Roy Buchanan - The Blue Note 1985-05-24 (Bootleg)

Size: 170 MB
Bitrate: 320
mp3
Found in my BluesMobile
Some Artwork

Roy Buchanan has long been considered one of the finest, yet criminally overlooked guitarists of the blues rock genre whose lyrical leads and use of harmonics would later influence such guitar greats as Jeff Beck, his one-time student Robbie Robertson, and ZZ Top's Billy Gibbons. Although born in Ozark, AR, on September 23, 1939, Buchanan grew up in the small town of Pixley, CA. His father was both a farmer and Pentecostal preacher, which would bring the youngster his first exposure to gospel music when his family would attend racially mixed revival meetings. But it was when Buchanan came across late-night R&B radio shows that he became smitten by the blues, leading to Buchanan picking up the guitar at the age of seven. First learning steel guitar, he switched to electric guitar by the age of 13, finding the instrument that would one day become his trademark: a Fender Telecaster. By 15, Buchanan knew he wanted to concentrate on music full-time and relocated to Los Angeles, which contained a thriving blues/R&B scene at the time. Shortly after his arrival in L.A., Buchanan was taken under the wing by multi-talented bluesman Johnny Otis, before studying blues with such players as Jimmy Nolen (later with James Brown), Pete Lewis, and Johnny "Guitar" Watson. During the mid- to late '50s, Buchanan led his own rock band, the Heartbeats, which soon after began backing rockabilly great Dale ("Suzy Q") Hawkins. 

Roy Buchanan - Netherland Single 1973

By the dawn of the '60s, Buchanan had relocated once more, this time to Canada, where he signed on with rockabilly singer Ronnie Hawkins. The bass player of Ronnie Hawkins' backing band, the Hawks, studied guitar with Buchanan during his tenure with the band. Upon Buchanan's exit, the bassist-turned-guitarist would become the leader of the group, which would eventually become popular roots rockers the Band: Robbie Robertson. Buchanan spent the '60s as a sideman with obscure acts, as well as working as a session guitarist for such varied artists as pop idol Freddy Cannon, country artist Merle Kilgore, and drummer Bobby Gregg, among others, before Buchanan settled down in the Washington, D.C., area in the mid- to late '60s and founded his own outfit, the Snakestretchers. Despite not having appeared on any recordings of his own, word of Buchanan's exceptional playing skills began to spread among musicians as he received accolades from the likes of John Lennon, Eric Clapton, and Merle Haggard, as well as supposedly being invited to join the Rolling Stones at one point (which he turned down). 

That's What I Am Here For
The praise eventually led to an hour-long public television documentary on Buchanan in 1971, the appropriately titled The Best Unknown Guitarist in the World, and a recording contract with Polydor Records shortly thereafter. 

Roy Buchanan - US Promo Single 1973

Buchanan spent the remainder of the decade issuing solo albums, including such guitar classics as his 1972 self-titled debut (which contained one of Buchanan's best-known tracks, "The Messiah Will Come Again"), 1974's That's What I Am Here For, and 1975's Live Stock, before switching to Atlantic for several releases. But by the '80s, Buchanan had grown disillusioned by the music business due to the record company's attempts to mold the guitarist into a more mainstream artist, which led to a four-year exile from music between 1981 and 1985. 

When a Guitar Plays the Blues
Luckily, the blues label Alligator convinced Buchanan to begin recording again by the middle of the decade, issuing such solid and critically acclaimed releases as 1985's When a Guitar Plays the Blues, 1986's Dancing on the Edge, and 1987's Hot Wires. But just as his career seemed to be on the upswing once more, tragedy struck on August 14, 1988, when Buchanan was picked up by police in Fairfax, VA, for public intoxication. Shortly after being arrested and placed in a holding cell, a policeman performed a routine check on Buchanan and was shocked to discover that he had hung himself in his cell. Buchanan's stature as one of blues-rock's all-time great guitarists grew even greater after his tragic death, resulting in such posthumous collections as Sweet Dreams: The Anthology, Guitar on Fire: The Atlantic Sessions, Deluxe Edition, and 20th Century Masters and the live When a Telecaster Plays the Blues, which appeared in 2009. [Source AMG]

Roy Buchanan, The Blue Note, 
Boulder, CO, 1985-05-24

01. Green Onions  6:35
02. Short Fuse  3:41
03. When a Guitar Plays the Blues  5:54
04. Good Rockin' Tonight  2:51
05. HonkyTonk  4:04
06. Sweet Dreams  3:30
07. Night Train  3:36
08. Whole Lotta Shakin'  4:12
09. Walk Don't Run  2:17
10. Peter Gunn Theme  3:02
11. Roy's Bluz  5:33
12. Hey Joe  4:08
13. Foxy Lady  6:17
14. Johnny B. Goode  4:08 
15. (Interview with the Red Rooster 05-24-85)  14:43

About the interview: 
After many years of doing a popular blues show on community station KGNU, I approached a number of commercial stations about doing Blues From the Red Rooster Lounge for them. The responses I got were a real education in radio reality. Numerous PD's told me they loved the blues but it would be suicide to air it on their station. Finally I approached KBCO, which at the time was the #2 station in the Denver/Boulder market. Amazingly, they went for it when all the much lower-rated stations passed. In early May of 1985 the one-hour show began airing at midnight on Sunday. (Over 27 years later, it still runs on Sunday night, now at 9 pm. It's also syndicated on four other stations in scattered markets around the U.S.)

I was still figuring things out at the station when, a few weeks later, the opportunity to interview Roy came about. As mentioned in the interview, I had bought the self-produced "burlap bag" album (issued on the BIOYA = Blow It Out Yer Ass label) in 1971. Roy and his wife Judy came into our tiny production studio. We talked for a while and I think my familiarity with his music helped Roy relax with me. I put on his version of "Hey Joe" and had it playing low (maybe not low enough) in the background at the start; that's something I wouldn't do now, but I didn't have the luxury of digital editing back then. In fact, this was recorded on a 10" open reel and edited the old fashioned way -- with a razor blade and splicing tape.

1. Link
or
2. Link
.

Roy Buchanan - Billboard Magazine First Album Advertise

Not to be missed: Roy Buchanan - Amazing Grace Club, Evanston, IL1974-12-14 (Bootleg)

Size: 140 MB
Bitrate: 320
mp3
Found in DC++ World
Some Artwork

Back with a gone guitar master, Roy Buchanan, and a show recorded in December 1974 in Evanston, Illinois.

Just a month before he played at New York's Town Hall to record a live album that was released in the following year and I highly recommend called Live Stock.

Most of the tracks from it are also played here.

Roy Buchanan, who was once described on a television documentary as ''the best unknown guitarist in the world'' and who went on to produce two gold records, hanged himself in a jail cell Sunday night, the Fairfax County Sheriff's Department said today. He was 48 years old.

click on picture for biger size or open picture
in a new window for 100%

Mr. Buchanan was arrested Sunday night on a charge of public drunkenness and was placed alone in a receiving cell at the Fairfax County Adult Detention Center, said Carl Peed, Chief Deputy Sheriff.

Mr. Peed said deputies checked on Mr. Buchanan, who lived in Reston, Va., about 10 minutes after he was incarcerated at 10:55 P.M., but when they made a second check at 11:16 P.M., he had hanged himself with his shirt, which he had tied to a window grate.

Mr. Buchanan, who was influenced early in his career by the note-bending guitarist Jimmy Nolan, began playing in the early 1950's. He formed his own band in Los Angeles when he was 15, then he went to Oklahoma and met Dale Hawkins, with whom he toured and recorded for two years. In 1960, Mr. Buchanan joined a Canadian group that included Robbie Robertson, Rick Danko and Garth Hudson; it was the forerunner for the Band. Popular Backup Player.

Mr. Buchanan spent the next few years in recording studios backing a variety of pop and country-and-western singers. He then formed another group and started playing the Washington area.

In 1971, Rolling Stone magazine printed a laudatory review of one of his performances. A public television documentary titled ''The Best Unknown Guitarist in the World'' followed, and Polydor records signed him to a contract. As a result, he moved from local club dates to the national circuit of theaters and auditoriums.

His second of five albums for Polydor, ''Roy Buchanan's Second Album,'' sold half a million copies. He then put out three albums for Atlantic Records, including another gold album. His most recent recordings were made for Alligator Records.

He is survived by his wife, Judy, seven children and five grandchildren.

AMG Review From his 1st Album 1972:
The recording and production on this, Roy Buchanan's first record for Polydor, is delightfully bare, sparse in ornamentation, and full of bum notes and aborted ideas that would be deleted on most commercial releases. It is a loose, highly improvised affair that amply demonstrates why the leader is one of the underappreciated giants of rootsy guitar. Straddling country, blues, and traditional rock & roll, Buchanan's playing is fiery and unpremeditated. 

His tone is delightfully raw and piercing, his solo ideas impetuous and uncluttered. On the instrumental tracks, such as his famous reading of "Sweet Dreams" or Buchanan's own "The Messiah Will Come Again," one can see why he was such an influence on Jeff Beck, another master of the instrument known for his genre-blending and ragged spontaneity. There is a slight Michael Bloomfield influence felt in Buchanan's blues playing, most evident in the first chorus of "John's Blues" and the quasi-Eastern ornamentations on "Pete's Blue." 

His 1974 album

He plays with pitch, placing notes in unexpected places, constantly keeping the listener guessing. The country tracks, such as "I am a Lonesome Fugitive" and Hank Williams' "Hey, Good Lookin'," benefit greatly from Chuck Tilley's understated vocals. Despite Tilley's presence, the main focus on this record is Buchanan's wailing guitar, which punctuating the vocals with bluesy cries and country moans. The strongest track on Roy Buchanan is "The Messiah Will Come Again." 

This song opens with Buchanan's mumbled spoken word intro over quiet organ and then yields to spine-tingling, sorrow-laden Telecaster that cries and screams in existential torment before giving way in turn to percussive flurries that make less sense as melodic improvisation than as cries of passion. This is raw guitar playing and music making, not for the faint of heart. Fans of blues or country guitar, or those just curious why Jeff Beck would dedicate "'Cause We've Ended As Lovers" from Blow By Blow to Buchanan, would do themselves a favor by picking up this album.

Roy Buchanan, Amazing Grace Club
Evanston, IL
December 14 1974

01. Done Your Daddy Dirty  07:02
02. Reelin´ And Rockin´  02:15
03. Hot Cha  04:58
04. Delta Woman Blues 08:00
05. Can I Change My Mind  06:44
06. Hey Joe & Foxy Lady  07:50
07. Johnnie B. Goode  03:45
08. Further On Up The Road  02:37
09. I'm Evil  06:07
10. I Hear You Knockin'  02:43
11. Sweet Dreams  05:14

1. Link
or
2. Link
.

Roy Buchanan - In The Beginning Album Advertise 1974

Gary Ogan & Bill Lamb - Portland (Great Folkrock US 1972)

Size: 79.5 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

He year was 1971 and Elektra Records A&R man, producer, and artist, Marlin Greene, had flown to Portland to hear a promising new band called, The Portland Zoo. Although this band of Reed College kids was quite popular in The Rose City at the time, and managed to impress Marlin, it was soon discovered they had no original material of their own. Marlin needed to sign an act that brought along their own songs.

Lucky for me because Greg Branson, who was hosting Marlin’s visit to Portland, also knew about two local kids fresh out of a highscool who actually did have their own songs. He quickly phoned Bill Lamb and myself to ask if we were interested in auditioning for Eleckta Records. We hussled our butts down to the old Russion Embassy headquarters which was doubling as local country radio station KUPL and an 8-track recording facility called, REX, which stills operates in Portland today.

We sat and traded a few songs with Marlin, who was impressed enough to eventually sign us on to record our first album that he co-produced with Branson.

The rest is rock n’ roll history, and Marlin has remained a very dear friend.

Most people don't recognize the name Gary Ogan although he's shared the stage with many superstars. He's a mainstay of the Portland music scene. Inspired by the Beatles, he developed his talents early with his high-school basement band. Just after graduation he recorded for his first major record label. But despite his association with the likes of Leon Russell and Michael McDonald, he's spurned the short cut to fame, choosing instead to stay true to his music.

As a veteran of 35 years in the music business, and CEO / manager of the new Portland, Oregon based music conglomerate, Sound Ground, Gary maintains a youthful enthusiasm in his quest for new music and fresh projects. From his first major label release on Elektra Records in 1972, called Portland, Gary has created an ever-evolving world of activity. Moving to Los Angeles in 1977 to sign with Leon Russell’s Paradise Records on the Warner Brothers label, Gary released his first self-titled album that year, co-produced with Russell. He also co-produced Leon and Mary Russell’s duet album, Make Love to the Music, and toured the U.S. extensively with them, including shows at Radio City Music Hall and the Universal Amphitheater.

A close cousin to the first album by Aztec Two-Step from 1972, this is one of those classic records that has continued to escape almost everyone. As a fan of this album from day one I can tell you that it deserved to remain in my list of favorite albums even though the original mastering was not quite on par with so many of my other cherished records from that era.

01. Send It Over 3:24
02. Reborn 3:33
03. Portland Rain 2:30
04. Love Lost Lady 3:01
05. Everything You Knew 1:53
06. Kac 2:25
07. Our Sweet Love 3:14
08. Just for Awhile 3:53
09. Ogan Tea 3:00
10. You Make Me Love You 5:05
11. I Wanna Live 4:43

1. Link
or
2. Link
.

Pink Floyd - The Great Gig On The Moon 1972 (Bootleg)

Size: 163 MB
Bitrate: 320
mp3
Found in DC++ World
Artwork Included
Source: Unknown

This is a good performance and great sound quality, audience noise is perfect and not annoying at all,  from a show from before DSOTM was released, you get the old school version here complete with 'On The Run' jam session and also the 'The Mortality Sequence' the place of Great Gig In The Sky.

The original info says this is the best show from 1972, well I have a bunch to go thru but this one is a pretty solid 4/5, mainly let down by a fairly ordinary performance. I think the commentators on the info must not have heard this version before!

The highlights for me are the old style 'On The Run' and 'Careful With That Axe, Eugene' but here are the notable points...

On The Run: This is the jam version, also known as 'The Travel Sequence', that was a part of the live performances before the vcs3 synth inspired musing that it became. I actually think the jam session is nicer to listen to on the whole but I agree with the vcs3 version being on the album for the feeling of paranoia it conveys and over all is a better experience with good quality sound. But I wouldn't have minded if the Floyd had cranked this out occasionally in the 1994 live performances!

Time: The lower register part of the lyrics seem a little off to me, but it isn't too bad ands they lyrics are indeed slight different as mentioned in the original info, ok so I did need to look up the word supine, it basically means to lay on your back for those of you who are interested.

Great Gig In The Sky: The old 'Religious Piece' or 'The Mortality Sequence', an organ solo with some scripture being quoted, I can’t seem to find what the scripture passage is and I am not sure if it changed, the words are not that clear on that recording. I prefer the real version, such a haunting, beautiful tune. I am glad they changed it.

Money: The sound effects are just pretty repetitive, I much prefer the variety on the album and later performances but it doesn't detract from the show at all. Good bass work. also the first solo is a sax solo and he guitar solo is great, got a real nice fuzzy sound.

Us & Them: This is an ok version, it has some vocal flourishes in there I do not care for but it isn't too bad, also one section is Dave wailing for some reason, still getting the kinks worked out.

One Of The Days - Not the best version I ever heard but pretty good, a little low on energy in my opinion, the first half at least, the second half was better. (compare this to the Return of the Sons Of Nothing bootleg which I reviewed earlier this month to see my point.)

Careful With That Axe, Eugene: It is s very toned down version until the screaming, Roger is in fine form, I think this is Roger's unique talent of seeing the big picture and gauging the overall feel of a song brilliantly and knowing how to jerk the listener out of their comfort zone when he wants to. The transition, because of the low key nature of the first section, is terrific. Great version.

Pink Floyd - The Great Gig on the Moon Sapporo Japan, on March 12th, 1972 

01. Speak To Me                     
02. Breathe                         
03. On The Run                                   
04. Time                            
05. The Great Gig In The Sky        
06. Money                          
07. Us And Them I                   
08. Us And Them II
09. 09 - Any Colour You Like             
10. Brain Damage, Eclipse                    
11. One Of These Days               
12. Careful With That Axe,Eugene  
         

1. Link

or

2. Link

.

Pink Floyd - London, Rainbow Theatre 1972 02 17 (Bootleg)

Pink Floyd - France Single (Front) 1973

Size: 97 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included

Rainbow Theatre, London
Music venue: 1960s. One-night concerts were held on the stage in the 1960s, with the building becoming one of the premier music venues in the capital.

It was at this theatre that Jimi Hendrix first burnt a guitar, with the collusion of his manager Chas Chandler and a journalist from NME. Press agent Tony Garland was dispatched to purchase lighter fluid and Jimi proceeded to set fire to his Fender Stratocaster guitar on 31 March 1967 on the opening night of the Walker Brothers tour, resulting in a hospital appointment for Jimi's burnt fingers and a moment that set the precedent for rock performances.[citation needed] Jimi later repeated the stunt at Monterey. Frank Zappa was given the burnt Astoria guitar by ex-Hendrix roadie 'H' at Miami, he had apparently acquired the guitar at some point and was then working for Zappa. When Jimi left the stage at The Finsbury Astoria, the guitar was intact apart from burns. The guitar handed to Frank Zappa in Miami was also intact, but the neck was removed later and ended up badly rotted after years left exposed to damp at Zappa's house.

The Beach Boys' album, Live In London, was recorded here in 1968.

Pink Floyd - France Single (Back) 1973

Music venue: 1970s-80s. Renamed "Odeon" on 17 November 1970, the theatre was closed by the Rank Organisation on 25 September 1971 with Bill Travers in Gorgo and Hayley Mills in Twisted Nerve.

The Odeon was converted into the Rainbow Theatre from 4 November 1971, when The Who performed the first concert in the newly named theatre. The Who later wrote and recorded the song "Long Live Rock", which celebrates the theatre.

Pink Floyd played a four-night stand at the venue during the beginning of their Eclipsed Tour, on which its main set is mostly known as the "pre-Dark Side Of The Moon" set, from 17–20 February 1972. The last night performance was partially broadcast on BBC Radio. The band also played two benefit concerts at the Rainbow on 4 November 1973 for Robert Wyatt, who had been recently paralyzed from a fall.


Yes filmed their concerts on 15 and 16 December 1972 at the Rainbow for the 1975 film release Yessongs. These are not necessarily the same recordings used for the triple live album Yessongs which was recorded from February through December 1972 and released in 1973. However, the two performances that are the same on the album and the film are "Close to the Edge" and "Würm".

June 1, 1974 is date of the collaborative performance at the Rainbow Theatre by Kevin Ayers, John Cale, Nico and Brian Eno. Other well-known musicians, including Mike Oldfield and Robert Wyatt, also contributed to the concert.
Queen recorded a concert at the Rainbow on 19th and 20th November 1974 called Live At The Rainbow; released on VHS in 1992 box set called: Box Of Tricks. 

Genesis performed many times at the Rainbow over their career. Their concert of 20 October 1973 was recorded and released as Live at the Rainbow Theatre. The concert recording was included on the first Genesis Archive set, released in 1998.

The Sweet also appeared at the Rainbow Theatre on 21 December 1973 and subsequently released a live album called Live At The Rainbow 1973.

Eric Clapton recorded a concert there in January 1973. Featured artists who played with him were Pete Townshend, Stevie Winwood, Ron Wood, Rich Grech, Jim Capaldi, Jimmy Karstein & Rebop.

Van Morrison performed two nights at this venue in July 1973, with his band at the time The Caledonia Soul Orchestra. The second of the performances was broadcast in May 1974, as the first ever simultaneous broadcast, on BBC 2 and Radio 2. The concert was voted by Q magazine readers as one of the top live performances of all time.

Pink Floyd - Money Single 1973 (Country Unknown)

Several of the songs featured in the two concerts were included in Morrison's 1974 double live album It's Too Late to Stop Now.

Kool & the Gang recorded three live tracks at the Rainbow for their Love & Understanding album, released in 1976.
In 1977, the Ramones played two gigs at the venue, on 31 December and 1 January 1978. The New Year's Eve concert was recorded and released as the It's Alive album.

On 1–4 August 1977 Little Feat played 4 nights there, with the Tower of Power horn section. The concerts were recorded and some material was later released on Waiting for Columbus. Mick Taylor was guest guitarist on the third night and played on two songs, "A Apolitical Blues" & "Teenage Nervous Breakdown".

Bob Marley & the Wailers played on 1, 2, 3 and 4 June 1977 at The Rainbow Theatre, as part of the Exodus Tour. The last show of the tour was released as the album Bob Marley and the Wailers Live! at the Rainbow. Thanks largely to this album Bob Marley was established as the Third World's first superstar
, a legacy that survives thirty years after the album's release. In the UK alone it stayed on the chart for 56 consecutive weeks and birthed 3 hit singles. In July 1991 a video documentary, Bob Marley and the Wailers: Live! At the Rainbow directed by Keef,[9] was released in the UK. On 16 October 2001 Tuff Gong released five songs from the 4th of June 1977 Rainbow Theatre performance on disc two of Exodus (Deluxe Edition).

Thin Lizzy recorded part of their Live and Dangerous album at the Rainbow in 1977. Classic Rock magazine readers voted it the best live rock album of all time.

About the song "Money": 
"Money" is a track from English progressive rock band Pink Floyd's 1973 album The Dark Side of the Moon. Written by Roger Waters, it opened side two of the original vinyl LP, and is the only song on the album to enter the top 20 on the Billboard Hot 100. "Money" is noted for its unusual 7/4–4/4 time signature, and the tape loop of money-related sound effects that opens the song.

Roger Waters and David Gilmour stated that the song had been composed primarily in 7/8 time; it was composed in 7/4,according to Gilmour in an interview with Guitar World magazine in 1993.

The song changes to 4/4 time for an extended guitar solo. The first of three choruses which comprise the solo was recorded using real-time double tracking. Gilmour played the chorus nearly identically in two passes recorded to two different tracks of a multi-track tape machine. The second chorus is a single guitar. The doubled effect for the third chorus was created using automatic (or "artificial") double-tracking (ADT).

Open picture in a NEW window for bigger size

One of Gilmour's ideas for the solo section was that, for the second chorus of the solo, all reverb and echo effects would be completely off (referred to as "dry"), creating the sense of just four musicians playing in a small room. For this "dry" chorus, all musicians played softly and subtly, with Gilmour's solo, now one single guitar, playing very sparsely. Then, for the third chorus, the dynamics would suddenly rise, with heavy use of reverb and echo (a "wet" sound), additional rhythm-guitar parts in the background, and the drums becoming heavy and almost chaotic.

The form and chord progression are based on the standard twelve-bar blues in the key of B minor, with the vocal melody and nearly all of Gilmour's soloing based on the pentatonic and blues scales.[7] Two twelve-bar verses are followed by a twenty-bar instrumental section that features a blues-style tenor saxophone solo (played by Dick Parry) along with keyboard, bass and drums and a further two-bar intro in 4/4 leading to the guitar solo, which is structured like a twelve-bar blues, but doubled to a twenty-four-bar length.

The lyrics are briefly referenced in the film Pink Floyd The Wall, when the protagonist, Pink, is caught writing poems in class by his teacher. The teacher snatches the poem from him and reads it in a very sarcastic, demeaning manner, practically encouraging Pink's classmates to laugh. The poem is a verse of lyrics to "Money".

The demo tracks for the song, including some of the sound effects, were recorded in a makeshift recording studio Roger Waters had in his garden shed.

 As recorded by the band, the song has a bluesy, Transatlantic feel, unlike Waters' original demo version, which he later described as "prissy and very English". As heard on Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon, the demo is in G-sharp minor, as opposed to the B minor of the final version.

The instrumental jam was a collaborative effort, with Gilmour overseeing the time change as well as his own guitar and vocal work, and Richard Wright and Nick Mason improvising their own parts. Dick Parry contributed the tenor saxophone solo that precedes the guitar solo. Gilmour's input is also discernible in the final mix, which features contrasting "wet" sections, with thick reverb and delay effects, and "dry" sections. In particular, during the second chorus of the guitar solo, all the reverb and delay effects are suddenly pulled out, creating a much smaller and more intimate virtual space. To produce the distinctive piercing high notes that distinguish the final chorus of his solo, Gilmour played a customized Lewis guitar with twenty-four frets, allowing a full four-octave range.

Open picture in a NEW window for bigger size

One of the most distinctive elements of "Money" is the rhythmic sequence of sound effects that begins the track and is heard throughout the first several bars. This was created by splicing together recordings Waters had made of clinking coins, a ringing cash register, tearing paper, a clicking counting machine and other items to construct a seven-beat effects loop.[2][10] It was later adapted to four tracks in order to create a "walk around the room" effect in the quadraphonic mix of Dark Side of the Moon.

In the video Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon, engineer Alan Parsons described the recording of the band's initial backing track for the song: They used the sound-effect tape loop as a sort of metronome, but Parsons gradually faded out the loop before the vocals started. As the song progressed, the band gradually sped up, yet later, between the second verse and the saxophone solo, Parsons briefly raised up the volume of the effects loop, and just by coincidence, it turned out to fit the beat. After this point, the loop is not heard again.

From 1972-75, "Money" was a regular feature of the band's Dark Side of the Moon set, and it was routinely performed as an encore during the band's 1977 tour. These later performances would typically last as long as twelve minutes. From 1987-90, the band performed the song during tours supporting A Momentary Lapse of Reason, their first album without Waters, who had left the band in December 1985. In 1994 the band performed the song during tours supporting The Division Bell, their second album without Waters. An extended version of the song, again lasting up to twelve minutes, was regularly performed during Gilmour's 1984 US tour in support of his solo album About Face.

Waters has also regularly included it on his solo tours. For his tour supporting The Pros and Cons of Hitch Hiking, he sang the lead vocals himself. For his Radio K.A.O.S. tour, guest vocalist and keyboardist Paul Carrack sung the lead. For his In the Flesh tour, it was sung by Doyle Bramhall II. For The Dark Side of the Moon Live, it was sung by Dave Kilminster. "Money" was also performed by Waters at Live Earth's Concert at Giants Stadium on 7 July 2007.

"Money" was performed during Pink Floyd's reunion show, for which Waters rejoined the band (after more than two decades), at the Live 8 concert in London in 2005, along with "Breathe" (including the reprise that follows "Time"), "Wish You Were Here" and "Comfortably Numb". Unusually for a live Pink Floyd performance, at Live 8 the band kept the song's solo to three choruses, as it is on the album.

Pink Floyd
London, Rainbow theatre
February 17, 1972

♣ David Gilmour (Guitar, Vocals)
♣ Nick Mason (Drums)
♣ Richard Wright (Keyboards)
♣ Roger Waters (Bass Guitar, Vocals)

01. Breathe 02.59
02. On The Run (variation) 06.26
03. Time, A Great Gig In The Sky (variation) 11.27
04. A Great Gig In The Sky (variation) Money 08.55 
05. Us And Them 02.33
06. Any Colour You Like 4.43
07. Brain Damage 03.57
08. Eclipse 01.22

1. Link
or
2. Link
.

Not to be missed: John Compton - To Luna (Very Good Rock Album US 1973)

Size: 136 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Singer, songwriter, and guitarist John Parker Compton co-founded the acoustic band APPALOOSA with violinist Robin Batteau in the late '60s. Both musicians had been heavily influenced by the folk scene in their hometown, Cambridge, MA. Compton got his start singing in a Cambridge church choir before he and Batteau began playing the coffeehouse circuit together.

As the 1972 press release for Compton's solo album, To Luna, tells it, John Compton showed up at producer Al Kooper's Columbia Records office in late 1968, hoping to show Kooper his songs. Uninterested, Kooper told the kid (Compton was 18) to come back some other time. But a little while later, Kooper came in on Compton and Batteau performing for the office secretaries. Won over, Kooper recorded their demo, and within a year the newly signed musicians had an album out, the self-titled debut from their group Appaloosa. Also including bassist David Reiser and cellist Eugene Rosov, Appaloosa was joined in the studios by members of Blood, Sweat & Tears, and by Kooper himself.

A year after Appaloosa's 1969 release (which was produced by Al Kooper) on Columbia Records, a 19-year-old John Compton got to take the stage at Fillmore East the last weekend of December, along with the Allman Brothers, and Blood, Sweat, and Tears. Appaloosa soon gave way to a duo project of Compton & Batteau, and the two musicians recorded Compton & Batteau in California for Columbia. By 1971, Compton was on his own with a new LP, To Luna, but after this, it would be over 20 years before he returned to the studios. His return was marked by 1995's Mother of Mercy, which was followed by a six-song self-released recording of Compton on a Vermont radio station.

John Compton interview by Nick Warburton: "John Parker Compton talks to Nick Warburton about Appaloosa, Compton & Batteau and his early solo career."

Am I right that you are a native of Boston? Tell me about your early musical influences and what prompted you to take up the guitar and write such brilliantly observational songs?

I grew up in Cambridge, MA across the river from Boston. It was a ten-minute walk from my house to Harvard Square and the infamous Club 47. As a young and impressionable teenager I got to see many great performers like Joan Baez, Tim Hardin, Paul Butterfield Blues Band, Richard & Mimi Farina, and Jim Kweskin Jug Band. Club 47 was a small and intimate club and all these shows were mind blowing. Boston also had some fantastic folk clubs at the bottom of Beacon Hill, like the Sword in the Stone Coffeehouse and the Turk’s Head Coffeehouse and also two great jazz and blues clubs on Newbury Street called Paul’s Mall and the Jazz Workshop that featured acts like Chuck Berry, Pharoah Sanders, John Hammond and Mose Alison.

The Beatles’ “Michelle” was a worldwide hit in 1964 and it really made a huge impression on me and helped me to understand that the violin and guitar should be right next to the singer in the mix. Gordon Lightfoot’s “If You Could Read My Mind” and Donovan’s “Jennifer Juniper” really set the stage for the era of mellow folk rock. The two records that had the most influence on me at that time and still today are the amazing Tim Hardin I and Tim Hardin II recordings. The production is so beautiful and Tim’s poetry and vocal delivery are just too much. I used to listen to these records non-stop. I’ll never forget the first time I heard Tim Hardin’s “Misty Roses” on the radio late one night. It totally blew my mind. Tim Hardin I & II are un-like any other records except for George Moustaki’s French masterpiece recorded in 1969 that features his hit songs “Il Est Trop Tard” and “Ma Solitude” that my wife introduced me to.

What prompted me to take up the guitar was listening to the delicate double-octave guitar style of Peter, Paul & Mary, where one guitar is playing in C and the second guitar is playing in G with a capo on the 6th fret creating a rich harmonic symphony. After hearing their music I quickly ended my classical guitar lessons and moved over to folk music.

When I was sixteen I attended a small boarding school in farm country in upstate New York and was fortunate to have a great English teacher who taught poetry brilliantly. I wrote the lyrics to “Tulu Rogers” and “Pascal’s Paradox” first as poems for a poetry homework assignment and soon turned them into songs.

You began playing as a solo artist in folk clubs in Boston when you were only seventeen. I believe you ran into Van Morrison during 1968 when you were only a year older and he critiqued your early songs. That must have been quite an experience?

Paul McNeil who I will always think of as the “Gordon Lightfoot of New England” helped me get my first job at the Sword in the Stone Coffeehouse and from there at the tender age of seventeen I started playing the folk circuit as a solo performer.

I remember in 12th grade coming home for vacation from boarding school and hearing that Van Morrison had just moved to Cambridge. I didn’t believe it at first. Then I heard that my friend John Sheldon who was 16 at the time was playing lead guitar in Van’s new band! This was just too much and sounded like some unreal movie plot. I didn’t believe it until a second friend confirmed the story.

One evening I rode my bicycle over to John’s parents house and lo and behold, as I walked into John’s basement there was Van Morrison singing “Rosie” backed by an electric trio. The intensity and power of Van’s vocal delivery was incredible. It knocked me out. After attending Van’s rehearsals, I got up the courage to walk up to and talk to Van and ask him if I could play one of my songs for him sometime. Much to my amazement Van replied in his thick accent, “Sure, stop by his house sometime.”

Standing on Van’s porch a few weeks later, excited and nervous, I rang his doorbell. Van’s wife Janet Planet opened the door and invited me in and showed me into their kitchen as Van’s children ran around their small house. Van came downstairs and I handed him a reel-to-reel tape of my recordings and he threaded them onto a Wollensak tape recorder sitting on his kitchen table. He listened to my song “Subway” and a few others and then he replied, “I like your songs.” That was a meeting that I will always cherish.

In 1975, I tracked down Van’s production company in England and sent him an “Appaloosa” LP and the Compton & Batteau “In California” LP. A year later, Van played a concert at the Harvard Square Theater in Cambridge and I ran into him walking in front of the theater just before his concert. I asked Van if he ever received the LPs that I sent to him, to which he replied in his strong accent, “Yeah John, thanks, I put them on cassette.” I couldn’t believe it.

Soon after this encounter, you started working with David Batteau, who introduced you to his brother Robin, a violin virtuoso. What were your first impressions of your soon-to-be collaborator and what attracted you to him in terms of working together?

David Batteau and I were former schoolmates, so one day I invited David (who later wrote many hit songs like Robert Palmer’s “Addicted to Love” and a great song called “Tell Her She’s Lovely”) to play cello at one of my early gigs in Boston. One afternoon while practicing at David’s house his brother Robin walked in with his violin and it just clicked. Robin intuitively played each song perfectly the first time, after only listening to it for a minute.

One weekend I invited Robin to a gig that I played every Sunday afternoon at Christ Church’s Outdoor Concerts Series hosted by Bob Gordon on the Cambridge Common. We were the only acoustic folk act and people liked us. From that point on we performed there every weekend during the next two summers.

One of your shows as a duo – a gig at the Turk’s Head Coffeehouse – was captured on tape and released by MC Records in 2006. How did they stumble across the tapes?

I found the tapes a few years ago and sent them to Audio-Resorations.com – not knowing how many songs were on them. The tapes had been in storage for 35 years but amazingly they sounded fine. The recordings really highlight Robin’s unique violin live performance style. I released the songs on my VMC label. (I highly recommend Mark Lyons at Audio-Restorations.com. He does an incredible job restoring tapes and also transferring LPs to CD).

Among the seven tracks from this show are a couple of songs – “Subway” and “Green Brown Sound” – that were not used by your subsequent project, Appaloosa. How come?

When we first met Al Kooper, he booked a demo recording session at Columbia Studios and we recorded twenty-two songs. Al picked eleven of the twenty-two songs for our LP.

The remainder of the tracks on the VMC CD “John Parker Compton – Live at the Turk’s Head Coffeehouse” were sourced from a recording at WHRB studios in Cambridge and a home reel-to-reel tape machine. Tell me about these recordings because once again there are a handful of songs that you didn’t revisit such as “Loving Her Makes Today” and “We Can Forget.”

It was customary after playing a radio show in those days to get a reel-to-reel tape of the radio broadcast. The home recordings were done at boarding school and at Robin’s house on a Wollensak tape recorder.

It’s fascinating listening to these live recordings because the songs that turned up on the Appaloosa album sound pretty well formed and this was only months away from you demoing them for Al Kooper. Can you reveal some of the inspirations behind these songs?

Robin and I had played the songs at coffeehouses for about a year before we recorded “Appaloosa.” I wrote most of the songs for “Appaloosa” for my girlfriend at boarding school. The inspiration for “Pascal’s Paradox” came about in a chemistry class while having the theory of Pascal’s Paradox explained and drawn on the blackboard. I wrote “Thoughts of Polly” for my stepbrother’s girlfriend and soon to be wife Polly. The song is in open D tuning. ”Rosalie” is another girlfriend song and in open G tuning. The song “Glossolalia” came about in a funny way. We got a gig a Gordon College in a town north of Boston. We didn’t know until we arrived at the college that it was a religious institution. Our concert was held in the college chapel and while standing on the steps of the stone church waiting to go in, I noticed a service schedule on the side of the door that mentioned the word “Glossolalia.” I had never seen the word before but I liked the way it sounded and used it for a girl’s name.

How did you meet the other musicians that made up Appaloosa and where did the name come from?

David Reiser and I were former schoolmates. Eugene Rosov was easy to find: he was living at the Batteau’s house and going to Harvard and rounded out our sound perfectly. Prior to recording our “Appaloosa” LP, Robin and I recorded two of my songs, “Rosalie” and “Downtown Row” at Intermedia Sound in Boston. It was a beautiful studio. We asked David to play Fender bass for the session. David was only 16 but a real pro bassist and played with several bands at many of Boston’s jazz clubs. The recording session went so well that the owner of the studio offered to print us a hundred 45s. I remember that we got them added to some jukeboxes at various locations around town. David suggested the name “Appaloosa” for the band.

Can you tell me about the recording of Appaloosa’s album? Did you record as a band and then Al Kooper brought in members of Blood, Sweat & Tears and other side players to complete the tracks or did you record together?

We recorded all of the songs as a live band, doing several takes and picking the best one. Bobby Columby (BS&T drummer) recorded with us on songs like “Feathers”, “Yesterday’s Roads”, “Rosalie” “Thoughts of Polly” and “Georgia Street.” It was such a thrill to watch Bobby play in his theatrical drumming style. Bobby’s timing was always perfect and he really put his heart and soul into each song. He was a super funny guy and also telling us jokes in between sessions and this really helped relax us since it was our first time in New York.

Fred Lipsius added the great saxophone part on “Thoughts of Polly” as an add-on track. He recorded it in the control as we all sat there and then Al said, “Let’s play the saxophone track backwards”. That’s why his part sounds so mysterious.

We recorded “Now That I Want You” and “Bi-Weekly” live in CBS’ larger studio in the center of Manhattan with a horn section. Al brought in Charlie Calello (Laura Nyro’s producer/arranger) to do the horn arrangements. Al also asked Laura Nyro’s guitar player to the session and he added the nice Glen Campbell-ish lead guitar on “Bi-Weekly.” Kooper was also super kind to us. I remember one evening he invited us to apartment to meet his wife and they both made us popcorn.

“Now That I Want You” screamed to be released as a single and I am sure would have been a hit. How well do you think the label promoted you as an act and got behind the album?

“Now That I Want You” was our signature song at live shows. Robin’s violin lead allows wowed the audience and me everytime. His double-string violin technique is really something else. I fondly remember how Clive Davis, Columbia’s president at the time, was such a gentleman to us and was super-friendly and supportive. Unfortunately, we didn’t have a manager so we had no one to talk to Columbia. We were just teenagers and so naive and amazed to be in a big city.

Are there any memorable live dates from this period that you performed as a group?

Playing the Filmore East was exciting. We opened for the Allman Brothers. I remember Gregg Allman saying to us when we walked past their dressing room, “Hey, where are your groupies?” and Eugene Rosov our cellist held up and pointed to a book by Francis Bacon that he was carrying from one of his courses at Harvard. I’d love to find a tape of that show. We also opened for the Young Rascals at Harvard Stadium on a beautiful autumn day and we opened for Van Morrison in Boston. Earlier, in 1968, Robin and I opened for Tim Hardin for his weeklong gig at the Jazz Workshop. I was scared to meet Tim Hardin in person, having personally seen him when I was younger throw a glass ashtray at someone in the audience after he asked everyone to be quiet. But Tim Hardin was a gentleman and invited us all out to dinner with him after the concerts.

Appaloosa performed on two television shows, one on PBS Television for Boston and also on “Steve Paul’s Scene” a music show in New York City. I tried unsuccessfully to find the tapes of the broadcasts.

You penned all of the songs for the Appaloosa album. Did the others see it as a democratic band or really your musical baby? What prompted Eugene Rosov and David Reiser to leave?

I came with the songs and Robin, Eugene and David added the arrangements. Eugene Rosov went back to Harvard University and David joined a jazz band.

With the group dead in the water, you and Robin decided to head for California. What made you decide to relocate to the West Coast?

Robin’s wife at the time was attending one of the Pomona College’s outside of Los Angeles so I convinced a friend of mine to drive out to California and visit them. As soon as we arrived, Robin and I drove into Hollywood and met an A&R guy at Columbia named Eddie Mathews and he signed us to do our second Columbia record.

Like “Appaloosa” I am a huge fan of Compton and Batteau’s “In California”. Even though you dominate the songwriting, it seems to be more of a partnership with Robin now singing and writing a couple of tracks, one of which I believe was issued as a single.

Robin asked to add two songs. Robin’s song “California” is a great song and really has an AM radio vibe. The song was released as a single.

How did the “In California” album come about? Did you write the songs for it once you’d got out to Los Angeles or were some written prior to moving?

We got signed to Columbia the first week I arrived and we immediately started working with our producer Abner Spector (no relation to Phil Spector). I wrote some of the songs prior to the trip west and rest of the songs in California while living there.

The support group features keyboard player Bill Elliott who also turns up on your debut solo album. How did you find him?

Bill grew up in a town next to Cambridge where I lived. The first time I heard Bill play was with Lorin Rowan and I was knocked out. He’s like a modern day Mozart and really looked the part back then. So I called Bill and invited him out to record with us in California. Bill is one of the most gifted keyboard players I know. He’s right up there with Al Kooper. Like Robin, Bill only needs to hear a song once and he already knows it perfectly. Bill’s piano playing adds so much to my songs. I remember we went to a musical rental store and rented a harpsichord for my song “Essa Vanessa.” And of course the studio was well stocked with beautiful grand pianos and Hammond B3 organs. I miss those days when you had to spend an hour setting up the microphones around a piano. Now pianos are recorded using computer chips.

John Compton 1972

Who was responsible for bringing in Poco members Jim Messina and Rusty Young and Rick Nelson sidemen Randy Meisner and Pat Shanahan? What do you think these musicians added compared to the musicians that Al drafted in on the Appaloosa album?

Poco was recording in the studio across the hall from us at CBS in Hollywood. One day in between sessions I saw Jim Messina sitting playing electric guitar wearing bright red cowboy boots. What a thrill to have Jim offer to record with us. His lead guitar work on “Honeysuckle” is so upbeat. And having Randy and Pat record live with us on songs like “Homesick Kid” was a dream come true. We recorded the songs as a live band.


Did you go out and play any live gigs as a duo once you hit the West Coast? Any notable shows?

We played at the University of Ohio for a week and recorded all the shows. I had the tapes for years but one day they disappeared. We also performed at the Anti-Vietnam War Concert in Washington, D.C. in 1971 to a crowd of 50,000 people and the following day to a similar crowd at an outdoor concert in Boston at the Boston Commons.

Am I right that while you were recording “In California”, Sly & The Family Stone were recording next door?

Yes. Everyday we would see Sly arriving in his Winnebego mobile home wearing these knee-high fur boots. It was quite a sight. One of my all-time favorite records is Sly & the Family Stone’s masterpiece “Fresh.” What an amazing record.

There are some absolutely brilliant songs on this record like “Laughter Turns to Blue”, “Proposition” and “Homesick Kid” – what prompted you to write this new batch of material?

“Laughter Turns to Blue” was inspired by the great lyric imagery in the Christmas song “Good King Wenceslas.” I wrote “Propositions” as my response to the U.S. army draft and being ordered down the U.S. Army barracks in Boston to take a physical. Living through the days of the Vietnam War was so intense. I wrote the song because at least I lived. I wrote “Homesick Kid” for a girl that I met in Berkley, CA.

There was a three-year gap between “In California” and “To Luna”. How did you keep yourself busy?

I bought a farm built outside of Cambridge and played at various clubs in the area.

I always think your image on the cover of “To Luna” reminds me of Beck twenty years later. Where was that shot taken?

A photographer named Frank Siteman (www.franksiteman.com) who was a friend of Robin’s and mine offered to take the album cover for the “To Luna” LP. I showed up at Frank’s place having no idea what to expect for the photo session. We drove out to a nearby beach where Frank took the album cover photo with the lunar-looking landscape. The Muslim clothing that he brought for the session adds a unique look. Frank also took the B&W photos that I feature on my You Tube video for “Feathers” (Live at the Turk’s Head Coffeehouse) on www.youtube.com/appaloosa1969.

“Polinate The Blue” ventures into new territory for you – a sort of bluesy, funk stew. Did you feel as a solo artist you were freed up to experiment in a heavier material?

That song and also the songs “Lookout”, “Maker” and “Ona Find Me Home” are the result of me listening to a record that really influenced me: Dr. John’s Cajun-stew funk classic recording “Dr. John the Night Tripper.” Gris-Gris Gumbo Yah! (I later used the female back up singers influence on my second solo recording “Mother of Mercy” CD in 1995.) Dr. John’s grumbly lead vocal set against the female back up singers and wild percussion and lead guitar creates such an incredible atmosphere. I wonder if his classic song “Walk On Guilded Splinters” has ever been used as a movie picture soundtrack?

Harvey Brooks and Billy Mundi were regulars up in Bearsville but where did Roland Dufault, who adds some sparkingly lead guitar, David Mowry and Stu come from?

First, I want to say that recording with Harvey Brooks and Billy Mundi was an unbelievable experience. They were like a high performance engine in the studio. Roland Dufault went to my boarding school in upstate New York. I met David Mowry at the Cambridge Common concerts. David’s vocal delivery in those days sounded exactly like Richie Havens. When you were walking up to the concert from a distance you would swear that it was Richie Havens singing on stage. David plays guitar like an acoustic Carlos Santana and is an incredible live performer. Both Roland and David really added a great vibe to my “To Luna” LP.


How did you get to record up at Bearsville, most famous being the Band’s home patch?

It was a fluke. Robin and I were driving somewhere and Robin’s VW broke down just outside of Woodstock, NY on a cold winter night. I worked on the engine in the cold but there was one part that wouldn’t budge. We hitchhiked into Woodstock and we ended up at a bar named the Bear Cafe. We had our instruments with us and someone yelled out, “Hey, play us a song!” Peter Edminston was in the audience and called me a year later and offered to produce my “To Luna” LP.

What is the intriguingly titled “Leave My Casos in Laos” about?

It’s about the insane wars that America waged in Southeast Asia in the late 1960s and early 1970s. I wrote the song in the spirit of someone who had been drafted into the army and killed in action and who left a note saying that they would like to be buried in the foreign land.

My personal favorite on the album is the hypnotic “Shortlands” which features Bill Elliot, first heard on “In California” providing some heart rendering piano work. What inspired this song?

I wrote the song about my girlfriend at the time, as a way to say that we had plenty but in actually we had nothing. The guitar is a variation of an open D tuning. I was planning to record the song with just vocal and acoustic guitar.

After playing the song once in the studio, Bill Elliott said over the studio intercom system, “Hey John, I’d like to come in and try something.” Mark Harmon our engineer miked the grand piano with stereo microphones to get the full rich piano sound. We recorded the song in a few takes. Bill’s piano playing really is theatrical.

“Verandas” harks back to Appaloosa and Compton and Batteau in style. Was this an old song that you rediscovered? It has a really beautiful feel about it. 

[Source: www.garagehangover.com/johncompton/]

01. Colano Sound  3:59
02. Short Lands  3:56
03. Lookout  4:25
04. Verandas  3:41
05. Maker  5:50
06. Polinate The Blues  4:29
07. Yorkshire Pines  4:30
08. Hot Cross Buns  2:39
09. Ona Find Me Home  4:49
10. Leave My Casos In Laos  5:14

Bonus Tracks
11. Bob Dylan's Cap  6:42
12. I Like It  3:19
13. The City Looks So Big  2:46
14. Spaceride  2:53
15. Sally Go 'Round The Roses  3:30

1. Link
or
2. Link
.