Pink Floyd - BBC 1970-07-16 + 1971-09-30 (Bootleg) SoundQuality A+

Size: 308 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included
SoundQuality A+

Pink Floyd 16 July 1970, BBC Mono Master
BBC Paris Cinema, Lower Regent Street
London, England

1970-07-16
01. John Peel intro 00:28
02. The Embryo 10:23
03. John Peel 00:15
04. Fat Old Sun 05:29
05. John Peel 00:21
06. Green is the Colour >> Careful with that Axe, Eugene 11:22
07. John Peel 00:27
08. If 04:55
09. John Peel 00:50
10. Atom Heart Mother 26:33

Sound quality speaking, this is the best version of the BBC mono masters from 16 July70! Absolutely unprocessed ("BBC Radio One Master Reels" seems to have been dehissed a bit and suffers from slight metallic noise in the high end, and the HRV version "Mooed Music Rev.A" has some NR artefacts), this is superior sound!

However, a problem is the speed, much too fast (I compared with the live version of CWTAE on Ummagumma CD, with the studio versions of If and AHM from AHM CD, and with the versions available on BBC transcription CDs, all these comparisons lead to the same conclusion: a 102.5% stretch is needed to have correct speed).

Other problem with the SHN files is the existence of micro-gaps near the tracks transitions.

This RoIO would be absolutely perfect at correct speed and with micro-gaps fixed.

Pink Floyd - BBC Archives 1971 
Paris Cinema, Lower Regent Street, London, England, September 30, 1971

1971-09-30:
01. Fat Old Sun 15:04
02. One Of These Days 07:50
03. The Embryo 10:51
04. Echoes 27:10
05. Blues 04:54

Sources: BBC Transcription LP (Fat Old Sun, One Of These Days, Echoes)
1st gen cassette (Embryo, Blues)
BBC Radio One Master Reels* (John Peel intros) *mono

This is an upgrade of the second disc of Harvested's BBC Archives 1970-1971 (HRV CDR 007) which features the complete 1971 performance. The previous version, which we created over 6 years ago, used the same sources as above except that "One of These Days" and "Echoes" were taken from broadcast transcription CDs that were sent to radio stations in the 1980's. Back then I foolishly assumed that this "new" CD format would yield better sonic results than the vinyl transcription LP that I had. Wrong! 

This new version features a brand new 48kHz/24Bit transfer of the BBC vinyl (BBC Rock Hour) that was done at a professional recording studio and captured with ProTools. All pops, clicks, and imperfections were manually removed one-at-a-time. No EQing or NR was applied.

The BBC only have a mono version of this show in their archives which we used as a blueprint to reassemble this TRUE stereo version. Since "The Embryo" was never included on the transcription LPs, we used a 1st generation audio cassette recording from a WNEW broadcast and edited it into the show in its proper sequence. We did the same for the improv "Blues" jam which was also sourced from the WNEW broadcast.

Our previous sources:
All of Peel's intros + dial = BBC mono masters
FOS = BBC Transcription LP
OoTD = BBC Transcription CD
The Embryo = FM broadcast
Echoes = Mostly BBC Transcription CD/Open and close Transcription LP
Blues = FM broadcast

RevA sources:
All of Peel's intros + dial = BBC mono masters
FOS = BBC Transcription LP
OoTD = BBC Transcription LP
The Embryo = FM broadcast
Echoes = BBC Transcription LP
Blues = FM broadcast

Once again we feel that we have created a definitive version of this show. We hope that you all enjoy it.

RonToon, MOB, and Big Ed
Harvested Records

Part 1: Link
Part 2: Link
or
Part 1: Link
Part 2: Link
.

Lightnin' Slim - Rooster Blues (Classic Album US 1960)

Size: 77.2 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

When people talk about Louisiana swamp blues, this is what they're talking about. Excello Records' first foray into albums came with this wonderful collection of singles by Lightnin' Slim largely issued around the success of the title track, an R&B hit in 1960. 

"Long Leanie Mama," "My Starter Won't Work," "It's Mighty Crazy," "Hoo-Doo Blues," "Tom Cat Blues," "Lightnin' Troubles," "G.I. Slim" and "Feelin' Awful Blues" are all certified swamp blues classics and about as lowdown as the genre can get possibly get. 

With Lazy Lester on harmonica for the majority of the tracks here, the stripped-down approach to Slim's brand of blues casts these sides in a decidedly front-porch ambience with the added pulsating tape echo and oddball percussive effects just making everything on here sound even more doom-laden. 

Lightnin' Slim (March 13, 1913 - July 27, 1974) was an African-American Louisiana blues musician, who recorded for Excello Records and played in a style similar to its other Louisiana artists. Blues critic ED Denson has ranked him as one of the five great bluesmen of the 1950s, along with Muddy Waters, Little Walter, Howlin' Wolf and Sonny Boy Williamson.

1972

Lightnin' Slim was born Otis V. Hicks on a farm outside St. Louis, Missouri. moving to Baton Rouge, Louisiana at the age of thirteen. Taught guitar by his older brother Layfield, Slim was playing in bars in Baton Rouge by the late 1940s.

He debuted on J. D. "Jay" Miller's Feature Records label in 1954 with "Bad Luck Blues" ("If it wasn't for bad luck, I wouldn't have no luck at all"). Slim then recorded for Excello Records for twelve years, starting in the mid-1950s, often collaborating with his brother-in-law, Slim Harpo and with harmonica player Lazy Lester.

Slim took time off from the blues for a period of time and ended up working in a foundry in Pontiac, Michigan, which resulted in him suffering from constantly having his hands exposed to high temperatures. He was re-discovered by Fred Reif in 1970, in Pontiac, where he was living in a rented room at Slim Harpo's sister's house. 

Reif soon got him back performing again and a new recording contract with Excello, this time through Bud Howell, the present President of the company. His first gig was a reunion concert at the 1971 University of Chicago Folk Festival with Lazy Lester, whom Reif had brought from Baton Rouge in January 1971.

In the 1970s, Slim performed on tours in Europe, both in the United Kingdom and at the Montreux Jazz Festival in Switzerland where he was often accompanied by Moses "Whispering" Smith on harmonica. He last toured the UK in 1973, with the American Blues Legends package.

In July 1974, Slim died of stomach cancer in Detroit, Michigan, aged 61.

Slim has been cited as a major influence by several contemporary blues artists, including Captain Beefheart, who in a 1987 radio interview with Kristine McKenna, stated that Lightnin' Slim was the only artist he could recommend somebody listening to.

01. Rooster Blues 2:33
02. Long Leanie Mama 2:10
03. My Starter Won't Start 2:50
04. G.I. Slim 2:29
05. Lightnin's Troubles 2:35
06. Bed Bug Blues 2:42
07. Hoo-Doo Blues 2:21
08. It's Mighty Crazy 2:38
09. Sweet Little Woman 2:09
10. Tom Cat Blues 2:44
11. Feelin' Awful Blues 2:58
12. I'm Leavin' You Baby 2:28

Bonus tracks:
13. Bad Luck trouble 2:54 (1956)
14. I'm a Rolling Stone 2:27 (1957)
15. I'm Evil 2:22 (1962)

1. Link
or
2. Link
.

Rick Derringer - Ford Auditorium 1976-11-17, Detroit (Bootleg)

Thailand EP 1975

Size: 126MB
Bitrate: 256
mp3
Found in OuterSpace
Some Artwork Included

Rick Derringer (born Ricky Dean Zehringer; August 5, 1947) is an American guitarist, vocalist, Grammy Award winning producer and entertainer.

Derringer came to prominence in the 1960s as a member of The McCoys, who had a number one hit single with "Hang on Sloopy." Derringer then turned to blues rock, scoring a 1974 hit with "Rock and Roll, Hoochie Koo". He has also worked extensively with brothers Edgar and Johnny Winter, and with the group Steely Dan.

Derringer was born in Fort Recovery, Ohio, the son of Janice Lavine (Thornburg) and John J. Zehringer, a railroad worker. When he was 17, his band The McCoys recorded "Hang on Sloopy" in the summer of 1965, which became the number one song in America before "Yesterday" by The Beatles knocked it out of the top spot. The song was issued by Bang Records. He adopted the Derringer stage name which was inspired by the Bang Records logo which featured a derringer pistol.

After starting The McCoys, he changed the band's name to "The Rick Z Combo", and then "Rick and the Raiders". After recording "Hang on Sloopy", it was decided that the original name was best, and The McCoys were reborn.

One of the first opportunities to see them play live came when they opened for The Rolling Stones on the entire 1966 American tour. Before "Hang on Sloopy", they were seen often at LeSourdsville Lake Amusement Park in southwest Ohio at Friday night WSAI (Cincinnati, Ohio) radio-sponsored dances. They were a part of the local summer dance experience along with Ivan and the Sabers on WING (Dayton, Ohio) radio Monday night dances.

Derringer also recorded and played with a version of Johnny Winter's band called "Johnny Winter And ..." and both Edgar Winter's White Trash and The Edgar Winter Group. He played on The EWG's Grammy-nominated rock instrumental single "Frankenstein", which topped the U.S. Billboard Hot 100 chart for a week starting in May 1973 and sold over one million copies.

Derringer also had a successful solo career, and his solo version of "Rock and Roll, Hoochie Koo" was a hit single in 1973. The years 2013–2014 mark the 40th anniversary of Derringer's first solo tracks on All American Boy released October 15, 1973. The album's success was rated by its record company, "Blue Sky Records", that stated that every college dorm room in America had one. He also recorded extensively with Steely Dan, playing slide guitar on songs including "Show Biz Kids" and "Chain Lightning".

Derringer appeared on Alice Cooper's Killer album in 1971, playing the solo on "Under My Wheels."

In late 1974, Derringer played guitar on Joe Vitale's debut solo album Roller Coaster Weekend produced by The Albert Brothers (Ron, and Howard). The album featured other famous guitarists Joe Walsh and Phil Keaggy.

Derringer opened for Led Zeppelin in Oakland, California on their last American tour in 1977. Derringer was also a featured guitarist on several Todd Rundgren albums in the 1970s, including Something/Anything? (1972), A Wizard, a True Star (1973), Initiation (1975) and the live album Back to the Bars (1978).

Rick Derringer - Ford Auditorium 
Detroit, MI 1976-11-17 
FM Broadcast

Band:
★ Rick Derringer: Vocals, Guitar
★ Danny Johnson: Guitar, Vocals
★ Kenny Aaronson: Bass, Background Vocals
★ Vinny Appice: Drums

01. Still Alive and Well
02. Let Me In
03. Teenage Love Affair
04. Sailor
05. Beyond The Universe
06. Rock & Roll Hoochie Koo
07. Roll With Me
08. Rebel Rebel
09. Uncomplicated
10. I Just Wanna Keep on Makin Love
.
1. Link
or
2. Link
.

Pictures of the day...

The United States of America Album - Billboard Magazine Advertise 1968

The Standells Album - Billboard Magazine Advertise 1966

(Open the picture in a NEW WINDOW for 100% size)

Lucas Sideras - One Day (Progressive Rock ex. Aphrodite's Child 1972)

Size: 81.1 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Korea 24-Bit Remaster Edition

Lucas Sideras (Greek: Λουκάς Σιδεράς; 5 December 1944, Athens), is the former drummer of the Greek progressive rock band Aphrodite's Child.

He started playing drums at the age of 13. By the time he was 15 years old he started playing drums with several bands in Athens. Later on he met Vangelis and Demis Roussos, they formed Aphrodite's Child. In 1967 they signed with Mercury Records in France and they release three albums: End of the world (which includes the song "Rain and Tears"), It's Five O'Clock and 666, the latter of which sold 20 million copies worldwide.

Lucas Sideras is ex-drummer of the Greek Progressive Band Aphrodite's Child. One Day is the first solo album from Lucas Sideras, is a nice album. In this album play also A.Koulouris the ex-guitaris of the Aphrodite's Child and S.Spanoudakis.

After Aphrodite's Child split up in 1972, Lucas began to compose his own music and released his first solo album, One Day with Polydor-France, selling 28.000 copies. In 1974 Lucas released another solo album, Pax Spray, that sold 45.000 copies.

Sideras was also active as a producer. In 1975 he produced the album Alba for Riccardo Cocciante which hit #1 in Italy’s charts. In 1979 he produced the album Love's Fool for Sigma Fay, selling 75.000 copies. In 1981 he produced the album Dead Line for Sigma Fay, which sold 52.000 copies. In 1984 he produced the single "You're the Drug in My Life" for Sigma Fay, sold 34.000 copies.

In 1977 Sideras formed the group Ypsilon with Lakis Vlavianos and Dimitris Katakouzinos. They released an album Morning Sunrise, which sold 75.000 copies and followed this in 1984 with Alien child, which sold 60.000 copies.

In 1987 he formed the blues-rock band Diesel with Sigma Fay and Yanis Drolapas. The band was together for ten years and appeared regularly as a live act and in jamming sessions but their sole release was the 1995 album Diesel. Whilst with the band Sideras also composed music for several documentaries and advertisements in his studio.

In 2005 he formed the blues-rock band Los-Tres with Simos Kokavesis and Bary Zealy and they have appeared live numerous times. In 2008 Sideras released a solo album Stay With Me which he composed arranged and produced in his studio.

Personnel:
♦ Lucas Sideras - Drums, Percussion, Piano, Vocals
♦ Anargyros "Silver" Koulouris - Guitar
♦ Stamatis Spanoudakis - Bass Guitar, Keyboards
♦ George Pentzikis - Backing vocals, Bass Guitar, Flute, Guitar, Organ, Piano
♦ Vlassis Bonatsos - Backing vocals, Percussion, Vocals
♦ Derek Wilson - Drums
♦ Franco Di Stefano - Drums
♦ Luciano Ciccaglione - Guitar

01. And I Cry 04:02
02. Lady 03:35
03. Rising Sun 05:00
04. I Was About To Die 04:05
05. One Day 03:40
06. Enough To Care 06:32
07. Zig-Zag 05:30
08. Do It 04:50
09. Saving Grace 02:00
.
1. Link
or
2. Link
.

Seanor & Koss - Selftitled (Great Rock Album US 1972 ex. "Savage Grace")

Size: 71.0 MB
Bitrate: 256
mp3
Ripped by ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

After the dissolution of  Savage Grace, John Seanor (keyboards) and Ron Koss (guitar-vocals) released this album with the help of King Errisson (congas-percussion), John Seiter (drums), and John Sebastian (harmonica).

The album is described by timeshifter at RYM as “semi-funky A.O.R. with some bluesy cuts, some horns and harmonica, Jagger influenced vocals, decent song writing, and some rural moves”.

Seanor & Koss aren't exactly novices in the rock recording game, having made two previous Reprise album as keyboard man and lead singer-guitarist, respectively, of a group called Savage Grace. Their new name signifies a variety of things: 1) a revival and re-direction of hard rock energy; 2) union with a new rhythm section, and 3) good old American self-assertiveness, a trait not all incompatilble with their music. One major act of re-direction and revival fairly leaps out from the credits for this album: "Produced by Shel Talmy". "In addition to several early hits by the Kinks and who-knows-how-many-other-legendary-English groups, Mr. Talmy produced one record which is an especially close spiritual ancestor of today's Seanor & Koss: "My Generation" by The Who.

Like Peter Townshend evergreen, the often sardonic lyrics and swaggering music of Seanor & Koss are one constant flash of youth-pride. Shel Talmy is not the only byword of the new rock to appear in these credits. John Sebastian, who went from Spoonfulism to soloism to make three honorable albums of his own on Reprise, is heard here in a rare return to the instrument the learned at an early age from his namesake and father. Unlike the classically-oriented Sebastian pere, young John blows harp here in the electrified Chicago hard-blues style, providing a suitably urban-Midwestern foil for the feartured Detroiters. John may be heard on "Mystery Train," "She Keeps It Hidden" and "Homegrown." "Mystery Train," by the way, is not the tune that Elvis Presley recorded just before "Heartbraek Hotel."

This train is a Ron Koss original about being from Detroit. In it are some of the best lines any mother ever spoke to her son: Everybody hears the whistle / But I hope you see the light. Other than that, several of the songs are combination tributes to and putdowns various deserving females in the popular Dylano-Jaggerian tradition. Two of the lyrics, however, take on the whole of American the Beautiful. In John Seanor's "Matchstick," the protagonist is a traveler with arsonic propensities. Seanor also wrote "Babylon" which, in addition to a complex, serious lyric; has the most ambitious music on the album.

It's on of those tunes which starts relatively quietly but promises much, and delivers even more; the eventual climax is fairly monstrous. John Seanor, keyboarder, was born in Chicago on February 7, 1944 and got into classical music at an early age. Piano remained his avocation as he got a B.A. in history at Denison University, and then became his major as he went on to study music at Boston University. Boston eventually made a jazz pianist out of John, and he gigied thusly around the East for some time before returning to Detroit to join Ronnie Koss in the former Savage Grace.

Koss was born in the Motor City on September 12, 1946. He's been singing, playing and writing for about 10 years, but says that his association with Seanor has inspired his most serious efforts as a writer. The two men share the writing about equally. New recruits Kenny Altman (bass) and John Seiter (drums) are the rhythm motivators of this nasty but nifty band, which should go a long way toward redefinning Detroit before it's through.

Personnel:
♫♪ Ronnie Koss - guitar, vocals
♫♪ John Seanor - keyboards
♫♪ Kenny Altman - bass
♫♪ John Seiter - drums

Guest:
♫♪ John Sebastian - harmonica
♫♪ King Errison - congas

01. Mystery Train (04':35")
02. She Keeps It Hidden (03':56")
03. Iceland Annie [Bara, You're Pretty As Your Name](04':17")
04. Babylon (05':13")
05. Homegrown (04':25")
06. Matchstick (04':30")
07. Feelin' In The Day (03':59")
08. One Day Longer (03':52")
.
1. Link
or
2. Link

New Guestbook Added Yesterday

NEWS: A new similar guestbook was added yesterday. >> Bookmark << it so you can see my new blog adress if this is shutdown. I always add my new name & adress in the guestbook.

//ChrisGoesRock

Pictures of the day...

Johnny Ace - Memorial Album (Early R&B Compilation 1961)

Size: 77.0 MB
Bitrate: 256
mp3
Ripped by ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The senseless death of young pianist Johnny Ace while indulging in a round of Russian roulette backstage at Houston's City Auditorium on Christmas Day of 1954 tends to overshadow his relatively brief but illustrious recording career on Duke Records. That's a pity, for Ace's gentle, plaintive vocal balladry deserves reverence on its own merit, not because of the scandalous fallout resulting from his tragic demise.

John Marshall Alexander was a member in good standing of the Beale Streeters, a loosely knit crew of Memphis young bloods that variously included B.B. King, Bobby Bland, and Earl Forest. Signing with local DJ Mattis' fledgling Duke logo in 1952, the re-christened Ace hit the top of the R&B charts his very first time out with the mellow ballad "My Song." From then on, Ace could do no musical wrong, racking up hit after hit for Duke in the same smooth, urbane style. "Cross My Heart," "The Clock," "Saving My Love for You," "Please Forgive Me," and "Never Let Me Go" all dented the uppermost reaches of the charts. And then, with one fatal gunshot, all that talent was lost forever (weepy tribute records quickly emerged by Frankie Ervin, Johnny Fuller, Varetta Dillard, and the Five Wings).

Ace scored his biggest hit of all posthumously. His haunting "Pledging My Love" (cut with Johnny Otis & His Orchestra in support) remained atop Billboard's R&B lists for ten weeks in early 1955. One further hit, "Anymore," exhausted Duke's stockpile of Ace masters, so they tried to clone the late pianist's success by recruiting Johnny's younger brother (St. Clair Alexander) to record as Buddy Ace. When that didn't work out, Duke boss Don Robey took singer Jimmy Lee Land, renamed him Buddy Ace, and recorded him all the way into the late '60s.

The senseless demise of Johnny Ace has historically overshadowed everything the young Memphis pianist accomplished while he was alive. That’s a tragedy unto itself. 

Ace’s plaintive way of crooning an intimate blues ballad made him a fast-rising R&B star during the early 1950s. But his bright future evaporated with a single self-inflicted gunshot to the head backstage at Houston’s City Auditorium on Christmas night of 1954, an impromptu act that spawned an instant legend.

Born John Marshall Alexander Jr. on June 9, 1929 in Memphis, Johnny hailed from a large family headed by a Baptist preacher and a mother who never approved of her son’s blues exploits. According to James M. Salem’s book The Late Great Johnny Ace and the Transition From R&B to Rock ‘n’ Roll, the youth dropped out of eleventh grade to join the Navy (that tactic didn’t work out either). What Johnny enjoyed most was playing music. With wide-open Beale Street beckoning, he gravitated to its neon-lit nightspots during the late 1940s.

Johnny joined a loose-knit combo revolving around guitarist B.B. King; other key members were drummer Earl Forest and saxman Adolph “Billy” Duncan. “The group first was mine, and then it was called the Beale Streeters after that,” said B.B., then a local star thanks to his daily WDIA radio shift. “Johnny Ace was the piano player. His name was John Alexander, but he later started making records under his own name with the Beale Streeters. In fact, the whole group was the group that I put together when we made ‘Three O’Clock Blues.’” 

The young pianist cut his first number as a leader in 1951 for Los Angeles-based Modern Records, the same label B.B. was on (co-owner Joe Bihari produced it at a session held at the Memphis YMCA), but “Midnight Hours Journey” wouldn’t see issue on their Flair subsidiary until after Ace began scoring hits for Duke. Since John waxed only one song for Modern, Forest’s “Trouble And Me” adorned the flip side. 

King’s expanding popularity catapulted Johnny into a bandleading role. “When ‘Three O’ Clock Blues’ became a hit and I started to work out of a booking agency called Shaw Artists Corporation and Universal, they didn’t want me to have a band,” said King in 1979. “They wanted me alone. So I left the band, and when I did, I gave it to Johnny Ace. And that’s when he changed it. Instead of calling it the Blues Boys as it had been, he started calling it the Beale Streeters.”

Convinced that Memphis boasted a wealth of unrecorded black talent, WDIA program director David James Mattis inaugurated Duke Records in the spring of 1952. He selected Bland as one of his initial artists, but Bobby showed up at the ‘DIA studios unprepared to record. Mattis turned to Johnny, who was there to back Bland on the 88s. Johnny was fooling around with a blues ballad entitled “So Long” that had been a 1949 hit for Ruth Brown. Mattis and Alexander lyrically transformed it into “My Song.” Before issuing the 78 on his purple-and-yellow-hued Duke logo for local consumption, Mattis changed John’s stage handle to the sportier Johnny Ace. 

The melancholy “My Song” wasn’t straight blues. Its chord structure was closer to that of stereotypical doo-wop, complete with a bridge, and the Beale Streeters’ stark backing–Duncan’s lonesome horn and unobtrusive drummer Forest abetting Johnny’s ivories–created a smoky after-hours ambiance. Though Dinah Washington and Hadda Brooks weighed in with covers, Ace’s “My Song” paced Billboard’s R&B charts for nine weeks in the fall of ‘52, establishing him as a prominent blues balladeer (the flip “Follow the Rule” was a raucous jump). Its national success was in great part due to the marketing efforts of African-American entrepreneur Don Robey, who had partnered with Mattis that July (Robey already owned Peacock Records, a Houston R&B/ gospel label whose acts included blues guitarist Clarence “Gatemouth” Brown and the Dixie Hummingbirds). Robey bought Duke outright in November and made Ace a top promotional priority, sending him on national tour through his affiliated Buffalo Booking Agency.

Versions of Johnny’s first hit follow-up “Cross My Heart” were apparently cut in both Memphis and at Bill Holford’s Audio Company of America studios in Houston, but it appears that the Houston rendition was the one that climbed to #3 R&B on Duke in early ‘53. It was a mellow variation on “My Song” credited to Mattis and Robey, with Forest and bassist George Joyner accompanying Ace’s velvety vocal and flowery organ (he’d reportedly never played one prior to cutting “Cross My Heart” the first time at WDIA). Its B side “Angel” restored Ace to the piano bench but followed the same attractive late-night formula.

Johnny’s second R&B chart-topper “The Clock,” credited to Ace and Mattis, was waxed in January of ‘53 in Houston. The mournful ballad’s deliberate tick-tock percussion was courtesy of prolific bandleader Johnny Otis. Ace flexed his piano chops on the sax-led instrumental flip, “Aces Wild.” Otis’ octet backed Ace’s next chart entry, the intimate ballad “Saving My Love For You,” with Otis playing vibes at the August ‘53 Los Angeles date. Writer Sherman “Blues” Johnson was a Meridian, Mississippi product that had recently waxed two 78s for Lillian McMurry’s Trumpet Records with his Clouds of Joy. “Saving My Love For You” rose to #2 R&B in early 1954, coupled with “Yes Baby,” a rousing duet with labelmate Willie Mae “Big Mama” Thornton, who had paced the R&B hit parade in the spring of 1953 with her snarling “Hound Dog” (Pete Lewis contributed the stinging T-Bone Walker-style guitar solo to “Yes Baby”).

New Orleans blues shouter Joe “Mr. Google Eyes” August–one of Ace’s fellow Duke artists–came up with “Please Forgive Me,” a #6 R&B seller in the summer of ‘54 that deposited Ace behind the organ again as Otis’ L.A. outfit cruised behind him (Ace wrote the swinging B side “You’ve Been Gone So Long,” Lewis returning on slashing guitar). Duke/Peacock house trumpeter Joe Scott, soon to emerge as Bobby Bland’s musical mentor, composed the gentle pleader “Never Let Me Go,” Ace’s #9 R&B hit late that year. The swinging instrumental “Burley Cutie” was two years old by the time it was pressed into service as its flip. 

Sadly, Johnny wouldn’t live long enough to bask in the monumental success of his next Duke platter. Credited to Ferdinand “Fats” Washington (he also co-penned the Flamingos’ “I’ll Be Home”) and Robey, “Pledging My Love” was a spine-chilling blues ballad that attained immortality in the shocking wake of Ace’s untimely death (an estimated 4500 mourners packed Clayborn Temple AME church in Memphis for his funeral services). Johnny’s tinkling piano introduction is answered note-for-note by Otis’ vibes before Ace’s warm baritone croon confidently enters to promise eternal devotion. Cut on January 27, 1954 in Houston with a smaller edition of Otis’ combo in support, “Pledging My Love” rocketed to the peak of the R&B hit parade in early 1955, managing a highly respectable #17 pop showing despite chirpy Teresa Brewer’s cover. A romping “No Money,” from Ace’s final Houston date in July of ‘54, supplied a mood-lightening contrast on the flip side.

A flood of maudlin tribute songs hit the market after Ace’s death, most notably Varetta Dillard’s “Johnny Has Gone” and Johnny Fuller’s “Johnny Ace’s Last Letter.” But the late Ace wasn’t done scoring hits of his own; “Anymore,” a Robey copyright waxed at the same January ‘54 session that generated “Pledging My Love,” rose to #7 R&B that summer (the torrid Ace original “How Can You Be So Mean” adorned the opposite side, its relentless horn section led by Johnny’s road band leader, saxist Johnny Board). Robey emptied his vaults to satisfy an ongoing clamor for more Ace product; “So Lonely”(an Ace composition that bore echoes of Charles Brown) and the classy “I’m Crazy Baby” were paired for one single (the latter was penned by C.C. Pinkston, who doubled on drums and vibes at Johnny’s final session), while a brokenhearted “Still Love You So” (another Washington/Robey collaboration) and the brassy Ace-penned strut “Don’t You Know” constituted Johnny’s last Duke outing. Robey wasn’t content to retire Ace’s franchise. He signed Texas singer Jimmy Lee Land and presented him as Johnny’s brother Buddy Ace (Buddy stayed on Duke for more than a decade and enjoyed a pair of mid-‘60s R&B hits). 

In the end, Johnny Ace’s legacy shouldn’t be defined by a tragic game of Russian roulette. Remember him by these 20 splendid songs instead.

01. Pledging My Love 2:29 (1955)
02. Don't You Know 2:41 (1954)
03. Never Let Me Go 2:52 (1954)
04. So Lonely 2:33 (1956)
05. I'm Crazy Baby 2:16 (1956)
06. My Song 3:04 (1952)
07. Saving My Love For You 2:37 (1953)
08. The Clock 2:59 (1953)
09. How Can You Be So Mean 2:30 (1955)
10. Still Love You So 2:43 (1954)
11. Cross My Heart 2:46 (1953)
12. Anymore 2:58 (1955)

Bonus Tracks:
13. Yes Baby (With Big Mama Thornton) 2:46 (1953)
14. Please Forgive Me (1954)
15. No Money 2:45 (1955)

1. Johnny Ace
or
2. Johnny Ace
.

YES Article 1972

Open picture in a NEW WINDOW for 100% size.

Hour Glass - Power of Love (Great 2nd Album US 1968)

Size: 111 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Power of Love was the second studio album by Hour Glass, issued in March 1968 on Liberty Records, the final by the group with the namesakes of The Allman Brothers Band. After the failure of their first album, Liberty Records allowed a greater independence for the group, who had been virtually shut out of the decision making for their first album by the label and producer Dallas Smith. However, with the label's decision to retain Smith as producer, the group, especially Duane Allman, once again felt constricted by their label's expectations for the album.

With Smith behind the boards, Gregg Allman was still the focus. The younger Allman, who had seen only one of his compositions on the previous album, contributed seven of the twelve tracks. The remainder were two from Marlon Greene and Eddie Hinton and one each from the teams of Spooner Oldham and Dan Penn, John Berry and Don Covay, and John Lennon and Paul McCartney. The group performed all of the instrumentation, with Duane Allman adding electric sitar to their cover of The Beatles' "Norwegian Wood (This Bird Has Flown)", a staple of their live act.

Neil Young of Buffalo Springfield wrote the liner notes, describing his experience sitting in on the session for the album track "To Things Before", watching Gregg Allman leading the group through the number.

After the failure of the album to enter the chart, the Hour Glass traveled to Fame Studios in Muscle Shoals, Alabama, in an attempt to further refine their sound. However, Dallas Smith and Liberty Records were displeased with the group-produced blues-fueled rock tracks that the group returned to Los Angeles with, as they were light years away from the pop music Smith envisioned them performing. Additionally, seeing himself cut out of the group's picture was not ideal for Smith, even if his relations with the group had been strained.

Hour Glass disbanded shortly thereafter, with Gregg Allman returning to California to satisfy the terms of the group's contract with Liberty. Paired with a studio band, Allman recorded roughly an album's worth of material, though it took nearly a quarter of a century for it to surface. [Wikipedia]

Now this is a little more like it. The group really isn't sounding like they did at the Whiskey, but the playing by the band is pretty ballsy, and Duane's guitar is right up front and close, and he's showing some real invention within the restrictions of the pop sound that the producer was aiming for. He also plays an electric sitar on the strangest cut here, an instrumental cover of Beatles' "Norwegian Wood." From the opening bars of the title tune, one gets the message that this is a group with something to say musically, even if this particular message isn't it -- the guitar flourishes, the bold organ and piano by Paul Hornsby, and Gregg Allman's charismatic vocals all pull the listener better than 98% of the psychedelic pop and soul-pop of the period. 

The outtakes that are included as bonus tracks are much more important, consisting of songs cut for a never-issued Gregg Allman solo album (intended to keep Liberty from suing over the group's breakup and departure), where he sounded a lot more like the lead singer of the Allman Brothers Band than he'd ever been given a chance to with the Hour Glass, on songs that included the future Allman Brothers classic "It's Not My Cross to Bear." [AMG]

Personnel:
♦ Gregg Allman – organ, piano, guitar, vocal (all tracks)
♦ Duane Allman – guitars, electric sitar (tracks 1-6, 8-12)
♦ Paul Hornsby – piano, organ, guitar, vocal (tracks 1-12)
♦ Johnny Sandlin – drums, guitar, gong (tracks 1-12)
♦ Pete Carr – bass guitar, guitar (track 7), vocal (tracks 1-12)
♦ Several unknown studio musicians on horns, guitars, backing vocals, drums, bass guitar, keyboards and percussion (tracks 13-18)
♦ Bruce Ellison - Engineer (all tracks)

01. "Power of Love" (Spooner Oldham, Dan Penn) - 2:50
02. "Changing of the Guard" - 2:33
03. "To Things Before" - 2:33
04. "I'm Not Afraid" - 2:41
05. "I Can Stand Alone" - 2:13
06. "Down in Texas" (Marlon Greene-Eddie Hinton) - 3:07
07. "I Still Want Your Love" - 2:20
08. "Home for the Summer" (Marlon Greene-Eddie Hinton) - 2:44
09. "I'm Hanging Up My Heart For You" (John Berry, Don Covay) - 3:09
10. "Going Nowhere" - 2:43
11. "Norwegian Wood (This Bird Has Flown)" (John Lennon, Paul McCartney) - 2:59
12. "Now Is The Time" - 3:59

Bonus Tracks:
13. "Down in Texas" (alternate version) (Marlon Greene-Eddie Hinton) - 2:21
14. "It's Not My Cross to Bear" - 3:36
15. "Southbound" - 3:41
16. "God Rest His Soul" (Steve Alaimo) - 4:02
17. "February 3rd" (Composer Unknown) - 2:56
18. "Apollo 8" (Composer Unknown) - 2:37
All songs by Gregg Allman, unless noted.

Tracks 1-12 constitute the original album.

Tracks 13-18 from the 1969 sessions for Gregg Allman's unreleased first solo album for Liberty (present on 1992 re-release only).

1. Link
or
2. Link
.