The Romantics - Seattle Washington 1984-07-20 (Bootleg)

The Romantics - US Single 1977

Size: 159 MB
Bitrate: 320
Found in DC+ World
Some Artwork

The Romantics is an American new wave band from Detroit, Michigan, formed in 1977. The band adopted the name "The Romantics" because they formed on Valentine's Day, 1977. The Romantics achieved popularity in the United States, Canada, parts of Asia, Australia, Europe, and Latin America during the first half of the 1980s on the strength of the band's songs and music videos. They were influenced by 1950s American rock and roll and 1960s American garage rock as well as British Invasion music.

The Romantics' original lineup consisted of lead vocalist, rhythm guitarist, and harmonicist Wally Palmar, lead guitarist and backing vocalist Mike Skill, bassist and backing vocalist Rich Cole, and drummer and lead vocalist Jimmy Marinos. All four band members made songwriting contributions to the group, but Palmar and Skill were considered the band's primary tunesmiths. After a few years of playing local and regional gigs in Detroit and the Midwest, this lineup of the Romantics recorded the band's self-titled debut album for Nemperor Records in 1980 with British producer Pete Solley. The group's true record debut was the 1978 single on Spider Records, "Little White Lies" / "I Can't Tell You Anything", followed that year by the Bomp single "Tell It to Carrie" / "First in Line" (on the Bomp! Records label). All of these were re-recorded later for the first LP.

The album yielded the hit "What I Like About You," which reached No. 49 in the US, No. 12 in the Netherlands, and No. 2 in Australia, where the band was especially popular.

Mike Skill left the band after the release of its second album, National Breakout, in 1981. He was replaced by lead guitarist Coz Canler. This lineup of the band recorded the album Strictly Personal in 1982, before Rich Cole left the band that year and was replaced by a returning Skill, who then became the band's bassist.

The Romantics - German EP 1984

The Romantics achieved their greatest commercial success in 1983/84 with the release of the album In Heat. The first single taken from In Heat, "Talking In Your Sleep", rose to No. 3 on the Billboard Hot 100 chart and spent two weeks at No. 1 on the Hot Dance Club Play chart. It was also a big international hit (No. 2 Canada, No. 14 Australia, No. 18 Germany, No. 20 Netherlands, No. 15 South Africa, No. 5 Sweden, No. 20 Switzerland, etc.). A second single, "One In A Million", peaked at No. 37 during the following year. The Romantics' music videos were frequently shown on the cable television network MTV during this period, solidifying the band's popularity. Also during 1983, the Romantics played well-received U.S. and international concert tours in support of In Heat, and appeared on such pop music-themed television shows as Solid Gold, American Bandstand, and Soul Train.

In 1984, drummer Jimmy Marinos left the Romantics, and he was replaced by David Petratos, who would serve as the band's drummer until 1990. This lineup recorded one album, Rhythm Romance, in 1985. Detroit keyboardist Barry Warner was also added to the band for the following 1985–1986 tour.

In the late 1980s, the Romantics discovered that their managers had been misappropriating the profits earned by the band from its hit records and live performances. Additionally, the Romantics' best known song (the aforementioned "What I Like About You") had been licensed for use in television commercials without the band's knowledge or approval. Consequently, the Romantics filed a lawsuit against their management in 1987, and the legalities involved prevented the band from recording new music until the mid-1990s.

Former Blondie drummer Clem Burke replaced David Petratos as the Romantics' drummer in 1990. For much of the 1990s, the Romantics played obscure performances in small venues, largely forgotten and out of the public spotlight.

The Romantics' fortunes began to rise again in the middle of the 1990s, as the band's success in its lawsuit against its former management freed the band to record again (and ensured that future earnings from the licensing of Romantics songs would go to the band). The first fruit of the band's new recording activity was the 1993 EP Made In Detroit. Several Romantics greatest hits packages were issued during the 1990s, as was the live album The King Biscuit Flower Hour Presents: The Romantics Live In Concert, a 1996 release of an October, 1983 recording of a Romantics concert in San Antonio, Texas at the height of the band's popularity.

Jimmy Marinos, the Romantics' original drummer, temporarily returned to the band for a series of performances in 1996-1997 (with Clem Burke returning to the Romantics' drumstool after Marinos departed again), and late 1990s nostalgia for 1980s pop culture caused a minor resurgence of interest in the band. In 2003, twenty years after the release of their most commercially successful album, In Heat, the Romantics released 61/49 – a more roots rock and blues-oriented record than the band's previous efforts. The album was not a great commercial success, but won the Romantics a newfound critical respect that they had not enjoyed during their popular and commercial heyday in the early 1980s. 61/49 also offered proof that despite the band's years out of the public spotlight, the Romantics remain a potent musical unit.

A fourth drummer, Brad Elvis, replaced Clem Burke as the Romantics' regular drummer in 2004 after Burke returned full-time to a reactivated Blondie. Clem Burke continues to perform with The Romantics when Brad Elvis is not available. Most recently, Burke played with The Romantics on March 6, 2010 at the Frisco Art Festival. During the encore, The Romantics were joined by students from The Paul Green School of Rock Music, which was the basis for School of Rock, the 2003 American comedy film from Paramount Pictures, starring Jack Black.

The Romantics continue to play live concerts today (with occasional guest performances by previous members Jimmy Marinos, Rich Cole, Clem Burke and David Petratos). The band is said to currently be working on a follow up to 61/49. [Wikipedia]

THE ROMANTICS - PARAMOUNT THEATER SEATTLE WASHINGTON 1984-07-20 WW1 IN CONCERT FM MASTER LPS FOR AIR 1-1985
(THE R.J.P.MEMORIAL ARCHIVE SERIES # 45)

The Band:
♦ Wally Palmar vocals guitar 
♦ Coz Canler guitar
♦ Mike Skill bass vocals
♦ David Petratos drums

01. Intro 
02. When I Look In Your Eyes
03. Do Me Any Way You Wanna
04. Rock You Up
05. A Night Like This
06. One In A Million
07. Got Me Where You Want Me
08. Talking In Your Sleep
09. Open Up Your Door 
10. Diggin' On You
11. Around And Around
12. She's Got Everything
13. Route 66
14. Get Down Get With It
15. Shake A Tail Feather
16. What I Like About You
17. Little Latin Lupe Lu 
18. Outro

1. Link
or
2. Link
.

The Romantics Promo Picture

The Doors - Isle of Wight Festival 1970-08-29 (Bootleg)

Size: 159 MB
Bitrate: 320
mp3
Found in DC++ World
Artwork Included

Dust out your Doors collection. Finally, from the vault of an anonymous Doors fan, comes a previously unsurfaced audio recording. Consider it a surprise present to Doors fans on Jim Morrison's birthday.

For years, The Doors' performance at the Isle Of Wight has only been available in an edited or incomplete form. The most popular release, "Palace Of Exile," is missing over a minute in the middle of "The End" and the intro to "When The Music's Over" is severly edited. Audience recordings of the show are missing "Roadhouse Blues." Previously on this site someone offered a matrix of the audience and soundboard sources in order to recreate the complete concert in the best quality available. Now for the first time, we have a master DAT source for the COMPLETE Isle Of Wight concert in perfect soundboard quality. At almost 70 minutes total, this is as good as it gets until an official release gets made -- if one is ever made.

This comes direct from the multi-track master recording. Quality is near perfect. The only downside is that the stereo separation isn't very good. It sounds like it's an unmixed copy of the multi-track master. So you'll hear Ray's organ more in the center than it should be and Ray's vocals are mixed way down so you don't hear them at all during "Break On Through" and other songs. (A good thing for some?) Still, I would place the overall quality as better than "Palace Of Exile." Little to no hiss. Bass level is much more reasonable. Sharper sound quality overall.

Now just what did I do to the original recording before posting it here? Thankfully, not much. There were a handful of clicks/pops throughout the recording that I removed individually using Adobe Audition. (The glitch during the announcer's introduction is on the original tape and couldn't be repaired without cutting it down.) I also swapped the channels so that Robby's guitar is in the right channel where it should be. The biggest change I made was balancing the channel levels and bringing everything up. This small change really punched up the sound compared to the original transfer. There was no EQ or other tricky business involved. Sounds pretty damn good, if I do say so myself. If anyone wants the original transfer, I'm open to trades.

One small note: About 4:29 into "The End," the music drops out for about 5 seconds and you only hear Jim's voice. Not sure why, but "Palace" doesn't have this mixing error. Also, regarding the date of this performance: The Doors were scheduled to play on August 29th, Saturday night, but didn't actually get on stage until 2:00am on Sunday morning, August 30th. Hence the date I have listed. (Date information taken from Greg Shaw's book, The Doors On The Road.)

A big thank you to the Doors fan who shared this rare tape. He/She wishes to remain anonymous on this one. I'm merely acting as middleman, and I'm happy to do so.

The 1970 Isle of Wight Festival was held between 26th and 31st August 1970 at East Afton Farm, an area on the western side of the Isle of Wight. It was the last of three consecutive music festivals to take place on the island between 1968 and 1970 and widely acknowledged as the largest musical event of its time, greater than the attendance of Woodstock. Although estimates vary, the Guinness Book of Records estimated that over 600,000 people attended.

The preceding Isle of Wight Festivals had already gained a good reputation in 1968 and 1969 by featuring acts such as Jefferson Airplane, T. Rex, The Move, Pretty Things, Joe Cocker, The Who and Bob Dylan in his first performance since his 1966 motorcycle accident.

The 1970 version, following Woodstock in the previous year, set out to move one step forward and enlisted Jimi Hendrix. With Hendrix confirmed, artists such as Chicago, The Doors, The Who, Joan Baez, and Free willingly took up the chance to play there. The event had a magnificent but impractical site, since the prevailing wind blew the sound sideways across the venue, and the sound system had to be augmented by Pink Floyd's PA. There was a strong, but inconsistent line up, and the logistical nightmare of transporting 600,000 people onto an island with a population of less than 100,000.

Political and logistical difficulties resulted in the organisers eventually realising that the festival would not make a profit and declaring it to be "a free festival", although the majority of the audience had paid for tickets in advance, and the event was filmed contemporaneously. However, at the time, the commercial failings of the festival ensured it would be the last event of its kind on the Isle of Wight for thirty-two years.

The Doors - France Single 1967

The opposition to the proposed 1970 Festival from the residents of the Isle of Wight was much better coordinated than it had been in previous years. The Isle of Wight was a favourite retirement destination of the British well-heeled, and a haven of the yachting set, and many of the traditional residents deplored the huge influx of 'hippies' and 'freaks'. This lead to the introduction of the "Isle of Wight County Council Act 1971" designed to control any further happenings of this kind. Renting a few acres of suitable farmland to hold a music festival had in earlier years been a simple commercial matter between the promoters and one of the local farmers, but by 1970 this had become subject to approval decisions from several local council committees who were heavily lobbied by residents' associations opposing the festival. As a result of this public scrutiny, the preferred ideal location for the third Festival was blocked, and the promoters in the end had no choice but to accept the only venue on offer by the authorities - East Afton Farm, Afton Down, a site that was in many ways deliberately selected to be unsuitable for their purpose. One unintended result of the pick of location was that, since it was overlooked by a large hill, a significant number of people were able to watch the proceedings for free.

Wednesday 26th: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby. 

Thursday 27th: Gary Farr, Supertramp, Andy Roberts Everyone, Howl, Black Widow, Groundhogs, Terry Reid, Gilberto Gil. 

Friday 28th: Fairfield Parlour, Arrival, Lighthouse, Taste, Tony Joe White, Chicago, Family, Procol Harum, The Voices of East Harlem, Cactus. 

Saturday 29th: John Sebastian, Shawn Phillips, Lighthouse, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson Lake and Palmer, The Doors, The Who, Melanie, Sly and the Family Stone. Mungo Jerry were there but decided not to play.Tiny Tim with Islanders Cas Caswell bass & Jack Richards drums. 

Sunday 30th: Good News, Kris Kristofferson, Ralph McTell, Heaven, Free, Donovan, Pentangle, Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens, Hawkwind 

The Doors - Germany Single 1967

A new site 
"The new site will cover three hundred acres and is set up in such a way as to provide people with an entire self-contained community, without infringing on the rights of local inhabitants." Rikki Farr 

The original plan was to hold the Festival at Churchill's Farm, Calbourne, a landlocked site west of Newport, the Island's capital. However, a Select Committee of the County Council found this unsuitable - 'the land is high and is known to be both windy and damp' - but agreed instead to East Afton Farm, Freshwater. 

The new site was situated on a flat plain just off the main Newport-Freshwater road in the heart of the quiet and mysterious West Wight. It was overshadowed by the massive chalk bulk of Afton Down and - further to the west - the granite monument to Alfred, Lord Tennyson, and Tennyson Down itself as it curved away to the Needles, and the sea. 

Ron 'Turner' Smith: 
"Ray Foulk and I spent most of the winter, one or two nights a week, talking about it, designing it, drawing it out - until the plan finally evolved. We went across and saw Mark Woodnutt about a site, to see if the County Council would join with us. I got the impression that Woodnutt wanted a slice of the action; he thought there was good money to be made. 

"Ronnie and Ray joined me over at Woodnutt's house; we had agreed that we were not going to pass any money over to Woodnutt, so he stiffened his opposition. We got a convoy of vehicles to move out to Churchill's Farm where we hoped to pitch our site, when Ray - who had been in County Hall that morning - came steaming down the road to say, "They've blocked us here; we can use a field at Afton Farm." When we saw it, it was obvious they wanted to smash us, because the land was overlooked by Afton Down, and we knew immediately there would be as many people outside as in." 

The Doors Promotional Poster (Wespac, 1969)

An all-star line-up 
By early June, the only acts definitely booked were the Who, Richie Havens, Chicago, Pentangle and Mungo Jerry. The DJs were to be Rikki Farr and 'blond, bespectacled authority on progressive music', Jeff Dexter. 

In early June, another piece of the jigsaw fell into place when Fiery Creations announced that the top attraction at the Festival would be Joan Baez, 'in the same spot that Dylan occupied on the Sunday night last year', and as an exclusive performance - her first for three years in Britain. As her husband was currently in prison in the States for draft evasion, she had refused to appear in her own country since Woodstock. The Doors would headline on Friday, Hendrix would top the bill on Saturday, and two further names had been added to Sunday's bill - John Sebastian and James Taylor. 

Preparing for the masses 


Tickets for the weekend would cost £3. Press Officer Peter Harrigan talked about possible problems, and how they planned to overcome them. 

"This is our third festival. For the first one we brought Jefferson Airplane over. We got 10,000 people and the stage was just the back of two lorries. Last year we had Bob Dylan and something like 150,000 came to see him. We were only expecting 50,000 and to be quite honest the facilities - toilets, catering etc - were strained. We have learned a lot from the past and this year we are planning everything with a figure of 200,000 in mind. If we do get more - and we have carried out surveys; there is a lot of exaggeration with the numbers at pop festivals - there will be relief toilets and things like that ready for use. 

The Doors - Single US 1967

"The fact that we are on an Island will help ease the situation; people won't be able to bring their cars over, so we won't have long jams. Ferries will be running all night and local companies are organising the transport to the actual site. There will be large camping areas all around the arena - 

"We have spent over £100,000 on getting the artists to appear, and about the same on preparing the site. We could have spent less on facilities and made a huge profit, but people would have been disappointed and they wouldn't come again next year. That's not what we want. We want this to become an annual event. We want it to last." 

Meanwhile, Leonard Cohen, Joni Mitchell, the Moody Blues, Family and taste had all now been confirmed, as had been the debut performances of Emerson, Lake And Palmer. 

On July 23 the formal agreement - between the IOW County Council and Fiery Creations - that the Festival could take place was duly signed. 

Ron Smith: 

"It took three or four weeks to build the basic site; we set up a workshop in an old button factory in Middleton, where we constructed fibre-glass loo seats. We had nine diggers on the site, and piped several miles of ditches, as well as a hundred taps and stand-pipes, and over a thousand loos, built over deep trenches. At that time, the water supply for all of Freshwater was restricted to one eight-inch main at the foot of the Down so they tapped some supplies that had been used in the Crimean War on top of Headon Warren and added this to the system, as well as some brackish water which came from Freshwater pumping station. 

"Much to my regret now, we also removed a couple of miles of fences - we fetched in scaffolding from all over the country - and of course we had French, Italian and Spanish anarchists camping there. One night, they decided to break the fence down. I was called to the scene, met their leaders and talked them into a quiet mood, and sent Ronnie for some Mars bars, which I distributed free - and it shut 'em up. 

"The Festival went on. The editor of a leading architects' magazine was overwhelmed by it all. "You're building a small city here!" He devoted that month's main article to the pop festival." 

The thirty-eight acre grass arena was to be completely surrounded by nine inch double walling, between which a ring road would run, allowing shops and other amenity areas to be serviced. There would be complete catering facilities and every type of food and refreshment would be available from over eighty serving areas, including restaurants. Licensed bars would open, on site, from 11am to 11pm. 

Elaborate sanitation arrangements were to include over 1,200 closets, half a mile of urinals and a hundred water points. Litter would be dealt with by using over 2,500 waste-paper sacks daily and a continuous sanitation and disposal service. 

There was to be a special welfare enclosure, a full equipped field hospital, a church tent, a Release ten - for those suffering bad trips - and a police-controlled lost property office. 

Over 300 acres were to be available for camping space, free of charge for people, and marquees for people with no tent of their own. On sale at the site were to be disposable sleeping bags, made of paper and foam rubber. With unconscious humour, it was stated that these had been tested under arctic conditions and should last in the Island climate for at least a week - 

The world's largest festival in the eyes of the parish clerk - the simple world of the Freshwater parish clerk. Here is the sort of man who could report the sinking of the Titanic as displacing a lot of water, and causing needless damage to a perfectly formed iceberg, while worrying about possible improprieties in the mixed lifeboats. 

25 AUGUST 
Every seat and piece of grass 'taken over' by hippies - litter everywhere in the village, a couldn't-care-less attitude by all fans, baskets and bins being completely ignored. Bread in short supply. Buses filled by hippies with no chance for public. Considerable excrement over side of Downs (Mrs A., who reported this, felt and looked quite ill). I had to phone Health Department and ask for it to be disinfected because of the stench. Mrs T. of The Artist reported eighteen brooches missing after two or three hippies had been in her shop. Now a considerable crop of all sorts of inferior trading vans in many parts, leaving considerable litter nearby. Mr F., High Street, reported an indecency outside his shop at 8am. He told those involved that the village was not used to such behaviour and he would send for police if they did not move on. 

26 AUGUST 
Noise - all night Discotecque (sic). 

27 AUGUST 
Took a walk over Afton Down; very few pop fans in the actual arena, but plenty on the hillside. Footpath 28 (Desolation Row) a dreadful looking sight. 

28 AUGUST 
Mr C. reported that in mid-afternoon he saw sexual indecency at a culvert, near side of Afton Manor gate. 

29 AUGUST 
Mrs H. reported that at 10.30pm a stark naked man jumped out and danced in front of her car. 

30 AUGUST 
Reports of extensive nude bathing at Compton Beach: Did Police ignore this sort of thing? Mrs A. witnessed one nude couple who passed her by saying, "There's nothing else left for kicks." 

The arena looked squalid, with large piles of rubbish, tins and so on at various points among the fans; the lower site was oozing and squelching near the water taps and it was a relief to step onto the highway. We had left our son there, and he later went into the Arena for several hours … it was interesting that he too wanted everything washed after he returned home. - Parish Clerk 
My own abiding memory as I set off for home and a warm bath was of watching one poor unfortunate fall into the slit trench which served as a mass open-air commode. That and a great feeling of excitement, exhaustion and fellow feeling. Society was more of a garden, less of a jungle, in those far-off days. May they return. 

The END 
In one of the most honest accounts of the Afton event, T.P. Kelsey stated the view from the arena, a personal summation of what those five days of music meant to those who experienced them, a blueprint for a more hopeful future. 

"And when it was all over and the long files of fans were waiting for their transport back home, I felt most of them must have been proud to have been part of the third Isle of Wight Festival of Music. For the festival provided an alternative society. A society where people forgot their own particular class, creed, race or religion and were able to live together and do the simple things of life on a friendly basis. There's something in that, I'm sure. Think about it."

01. Back Door Man  04:18
02. Break On Through  04:53
03. When the Music's Over  13:31
04. Ship Of Fools 07:37
05. Roadhouse Blues  06:07
06. Light My Fire  14:21
07. Medley >  
08. The End 18:18

1. Link
or
2. Link
.

Rare R&B: Bobby Marchan - There's Something on Your Mind (R&B US 1965) (Recorded 1959-61)

Size: 95.3 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Bobby Marchan (born Oscar James Gibson) (April 30, 1930 in Youngstown Ohio – December 5, 1999) was a well-respected American rhythm and blues bandleader, MC, singer-performer, recording artist, and female impersonator, who initially began performing in New Orleans nightclubs, specifically the Dew Drop Inn and the Club Tijuana in the mid-1950s.

Marchan also toured with the band of Huey "Piano" Smith, sometimes performing as lead singer / bandleader and substituting vocally for Huey Smith (who reputedly often would stay in New Orleans to write and record while his namesake band "Huey Smith and the Clowns" played clubs and toured on the road). The touring band included James Booker on piano.

One of Marchan's vocal performances with Huey Smith and the Clowns can be heard on the New Orleans R&B recording, "Don't You Just Know It", which was released in 1958. Marchan also had a solo #1 hit on the national R&B charts in 1960 with the tune "There is Something on your Mind," a cover of a song performed by Big Jay McNeely.

Marchan recorded for a handful of small soul labels such as Fire Records, Volt, Dial, Cameo, and Gamble as well as Ace Records, which had released the Clowns' records.

Marchan regularly performed at the New Orleans Jazz & Heritage Festival.

In the 1990s his company Manicure Productions was involved in hip hop music booking and promotion including Take Fo' Records bounce music artist DJ Jubilee. He was involved with the formation of Cash Money Records.

Bobby Marchan - US Single 1960

A larger-than-life performer best remembered for his 1960 R&B chart-topper "There Is Something on Your Mind," singer Bobby Marchan was born Oscar James Gibson in Youngstown, OH, on April 30, 1930. As a child he became fascinated by the female impersonators who appeared on the so-called "chitlin circuit" of black nightclubs, and began singing and performing comedy in drag while in his teens. 

In 1953 Marchan organized his own drag troupe, the Powder Box Revue; during a booking at New Orleans' Dew Drop Inn, he became enamored with the city, making it his home for the remainder of his life. There he accepted a job as MC at the Club Tijuana, where he was discovered by Aladdin Records president Eddie Meisner. Marchan cut his debut single, "Have Mercy," for producer Cosimo Matassa in 1954, but Aladdin dropped him soon after, and he landed at Dot for the follow-up, "Just a Little Ol' Wine."

He then signed to Ace after label head Johnny Vincent caught his drag show, offering Marchan a contract in the mistaken belief he was a woman; 1955's "Give a Helping Hand" appeared under the alias Bobby Fields, with the Marchan surname restored for his next effort, the regional smash "Chickee Wah-Wah." In 1957 he joined Huey "Piano" Smith as the original lead vocalist with Smith's legendary band the Clowns -- in addition to appearing on classics including "Rockin' Pneumonia and the Boogie-Woogie Flu," "Don't You Just Know It," "You Don't Know Yockomo," and "Havin' a Good Time" (not to mention popularizing the Smith composition "Sea Cruise," a hit on wax for singer Frankie Ford), Marchan also continued his solo career, issuing "I'll Never Let You Go." He left the Clowns in early 1959, issuing his final Ace single, "Rockin' Behind the Iron Curtain," later that same year. He then returned to the road and resumed his drag career, signing to Fire Records to issue "Snoopin' and Accusin'."

Bobby Marchan - US Single 1961

With 1960's reading of the Big Jay McNeely song "There Is Something on Your Mind," Marchan finally scored the solo hit that had for so long eluded him, reaching number one on the R&B charts. A series of Fire singles followed in rapid succession, among them "Booty Green," "All in My Mind," "What You Don't Know Won't Hurt You," and "Yes, It's Written All Over Your Face," but none earned much attention on the national charts. On the recommendation of Otis Redding he was signed to Stax Records in 1963, adopting a more contemporary soul approach and making his label debut with "What Can I Do." Within a year Marchan was recording for yet another label, Dial, cutting "Get Down With It," a hit for British glam icons Slade in 1971. He spent much of the mid-'60s recording for Cameo, debuting in 1966 with "There's Something About You, Baby" and returning to the R&B Top 20 with the follow-up, "Shake Your Tambourine."

Subsequent efforts, including 1967's "Meet Me in Church" and "You Better Hold On," received scant attention, however, and after 1968's "(Ain't No Reason) For Girls to Be Lonely" -- a one-shot for Gamble -- Marchan spent nearly a decade without a record deal, returning to his drag roots yet again. By 1977 he was installed as the MC at New Orleans' Club Alhambra, resurfacing that same year on Mercury with "I Wanna Bump With the Big Fat Woman," soon followed by another novelty effort, "Disco Rabbit." Around 1983 Marchan founded his own production company, Manicure, to scout and promote up-and-coming hip-hop acts. In 1987 he recorded his final single, an updated version of "There Is Something on Your Mind," and later helped found the Cash Money label. After a long battle with liver cancer, he died December 5, 1999, at the age of 69.

(All tracks recorded between 1959-61)

01. There's Something On Your Mind (Pt.1)
02. There's Something On Your Mind (Pt.2)
03. Booty Green
04. It Hurts Me To My Heart
05. Snoopin' And Accusin'
06. All In My Mind
07. The Things I Used To Do (Pt.1)
08. The Things I Used To Do (Pt.2)
09. What You Don't Know Won't Hurt You
10. This Is The Life
11. I Need Someone (I Need You)
12. I Miss You So
13. Yes, It's Written All Over Your Face
14. You're Still My Baby (Pt.2)
15. You're Still My Baby (Pt.1)
16. Look At My Heart
17. Yes, It's Written All Over Your Face (Pt.1): Unreleased
18. Yes, It's Written All Over Your Face (Pt.2): Unreleased

1. Link
or
2. Link
.

Yes - Something's Coming: The BBC Recordings 1969–1970 (2CD)

Size: 189 MB
Bitrate: 256
mp3
Ripped by: ChrisGoeRock
Artwork Included
Source: Japan BLU-Spec Remaster

Yes' early years, up until The Yes Album, are usually perceived as a formative period, primarily of interest to hardcore fans. This double-CD set of live BBC and other radio-related tracks from 1969-70, however, forces the listener to take this era of the group's history on its own terms. The performances and repertory all date from the tail end of the psychedelic era, and a time when the Nice were the only fully functioning progressive rock unit in England -- one can hear the early incarnation of Yes catching up fast with Keith Emerson and company, throwing in progressive influences of their own and generally playing like there was no tomorrow. 

The fact that the BBC sessions never permitted retakes, and were never intended for commercial release, gave them a raw, spontaneous quality that was missing from the studio equivalents. 

The drawback is that the singing is sometimes a lot rougher than the group would have preferred -- so "Dear Father," for example, is vibrant but a little raw; on the other hand, "Every Little Thing" is practically worth the price of the disc by itself, as the most exciting track here. Disc two features more live performances of the era off of radio, including a completely different but equally impressive version of "Every Little Thing" and more amazing work by Bill Bruford. 

Overall, it's the perfect early Yes companion to Yessongs, with notes by Peter Banks, the band's co-founder and lead guitarist during this era, that reveal a lot about what the band was like during this era and some of the rivalries and alleged unfairness in the divvying up of credits and revenues.


Something's Coming: The BBC Recordings 1969–1970 is a compilation of live recordings by the progressive rock band, Yes. They are the only live recordings to feature the band's original lineup. It is a compilation of the band's early performances on BBC radio. The two-disc set features liner notes from original guitarist Peter Banks, who was fired from the band shortly after these recordings were made.

Legally released, but without the knowledge of the band, this two-CD compilation of early Yes appearances on British, French, and German radio shows is perhaps the best that fans can hope for; except for the title track of "Time and a Word," Yes has never bothered to release live versions of songs off its first two albums. 


Most of these early songs turn up here, and there's even an prototype of "Starship Trooper" in the previously unreleased "For Everyone." Stripped raw of their studio padding, the Time and a Word cuts attain a ragged beauty, especially in redlining versions of "Dear Father" and "No Opportunity Necessary." 

The liner notes were clearly a labor of love, with newspaper clippings, posters, recording notes, unpublished photos, and dishy notes by a thoroughly unrepentant Peter Banks. Despite variable sound quality, and an inevitable garage band grittiness, it's a fine artifact. Released in the U.S. in 1998 as Beyond & Before.

Band members:
♦ Jon Anderson - vocals
♦ Chris Squire - bass, vocals
♦ Peter Banks - guitars
♦ Tony Kaye - keyboards
♦ Bill Bruford - drums

Disc one 
01. "Something's Coming"  Leonard Bernstein/Stephen Sondheim  7:38
02. "Everydays"  Stephen Stills  5:12
03. "Sweetness"  Jon Anderson/Clive Bailey/Chris Squire 4:14
04. "Dear Father"  Anderson/Squire  5:33
05. "Every Little Thing"  Lennon–McCartney  5:31
06. "Looking Around"  Anderson/Squire  3:40
07. "Sweet Dreams"  Anderson/David Foster  3:26
08. "Then"  Anderson  4:19

Bonus Track:
09. "No Opportunity Necessary, No Experience Needed"  Richie Havens  4:18

Disc two  
01. "Astral Traveller"  Anderson  6:01
02. "Then"  Anderson  5:15
03. "Every Little Thing"  Lennon–McCartney  6:49
04. "Everydays"  Stills  6:06
05. "For Everyone"  Anderson/Squire  4:35
06. "Sweetness"  Anderson/Bailey/Squire  5:16
07. "Something's Coming"  Bernstein/Sondheim  7:58
08. "Sweet Dreams"  Anderson/Foster  4:14

Bonus Track:
09. "Beyond & Before"  Squire/Bailey  5:28

+ Picture Sleeve Mini CD Single:
01. "Astral Traveller" BBC Live

1. Link
or
2. Link
.

Yes - Japan Single 1972

Yes - Netherland Single 1970

Stealers Wheel - Selftitled (Scottish Folkrock UK 1972)

Size: 70.9 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Stealers Wheel is the debut 1972 album by the Scottish folk rock band Stealers Wheel.

Encased in a classy sleeve painted by Scottish playwright John "Patrick" Byrne, the first LP from the tumultuous Stealers Wheel is a debonair affair comprised of the kind of accomplished and polished pub pop for which impetus Gerry Rafferty would become known as he subsequently rode out the decade on the sublime radio single "Baker Street ." Rafferty released his first solo slab, Can I Have My Money Back? (the title already showing signs of unrest) in 1971, and brought amigo Joe Egan from those sessions to the princely proceeding here. 

Worthy musical moments abound, all forever overshadowed by the clever corporate-snub "Stuck in the Middle With You" which branded the duo a one-hit wonder when the track took on a life of its own. Sadly, the song also foreshadowed the premature end of Stealers Wheel, and Rafferty and Egan continued to document the personal and professional turmoil of their short time together throughout their respective solo careers, even re-recording some of these early jewels. And though only Rafferty's star continued to rise, Egan harbors considerable talent as well, shining brightly on his Rubber Soul-influenced tapestry "Another Meaning"; however, he keeps bland company with Bad Company with the dumb thud of "I Get By." 

Meanwhile, Rafferty creates one of those oh-so-cosmic '70s grooves for "Outside Looking In," before being unfortunately caught in one of those oh-so-abrupt '70s fades at the end of side one. This vibe wouldn't be broken so drastically on CD, but for now, and seemingly forever, the platter must be flipped for the unique "Johnny's Song" wherein mountain-rock breaks surround Rafferty's wry life observations. Hidden nugget "Next to Me" extols mellow melancholy meditations exclusive to the West Coast and the Have a Nice Day Decade. 

Closing pastorale "You Put Something Better Inside of Me" inspired renditions by Ted Neeley and Raphael Ravenscroft. Ultimately, this very solid outing casts a somber shadow because of unfulfilled expectations. And any record this carefully crafted doesn't deserve to languish in the bins of obscurity, but such seems to be the fate of Stealers Wheel. At least the band will always be remembered through the cinematic revival of that supreme FM staple "Stuck in the Middle With You." 

Stealers Wheel are a Scottish folk rock/rock band formed in Paisley, Renfrewshire in 1972 by former school friends Joe Egan and Gerry Rafferty.

Rafferty and Egan first met when they were teenagers in Paisley and they became the core of Stealers Wheel. In the early 1970s, the band was considered to be the British version of American folk/rock supergroup Crosby, Stills, Nash & Young. They were initially joined by Roger Brown, Rab Noakes and Ian Campbell in 1972. However, that line-up only lasted a few months and by the time the band were signed to A&M Records later that same year, Brown, Noakes and Campbell had been replaced by Paul Pilnick, Tony Williams and Rod Coombes. This line-up recorded their self-titled debut album, Stealers Wheel and was produced by the influential American songwriters and producers Leiber & Stoller. The album was a critical and commercial success, reaching #50 in the US Billboard 200 album chart, with their million selling hit single "Stuck in the Middle with You", coming from the album.

Stealers Wheel - Italy Single 1972

By the time the first album was released Rafferty had left the band to be replaced by Luther Grosvenor, who remained with the band for much of 1973 on tour. DeLisle Harper also replaced Tony Williams on tour. "Stuck in the Middle With You" reached #6 in the US Billboard Hot 100 and #8 in the UK Singles Chart in 1973, and sold over one million copies worldwide, and with the album also selling well, Rafferty was persuaded to return. However, Grosvenor, Coombes and Pilnick all left the band. With so many changes in the band's line-up they officially became a duo, with backing musicians as needed on tour and in the studio. Later in 1973 the single "Everyone's Agreed That Everything Will Turn Out Fine" had modest chart success (the single version is different from the album version and all subsequent CD's) and, in 1974, the single "Star" reached the Top 30 of both the UK and US charts. Reviewing the single "Star", David Middleton at PopRockNation wrote:

"A catchy shuffle of the Lennonesque variety, "Star" is 3 minutes of pure shimmering acoustic-guitar pop loveliness and honey-throated vocal harmonies, punctuated with spikes of harmonica, kazoo, woodblock, and bawdy barrelhouse piano."

A second album Ferguslie Park was released in 1974, with the duo backed up by nine backing musicians. The album, named after an area of Paisley, just reached the US Billboard 200 and was a commercial failure. With increasing tension between Rafferty and Egan they could not agree on which studio musicians to use on the third album, and with Leiber & Stoller also having business problems, Stealers Wheel disappeared for eighteen months. By the time the album Right Or Wrong was released in 1975, Stealers Wheel had ceased to exist.

The last album, because of disagreements and managerial problems, was produced by Mentor Williams. All three albums had sleeve designs by artist John Byrne.

After 1975 the group was hardly known, and the two last single releases faded away in the charts. Both Rafferty and Egan recorded songs which included lyrics referring to the acrimonious history of Stealers Wheel and a Best of Stealers Wheel album was released in 1990. In 1992 director Quentin Tarantino used the track "Stuck in the Middle with You" in the soundtrack of his debut film Reservoir Dogs, bringing new attention to the band.

Stealers Wheel - Netherland Single 1972

In September 2001 a dance version of "Stuck in the Middle with You" was a UK Top 10 hit for Louise, with a music video that drew heavily on the original song's appearance in the soundtrack of Reservoir Dogs.

All three albums have been unavailable for a number of years, although in 2004 and 2005 the British independent record label Lemon Recordings, of Cherry Red, re-released them with remastered sound and new liner-notes.

After being contacted by iTunes and K-tel records in California, Tony Williams re-formed Stealers Wheel in Blackpool in 2008 with two other original band members, Rod Coombes and Paul Pilnick, together with locally based musician and songwriter Tony Mitchell. On 10 November 2008 they started filming a music video for a re-release of "Stuck in the Middle" on the Fylde coast. They also began writing songs for an album due to have been released in 2009, although they have no plans to go on tour. Luther Grosvenor has expressed his interest in joining the band should they tour.

Gerry Rafferty died on 4 January 2011 after suffering liver failure.

Personnel:
♦ Gerry Rafferty - guitar, lead vocals
♦ Joe Egan - keyboards, lead vocals
♦ Paul Pilnick - lead guitar
♦ Tony Williams - bass
♦ Rod Coombes - drums

01. "Late Again"  Joe Egan, Gerry Rafferty  3:16
02. "Stuck in the Middle with You"  Egan, Rafferty  3:23
03. "Another Meaning"   Egan  3:01
04. "I Get By"  Egan  3:16
05. "Outside Looking In"  Rafferty  3:54
06. "Johnny's Song"  Rafferty  3:45
07. "Next to Me"  Egan, Rafferty  3:37
08. "José"  Egan  3:23
09. "Gets So Lonely"  Egan  2:57
10. "You Put Something Better Inside Me"  Egan, Rafferty  3:50

1. Link
or
2. Link
.

Picture of the day (Very rare poster for Electric Ladyland 1968)

(open picture in A NEW WINDOW for 100% size)

Tibet - Selftitled (Very Rare German Progressive Rock 1976)

Size: 78.9 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Jürgen Krutszch formed TIBET in 1972, having been inspired by the Eastern experimentation of groups such as the BEATLES and THIRD EAR BAND. Krutszch had spent the latter part of the sixties in cover bands (FINE ART, NOSTRADAMUS), and was interested in putting together a group that played native Tibetan instruments such as the tabla, violin, zither, and flute. He quickly abandoned this idea after recruiting former band mates Karl-Heinz Hamann (FINE ART, TESKE) and Dieter Kumpakischkis (NOSTRADAMUS), as well as drummer Fred Teske and vocalist Kalus Werthmann, but the band did retain a certain pseudo-mystic feel to their music during their nine year existence. 

The band toured extensively throughout the seventies, opening occasionally for fellow countrymen and friends of the band KRAAN, but managed to release only a single album, their self-titled 1979 studio release. The tracks for the album were recorded in three separate sessions dating from December 1976 to September 1978, 
The band's sound was a complex fusion of astral rock, jazz, classical music and Tibetan sounds, heavily keyboard-driven (Hammond, mellotron) and compared to the likes of ELOY, AMENOPHIS, and even URIAH HEEP, although most of their studio release consists of tracks that are similar in style but more reserved than any of those bands. Lyrics (when present) were primarily in sung English, but the band was known to play longer instrumentals in concert, and three such tracks appear on their studio release. 

Rumor has it that when Musea Records decided to release the album on CD in 1994, the original master tapes were nowhere to be found, so the label arranged for the entire album to be re-recorded. It is unclear whether the original band members were the actual musicians who recorded the CD version of the album. The original vinyl release sold somewhere between 5,000 and 15,000 copies and is no longer available. 

As an interesting side-note, Garden of Delight Records released a series of sampler recordings of early psychedelic and symphonic bands around the turn of this century, and volume 5 of that collection features two songs credited to TIBET. While the core membership of the band is the same as that one their 1979 studio release, the singer is listed as a 16 year-old girl known simply as Maggie. These tracks were believed to have been recorded by the band very early in their career, and prior to signing Werthmann as their permanent singer. Nothing else is known of the girl. 

Having failed to make a commercial impression with their one record, TIBET decided to call it quits and disbanded following their final concert appearance on March 22, 1980. 

TIBET deserves recognition for having been a small part of the progressive music scene with their extensive live performance history throughout the seventies, and for the eclectic and ambitious style of music for which they were known by their small but persistent fan base.

Another great and forgotten German band, Tibet made a heavier symphonic sound with very creative and well-crafted melodies.
Instruments such as Hammond and Mellotron have a beautiful featured throughout on its course. Two essential instrumental tracks are worth this gem, "White Ships And Icebergs" and "Eagles", these tracks remind me clearly the good old days of Eloy and also the german Minotaurs.

The vocals in English also have much quality and promote more energy to the record. A pity that some German bands have not earned much highlighted back in the 70´s and being discovered only now a days by the collectors and Progressive Rock researchers.

Those "one shot" bands from Germany had a suffered and frustranting career, they used to record their albuns at small home studios and played live in local festivals opening concerts for great bands such as Eloy, TD, Grobschnitt and many others.

The record companies and producers were not interested in those bands, which are nowadays, very rare and quite panned by true lovers and researchers from German Progressive Rock.

Line Up:
♣ Kalus Werthmann / lead vocals
♣ Deff Ballin / keyboards, percussion 
♣ Dieter Kumpakischkis / keyboards 
♣ Karl Heinz Hamann / bass, percussion 
♣ Fred Teske / drums 
♣ Jürgen Grutzsch / guitars, percussion 

01. Fight Back (4:59) 
02. City By The Sea (4:24) 
03. White Ships And Icebergs (6:15) 
04. Seaside Evening (4:13) 
05. Take What's Yours (7:23) 
06. Eagles (6:05) 
07. No More Time (5:30)

1. Link
or
2. Link
.

Hmmm...Good