly demanding during the pre-show soundcheck. In a 2009 interview, Young stated that the band refused to perform because the show reneged on a promise that they would be allowed to play a song from their new album Elephant Mountain, instead demanding that they only play "Get Together".

With Corbitt's departure from the band (for a solo career) in 1969, before the band recorded the Elephant Mountain album, Levinger assumed lead guitar duties and played extensively on Wurlitzer electric piano. The band became adept at lengthy improvisations in their live performances (as captured on the albums Rock Festival and Ride the Wind released after the band moved over to their own Warner Brothers distributed Raccoon label).


In 1971 the group added bassist Michael Kane to their line-up and put out two more albums Good & Dusty (1971), which featured an answer to Merle Haggard's Okie from Muskogee, "Hippie from Olema", and High on a Ridgetop (1972) before disbanding. Young, Levinger and Bauer all went on to solo careers, of which only Young had any notable success. Levinger, Bauer and Kane were part of another group, Noggins, in 1972 that only lasted for one album, Crab Tunes. Bauer died of a brain tumor in September 1982, at the age of 40.

In 1971 Jerry Corbitt and former Youngbloods producer Charlie Daniels formed a band called Corbitt & Daniels and toured.

In 1976 HT Rabin, drummer from Alias, joined the Youngbloods for a brief tour.

Banana supplied guitar, banjo, synthesizer, and back-up vocals to Mimi Fariña's 1985 solo album, Solo, and also toured with her on and off from 1973 until the 1990s. During the 1980s and 1990s, he played with the jam rock band Zero on keyboards, vocals and rhythm guitar.

In late 1984, The Youngbloods briefly reunited for a club tour. The 1984 line-up contained Young, Corbitt and Levinger, plus new members David Perper (drums, ex-Pablo Cruise) and Scott Lawrence (keyboards, woodwinds). Once the tour was completed, the group disbanded once again by mid-1985.

Following the September 11 terrorist attacks, the media conglomerate Clear Channel Communications included The Youngbloods' recording of "Get Together" on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.

Jerry Corbitt died of lung cancer on March 8, 2014. He was 71.

Personnel
✪ Jesse Colin Young – bass, lead vocals, rhythm guitar
✪ Jerry Corbitt – rhythm guitar, backing vocals
✪ Lowell "Banana" Levinger – lead guitar, electric piano
✪ Joe Bauer – drums, percussion

Original Album Mono Version:
01. Grizzly Bear 02:23
02. All Over The World (La-La) 03:18
03. Statesboro Blues 02:22
04. Get Together 04:41
05. One Note Man 02:27
06. The Other Side Of This Life 02:31
07. Tears Are Falling 02:29
08. Four In The Morning 02:55
09. Foolin' Around (The Waltz) 02:56
10. Ain't That Lovin' You, Baby 02:47
11. C. C. Rider 02:41

Original Album Stereo Version:
12. Grizzly Bear 02:23
13. All Over The World (La-La) 03:16
14. Statesboro Blues 02:20
15. Get Together 04:39
16. One Note Man 02:26
17. The Other Side Of This Life 02:30
18. Tears Are Falling 02:28
19. Four In The Morning 02:53
20. Foolin' Around (The Waltz) 02:52
21. Ain't That Lovin' You, Baby 02:41
22. C. C. Rider 02:40

Bonus tracks
23. Get Together (Promotional Single Version) 03:27
24. Merry-Go-Round 02:13
25. Se Qualcuno Mi Dira (Get Together Italian Version) 03:47
26. Qui Con Noi, Tra Di Noi (Grizzly Bear Italian Version) 02:20



The Youngbloods - The Avalon Ballroom 1969 (Bootleg)

Size: 124 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

The Youngbloods was an American folk rock band consisting of Jesse Colin Young (vocals, bass), Jerry Corbitt (guitar), Lowell Levinger, nicknamed "Banana," (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was "Get Together".

Jesse Colin Young (b. Perry Miller, November 11, 1941, Queens, New York City) was a moderately successful folk singer with two LPs under his belt – Soul of a City Boy (1964) and Youngblood (1965) – when he met fellow folk singer and former bluegrass musician from Cambridge, Jerry Corbitt (b. Tifton, Georgia). When in town, Young would drop in on Corbitt, and the two played together exchanging harmonies.

Beginning in January 1965, the two began performing on the Canadian circuit as a duo, eventually adopting the name "The Youngbloods". Young played bass, and Corbitt played piano, harmonica and lead guitar. Corbitt introduced Young to a bluegrass musician, Lowell Levinger (b. Lowell Levinger III, 1946, Cambridge, Massachusetts). Levinger, known as "Banana", could play the piano, banjo, mandolin, mandola, guitar and bass; he had played in the Proper Bostoners and the Trolls, and played mainly piano and guitar in the Youngbloods. He knew of a fellow tenant who could flesh out the band, Joe Bauer (b. September 26, 1941, Memphis, Tennessee), an aspiring jazz drummer with experience playing in society dance bands.

Once the lineup was set, Jesse Colin Young and the Youngbloods, as the group was then known, began building a reputation from their club dates. (Early demo sides from 1965 were later issued by Mercury Records on the Two Trips album.) Their first concert had been at Gerde's Folk City in Greenwich Village; months later, they were the house band at the Cafe Au Go Go and had signed a recording contract with RCA Records. Young, however, was not satisfied with RCA. "Nobody at [RCA] was really mean or anything; everybody was just kind of stupid," he explained to Rolling Stone magazine. "They never knew what to make of us, and tried to set us up as a bubblegum act... they never knew what we were, and never knew how to merchandise us."


The arrangement did produce one charting single in "Grizzly Bear" (#52, 1967). Several critically praised albums followed: The Youngbloods (1967, later retitled Get Together); Earth Music (1967); and Elephant Mountain (1969), with its track, "Darkness, Darkness".

In 1967, when "Get Together", a paean to universal brotherhood first appeared, it did not sell very well, reaching only No. 62 on the chart. But two years later – after Dan Ingram had recorded a brotherhood promotion for WABC-AM in which the song was used as a bed for the promotion, and after the National Council of Christians and Jews subsequently used the song as their theme song on television and radio commercials – the track was re-released and cracked the Top 5. This disc sold over one million copies, and received a gold record, awarded by the R.I.A.A. on 7 October 1969.

Johnny Carson once reportedly refused to allow the band to perform on The Tonight Show Starring Johnny Carson, saying they were overly demanding during the pre-show soundcheck. In a 2009 interview, Young stated that the band refused to perform because the show reneged on a promise that they would be allowed to play a song from their new album Elephant Mountain, instead demanding that they only play "Get Together".

With Corbitt's departure from the band (for a solo career) in 1969, before the band recorded the Elephant Mountain album, Levinger assumed lead guitar duties and played extensively on Wurlitzer electric piano. The band became adept at lengthy improvisations in their live performances (as captured on the albums Rock Festival and Ride the Wind released after the band moved over to their own Warner Brothers distributed Raccoon label).

In 1971 the group added bassist Michael Kane to their lineup and put out two more albums Good & Dusty (1971), which featured an answer to Merle Haggard's Okie from Muskogee, "Hippie from Olema", and High on a Ridgetop (1972) before disbanding. Young, Levinger and Bauer all went on to solo careers, of which only Young had any notable success. Levinger, Bauer and Kane were part of another group, Noggins, in 1972 that only lasted for one album, Crab Tunes. Bauer died of a brain tumor in September 1982, at the age of 40.

In 1971 Jerry Corbitt and former Youngbloods producer Charlie Daniels formed a band called Corbitt & Daniels and toured.

In 1976 HT Rabin, drummer from Alias, joined the Youngbloods for a brief tour.

Banana supplied guitar, banjo, synthesizer, and back-up vocals to Mimi Fariña's 1985 solo album, Solo, and also toured with her on and off from 1973 until the nineties. The Richard & Mimi Fariña Fan Site

In late 1984 The Youngbloods briefly reunited for a club tour. The 1984 lineup contained Young, Corbitt and Levinger, plus new members David Perper (drums, ex-Pablo Cruise) and Scott Lawrence (keyboards, woodwinds). Once the tour was completed, the group disbanded once again by early 1985.

Following the September 11 terrorist attacks, the media conglomerate Clear Channel Communications included The Youngbloods' recording of "Get Together" on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.

The Youngbloods
March 30, 1969
The Avalon Ballroom, San Francisco, CA.
FM Radio

This short set by the Youngbloods was FM broadcast on KPFA 

01. Ride the Wind
02. Sugar Babe
03. Four in the Morning
04. Too much monkey Business
05. Banana's 
06. Dolphins
07. The Wine Song
08. Darkness, Darkness
09. Beautiful


The Youngbloods - Beautiful, Live at San Francisco US 1971

Size: 97 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included

BEAUTIFUL! LIVE IN SAN FRANCISCO, 1971 By the time the Youngbloods, always crowd faves at the west coast ballrooms, performed live for San Francisco’s free-form radio pioneer KSAN in 1971, they’d honed their set to a fine gloss. 


Featuring the smooth as apple-butter voice of Jesse Colin Young and the guitar/keyboard wizardry of Banana, backed by the rock-solid bass-and-drum tandem of Michael Kane and Joe Bauer, the Youngbloods positively sparkle here. We’re elated to present a lengthy, previously unissued 13-song set that’s equal parts rocking R&B, dreamy jazzers and honky tonk flag-wavers, with just a little bit of psychedelic weirdness—topped off, of course, by a knockout version of their generational anthem, "Get Together." 

The Youngbloods: at the top of their game, making it all look so easy—and so damn beautiful.

01. Six Days On The Road  03.45        
02. Country Home  03.56          
03. On Sir Francis Drake  02.46        
04. Dreamboat  03.24        
05. Drifting and Drifting 06.23        
06. Interlude  02.23        
07. Old Dan Tucker  01.59        
08. You Can´t Catch Me - 04.15        
09. On A Beautiful Lake Spenard - 04.52       
10. Josianne - 07.13        
11. Explosion - 00.29        
12. Beautiful - 05.52 
13. Get Together - 04.07 


Part 1: Young
Part 2: Young
Part 3: Young
or
Part 1: Young
Part 2: Young
Part 3: Young
or
Part 1: Young
Part 2: Young
Part 3: Young


Thursday, September 08, 2022

Ted Nugent's Amboy Dukes - Tooth, Fang and Claw (US 1974)



Size: 97.3 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included

Tooth, Fang & Claw is the seventh and final album by Ted Nugent and The Amboy Dukes. It is the second offering on the DiscReet label. Re-issued in 1977 by Warner Bros as part of "Two Originals of... Ted Nugent".

The band consists of Nugent, Rob Grange on bass and drummer Vic Mastrianni. The album has the feel of the outdoors (esp. "Hibernation") and Nugent's love for hunting and rock and roll; the back sleeve pictures him playing hard in front of an amplifier stack, next to a wild boar trophy.


Like on the Amboy Dukes' previous three albums, the credits are followed by a short tongue-in-cheek statement. This time, "Fear not the crusted warblers, but be wary of the Mad Cheese Grater for he shall slaw the features from your face. Beware the public carnivores as they inevitably edibly have a soft nosed hollow point magnum behind every bush."

"Great White Buffalo" is one of the mainstays of Nugent's catalog and was generated on this album. In an interview with Classic Rock Revisited he discusses how he and Grange developed the song idea: "This was yet another magical moment like the original musical burst of so many of my songs. This amazing lick/song erupted spontaneously during a recording session around 1972-73," Nugent says. 


"As I was tuning up my Blonde Byrdland, that pattern leaped forth with a force to reckon with. Killer bass player, Rob Grange, stopped me and asked what the hell that was, and I said "I don't know, just jackin’ around, tuning up." He told me to play it again, but I failed to play the lick the same as I had just done moments before and he kept badgering me to re-discover the lick. I didn't. But after recording some other songs, I again went to tune up my Gibson and the lick burst forth again. 

Rob Grange yelled 'That's it! That's it!' So I played it a few times, showed the guys where I wanted to stop and start it up again, turned on the tape machine and recorded it in one fell swoop, making up the lyrics as I went along, articulating to the best of my ability my take on the great Indian legend of the spiritual beast of yore. Rob Grange came up with that wonderful fluid bass melody at the end, Vic the thundering double bass drum assault, and history was made. To this day it is one of my and the audiences' and band's all time favorites."


Also featured, a frantic and happily deranged version of "Maybellene", a 1955 classic of Chuck Berry (often quoted by Nugent in the late 70s as a major influence on his playing). Ted Nugent is credited for a one-finger guitar solo under the moniker "Rev Atrocious Theodosius".

The album includes one of very few "calm" Nugent songs of this era, "Sasha", which Nugent dedicated to his newly born daughter.


Due to Warner Bros distributing the album worldwide, Ted Nugent's music eventually began to reach overseas markets, but his royalties were not up to his expectations - DiscReet's manager & owner Frank Zappa reported mediocre sales. In late October 1974, rhythm guitarist Derek St. Holmes joined the band at least for one of the Amboy Dukes' final shows at Northeastern Illinois University in Chicago.

By 1975, Nugent abandoned the troubled DiscReet label and signed with Epic Records. He teamed with producer Tom Werman and Aerosmith’s managers, Leber-Krebs, who organized his live tours into commercially successful operations. The only Amboy Dukes member who continued with Nugent in his solo career is bassist Rob Grange. Nugent's band also included Derek St. Holmes on vocals and guitar, and drummer Clifford Davies; Ted Nugent moved forward to national and worldwide success.

In the 1993 film Dazed and Confused, the character Wooderson, played by Matthew McConaughey, wears a t-shirt featuring the Tooth Fang & Claw album cover.

In 1995, "Tooth, Fang & Claw" was a song on the album Spirit of the Wild, which marked Ted Nugent's return to an outdoor lifestyle and his original sound of hard rock.

Personnel
Ted Nugent – Guitar, vocals, percussion
 Rob Grange – Bass, vocals, arrangements, composer
 Vic Mastrianni – Drums, percussion
 Andy Jezowski (and the Crusted Warblers) – Backing vocals

01. "Lady Luck" - 5:57
02. "Living in the Woods" - 3:54
03. "Hibernation" - 9:19
04. "Free Flight" - 4:03
05. "Maybellene" - (Chuck Berry, Russ Fratto, Alan Freed) - 3:28
06. "The Great White Buffalo" - 4:57
07. "Sasha" - 3:06
08. "No Holds Barred" - 4:48

1: Ted
or
2: Ted
or
3: Ted





Wednesday, September 07, 2022

Amon Dûûl - Paradieswärts Düül (Progressive Rock Germany 1970)



Size: 105 MB
BitRate: @320
mp3 
Ripped by: ChrisGoesRock
Artwork Included

Amon Duul could only have happened in a certain time and place. This is, of course, the only bona fide studio album released by Amon Duul, and I have to say it is an absolute gem. The Repertoire Records edition is superlative - the clarity and warmth of the sound is impeccable, and the two bonus tracks are not only brilliant in their own right, but actually improve the structure of the CD.

'Para Dieswarts Duul' does not need to be sliced into tracks. Even though there are actually plenty of small musical shifts within each song - washes of synthesiser, key changes, vocals floating in and out of harmonies - it doesn't seem so at all. It seems like it's all one song.- one constant, flowing synthesis of sparse and delicate guitar lines, with keyboards and vocals and flutes and bongos occasionally stepping into focus for a while before vanishing back into the central piece. These five songs knitted together as an album present a wonderfully seamless statement of intent, even if the tone of one piece clashes with another (for example, the opening odyssey 'Love Is Peace' is warm and dreamily fun, whereas the closing 'Paramechanical World' - a bonus track - is spare and mournful, even hopeless).


Unlike the other Amon Duul albums, which are all taken from the same monster jam session in 1969, it is unclear exactly how much of this is improvised. I suspect 'Snow Your Thirst...' is, as it ends with a hard cut, but the rest of the album is teetering gloriously between the composed and the telepathised. It rhythmically feels its way forward, rarely breaking the pulse through its entire duration.

And strangely, that's all I can remember about it. 'Para Dieswarts Duul' is the ultimate background music, and is as successful in sending me to sleep as it is in enthralling me, drawing me into the swaying rhythms and the wonderful kosmische sirenism vocals. It is a very special album indeed, comparable to much of the rest of the Krautrock cannon in the same way that 'Islands' compares to the rest of King Crimson's music: A beautiful oddity.

Clearly the best Amon Duul's album with the original line up. Always primitive kraut / folk improvisations but the emphasis is now put on more structured songs. The abusive, mucky jam attempts of the previous efforts let the place to an easy listening psychedelic folk "trip" and it works formidably. The music retains the listener's attention thanks to intriguing, emotional compositions. 

The first track starts with catchy, cool guitar melodies, acoustic percussions, with "pastoral", "peaceful" flute lines. A tremendous energy prevails. Lyrics are all about "peace and love"; "Love is peace and freedom is harmony" said the voice. The following track carries on the same beautiful, semi-acoustic psych atmosphere. It alternates experimental, improvised ideas to serene, inspired structured sections. This one is instrumental, rather "archaic" in sound but really efficient. The two bonus tracks are slow, floating, moody pieces with "stoned" melodic vocals. "Eternal Flow » is made of sad guitar arpeggios, a nice bluesy rock section with plaintive vocals, a mysterious, rather desperate atmosphere. "Paramechanical World » is a crying, lovely free ballad. Don't ask sophistication but just simplicity and feeling and you will definitely enjoy this album.

01. Love Is Peace (17:13)
02. Snow Your Thirst And Sun Your Open Mouth (9:28)
03. P Mechanische Welt (7:38)

Bonus Tracks: 
04. Eternal Flow (4:10)
05. Paramechanical World (5:44)

1: Amon
or
2: Amon
or
3: Amon


Sunday, August 14, 2022

Peacepipe - Peacepipe (Outstanding Heavy Psychedelia US 1970)



Size: 94.4 MB
Bit Rate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included

Peacepipe were the brainchild of guitarist John Uzonyi. They were a power trio that played Southern California and Arizona in the late '60s. They released a single during their existence, and also cut this album, which remained unreleased until the mid-'90s. 

Originally released on Rockadelic on vinyl only, Shadoks has now reissued it on compact disc, remastered from the original tapes. If you're into heavy psych guitar, you really need to hear this album.


Uzonyi has a monstrous tone on guitar, similar at times to Jimi Hendrix's feedback dive-bombing, but the two have very different playing styles.

Uzonyi is aided by drummer Gary Tsuruda and keyboard player Rick Abts, but the show belongs to Uzonyi. There are at least two guitars present most of the time, Uzonyi is the singer, and he most likely plays the bass tracks as well.

Uzonyi formed the band with Tsuruda in the mid-sixties whilst they were still at High School. In 1968 they headed for Hollywood and recorded two tracks; The Sun Won't Shine Forever and Lazy River Blues, which were released on a 45 by Accent. After school Uzonyi joined the U.S. Air Force and was based in Tucson, Arizona. 

There he met Rick Abts who joined Jon and Gary to form The Human Equation. They gigged around the U.S. West but disbanded in 1969 to pursue non-musical careers. Shortly after, though, they reformed to record the tunes, which 26 years later found their way onto a Rockadelic's Peacepipe album. (Jon shelved the project at the time).

Long awaited official reissue of this blistering late '60's US acid rock mind blower. Originally reissued on Rockadelic a few years back (one of the label's best known and rarest releases) here it is in digital glory with cool photos, detailed liner notes and bonus tracks. 

Stunning tripped out guitar based psych with ripping acid wah-wah lead guitars, distortion, swirling keyboards and stoned lyrics. Turn it up to 13 and trip out. Fantastic!

Line-up/Musicians
- John Uzonyi / Guitar, vocals
- Gary Tsuruda / Drums
- Rick Abts / Keyboards

01. Sea Of Nightmares (6:26) 
02. Angel Of Love (4:10) 
03. I Can Never Take Your Dreams Away (6:24) 
04. Carry On Together (2:43) 
05. Bikers Tune (2:49) 
06. Open Your Mind (4:50) 
07. Day The War Has Ended (10:08) 
08. Love Shines (3:12) 
09. Keep A Smilin' Cari (2:49) 
10. Sun Won't Shine Forever (2:49) 
11. Lazy River Blues (3:39)

1. Pipe
or
2. pipe
or
3. pipe

Friday, August 05, 2022

The 50 most valuable records of all time (So Far...)

Hello all music collectors. Summer is here and the rain is pouring down...

I am posting here below the most sought after records as they have sold for up to today from the website: "POPSIKE" Auction prices are from eBay.com.

Good to know: These auction prices do NOT tell you what the disc is worth, the price is more to know how rare it is (in different conditions) and how many people bid on the auction.

The value of an album: It's a pity for anyone who wants to start collecting original albums on vinyl today. Sellers at record fairs and websites ruin it for record collectors. 

I see many sellers who have an LP album that is EX-/M-, but still write the amount that is for records in the MINT GRADE. It is very rare for a record, single, EP and LP album to be in mint condition. A Mint album must be in an absolutely new condition. Both the vinyl and the cover must be in absolutely new condition. For example, if the album looks "Used", it falls to EX+ inexorably and thus the value of the album drops.

The discs in the list below are in different conditions and, as I said, do not tell what the disc is worth. It is enough for the buyers to know that the record is almost impossible to find. The person with the most money wins. 

//ChrisGoesRock



Tuesday, July 26, 2022

The Next Morning - Selftitled (Raw US Heavy 1971)



Size: 64.3 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included

A wickedly rare phase 'n' fuzz fueled slice of psychedelia circa 1970! - featuring ripsnorting guitar-work by Bert Bailey- these guys were Caribbean immigrants (four from Trindad, one from the Virgin Islands) and they idolized the Who and Jimi Hendrix.

African-American psychedelic groups, and rock bands from Trinidad, were both uncommon items around 1970. The Next Morning fit into both categories, making them an interesting curiosity regardless of their music. The music, however--average 1970 hard-rock with soul, hard rock, and psychedelic influences, particularly from Jimi Hendrix--is not as unusual as their origins. One would not suspect from listening that the group were largely from Trinidad, with the proliferation of heavy, bluesy guitar and organ riffs, and the strained soul-rock vocals of Lou Phillips. They recorded one album, released in 1971, that received little notice before their breakup. 


The Next Morning formed in the late 1960s in New York, four of the five members having come to the city from Trinidad; Lou Phillips was from the Virgin Islands. Jimi Hendrix was a big influence on the band, as were some other hard rock acts of the period like the Who, and rock-soul hybrids like Sly Stone and the Chamber Brothers. The Next Morning were busy on the New York club circuit and attracted attention from Columbia Records, but ended up signing to the smaller Roulette label, whose Calla subsidiary issued their lone, self-titled LP in 1971. Although the jagged guitar sounds of Bert Bailey and some unexpected chord shifts made the album less pedestrian than some efforts in the style, the songs tended toward the long and meandering side, and the material was not as outstanding as their influences. The Next Morning's career sputtered out in the early 1970s, with bassist Scipio Sargeant finding some work doing horn arrangements for Joe Tex and Harry Belafonte. The Next Morning album was reissued on CD by Sundazed in 1999. 

01. The Next Morning 4:57
02. Life 2:57
03. Changes Of The Mind 6:01
04. Life Is Love 5:34
05. Back To The Stone Age 5:26
06. Adelane 2:51
07. A Jam Of Love 4:24
08. Faces Are Smiling 6:29 

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Wednesday, July 13, 2022

Led Zeppelin - 1977-06-27 Mike the Mike Inglewood US 1977 (3CD) (Bootleg)



Size: 509 MB
Bit Rate: 320
mp3
Recorded by: Mike Millard
Artwork Included

Mike Millard (May 18, 1951 – November 29, 1994), nicknamed "Mike The Mic" was an avid concert taper circa 1973 to 1994, recording over 300 concerts, including Led Zeppelin, Pink Floyd and The Rolling Stones concerts in California. He taped virtually every show at the Forum from 1974 to 1980. Many of his recordings found their way into the hands of bootleggers who sold Millard's work to fans.

Starting with a basic mono recorder in 1973, Millard upgraded to a Nakamichi 550 stereo recorder with AKG Acoustics 451E microphones for the 1975 Led Zeppelin shows in the area. He often used a wheelchair to conceal his equipment, pretending to be disabled. Unlike most 1970s audience bootlegs, Millard's recordings are known for their good sound quality, and are to this day considered some of the finest audio bootlegs available.


Millard's recording of the Led Zeppelin concert on June 21, 1977 at the Forum (allegedly taped from row number six) was released under the title Listen To This Eddie, and remains one of the best-known Led Zeppelin bootlegs. His recording of the opening number from the concert, "The Song Remains The Same", was included in the promos menu of the Led Zeppelin DVD. Millard recorded four of the Rolling Stones five 1975 shows at the LA Forum, and his recording of the Sunday, July 13, 1975 show (titled 'LA Friday') has become one of the most widely spread recordings of a Rolling Stones concert.


Millard was never behind the sale of bootlegs and was openly against the illegal sale of his recordings. He was notorious for "marking" copies of his tapes so that if one of his recordings turned up for sale on LP or CD, he would be able to tell which person he had traded it to. He kept a very detailed logbook of his marked recordings and who they were distributed to. "Unmarked" copies of Millard's recordings are very scarce. In 2016 several unmarked first generation copies of his Led Zeppelin recordings surfaced in trading circles.

Millard is said to have suffered from severe depression. He committed suicide in 1994.

The Millard recording set-up was used by The National in 2019 to record two of their shows in Berkeley, CA, and an accompanying documentary titled Juicy Sonic Magic: The Mike Millard Method was also created.


Mike is most known for the 10 Led Zeppelin shows that he recorded in southern California in the 1970s. Those shows include March 11th and 12th in Long Beach and at the Forum on March 24th, 25th, and 27th on the North American tour. When the band returned to southern California for the concert tour of North America, he recorded the band in San Diego June 19th and then four times at the Forum on June 21st, 23rd, 25th, and 27th.

A 2021 Rolling Stone article  lauded the quality of his April 26, 1975 recording of Pink Floyd, going so far as to say, "If Pink Floyd ever decides to create a Bootleg Series, they should get their hands on Millard’s master tapes — starting with this 1975 Los Angeles gig. It’s the band at the peak of their abilities as a live act and deserves to be heard as widely as possible."

Juicy Sonic Magic: The Mike Millard Method, a 10-minute mini-documentary directed by David DuBois.


The film tells the story of late, great concert taper Mike “The Mike” Millard and an homage to his work that was undertaken by archivist and producer Erik Flannigan, who attempted to recreate the legendary taper’s methods by using the same vintage cassette deck and microphones Millard employed in the ’70s to record our two Greek Theatre concerts last year.

Millard became a legend for his high-quality bootleg recordings of artists like Led Zeppelin, Pink Floyd, Bob Dylan and many others made in and around Southern California in the ’70s and ’80’s by sneaking his equipment into concerts hidden in a wheelchair. The film features animation by illustrator Jess Rotter and Eben McCue, plus interviews with Matt Berninger, producer/archivist Erik Flannigan and Mike Millard’s friend Jim Reinstein, who pushed Millard and his wheelchair into dozens of shows.

Flannigan explained the idea behind using The Mike Millard Method in the liner notes of the accompanying Black Friday Record Store Day three-cassette box set release (out November 29 via 4AD) entitled 'The National: Juicy Sonic Magic, Live in Berkeley, September 24-25, 2018', saying:

“The most celebrated audience taper of the period, Mike Millard, recorded in and around Southern California beginning in 1974 and continued into the early ’90s. Millard’s legend is built in part on the cunning and subterfuge he used to get his nearly 15-pound cassette deck and microphones into venues like the The Forum, Santa Monica Civic Auditorium, and The Roxy. 

For years I have pondered what made Millard’s recordings so good, and eventually I had an idea: What if you recorded a concert today with the same equipment Millard used in 1977? Would it sound like his tapes? Would it tap into his Midas touch?

The National was kind enough to let us test the Millard Method for two concerts at the Greek Theatre in Berkeley, California last September. These live recordings were made with vintage AKG 451E microphones and a restored Nakamichi 550 cassette deck which are identical to those used by Millard circa 1975-81. The idea was to see if we could recreate what Matt Berninger calls the “juicy sonic magic” Millard captured in his 1970s field recordings.

Together with my friend and filmmaker David DuBois, we also produced a short documentary about Millard, his recording methods, and our attempt to recreate his work at the National shows in Berkeley, a venue that is utterly unchanged since the ’70s. 

With the advent of smartphones, thousands of people routinely record part of the show when they attend a National concert or any other performance. Forty years ago, when nobody would dare do that, one man made it his life’s work to preserve legendary concerts on tape.”

Led Zeppelin
The Forum, Inglewood, California
June 27, 1977
Taper: Mike Millard
Title: "Mike the Mike"
 
CD 1
01. The Song Remains The Same  
02. Sick Again
03. Nobody's Fault But Mine  
04. Over The Hills And Far Away
05. Since I've Been Loving You  
06. No Quarter  

CD 2
01. Ten Years Gone
02. The Battle Of Evermore  
03. Going To California
04. Going Down South
05. Black Country Woman  
06. Bron-Yr-Aur Stomp 
07. Dancing Days 
08. White Summer
09. Black Mountain Side  
10 Kashmir
11.Trampled Underfoot 

CD 3
01. Over the Top  
02. Guitar Solo
03. Achilles Last Stand(cut)
04. Stairway To Heaven  
05. Whole Lotta Love
06. Rock And Roll 

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Part 3: Mike The Mike
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Part 1: Mike The Mike
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Part 3: Mike The Mike
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Part 1: Mike The Mike
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