Ron Wood - Electric Ladyland Studios NY 1992 at FM Broadcast, Sound "A" (Bootleg)

Size: 124 MB
Bitrate: 320
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Guitarist Ron Wood has been a member of several "classic" British rock outfits, but the one that he's undoubtedly most associated with is the Rolling Stones, with whom he's been a member since 1976. Born on June 1, 1947, in Hillingdon, London, Wood made his first appearances on record during the mid-'60s, first as guitarist for the Birds and then as a member of the oft-overlooked mod outfit the Creation (Wood only appeared on a smattering of singles, collected years later on the compilation Complete Collection, Vol. 1: Making Time). 

Immediately after his split from the Creation, Wood was invited to play bass in the Jeff Beck Group, a band that also included a then-unknown Rod Stewart on vocals. Despite high hopes for the group (often credited as one of the founders of hard rock/heavy metal), the band only managed to issue a pair of classic recordings, 1968's Truth and 1969's Beck-Ola, before splitting up just prior to an appearance at the legendary Woodstock festival. Wood and Stewart opted to stick together, as they joined the Small Faces the same year (with Wood returning to the six-string).

First Step Releasing one album under the Small Faces' name, 1970's First Step, the group then shortened its name simply to the Faces and soon after became one of rock's most notoriously party-hearty outfits of the era (influencing such future punk outfits as the Sex Pistols and the Replacements, among others). Further albums followed (1971's Long Player and A Nod Is as Good as a Wink...to a Blind Horse, plus 1973's Ooh La La), before the group split up in 1975. Wood also found the time to issue a string of solo releases during the mid-'70s: 1974's I've Got My Own Album to Do, 1975's Now Look, and a collaboration with ex-Faces bandmate Ronnie Lane, 1976's Mahoney's Last Stand, but this era of Wood's career is best remembered for his enlistment into the Rolling Stones.

Black and Blue With the exit of Mick Taylor in 1974, the Stones began auditioning replacement guitarists, but all along, founding Stones guitarist Keith Richards knew that Wood (a longtime friend) was the man for the job. Wood contributed to half of the Stones' 1976 album, Black and Blue, before becoming a full-time member and appearing on 1977's Love You Live and 1978's Some Girls. 

Although the Stones didn't issue any albums during 1979, the year was a busy one for Wood, as he issued his fourth solo release, Gimme Some Neck, and toured alongside Richards in a one-off side band, the New Barbarians. Wood and the Stones conquered the charts once more in the early '80s, with such hits as 1980's Emotional Rescue and 1981's Tattoo You, but tensions between Richards and Mick Jagger caused the group to not tour the U.S. between 1982-1988, while only managing to issue a pair of spotty studio albums (1983's Undercover and 1986's Dirty Work).

Live at the Ritz During this time, Wood issued such further solo albums as 1981's 1234 and 1988's Live at the Ritz (the latter a collaboration with Bo Diddley), and became an avid painter. Jagger and Richards eventually buried the hatchet by the late '80s, and the Stones sporadically issued new studio albums and toured from 1989 onward (1989's Steel Wheels, 1994's Voodoo Lounge, 1997's Bridges to Babylon, etc.). Wood has continued to issue solo recordings throughout the '90s and beyond (1992's Slide on This, 1994's Slide on Live: Plugged in and Standing, plus a pair in 2002, Not for Beginners and Live & Eclectic). 

Additionally, Wood has guested on countless recordings by other artists over the years, including albums by the Band, David Bowie, Eric Clapton, Donovan, Bob Dylan, Aretha Franklin, B.B. King, and his old pal Rod Stewart, with whom he taped a popular edition of MTV's Unplugged in 1993, resulting in the hit album Unplugged...and Seated. Wood's seventh solo album, I Feel Like Playing, appeared in 2010 from Eagle Records and featured guest spots from Slash, Flea, Billy Gibbons, Bobby Womack, Jim Keltner, and ex-Faces bandmate Ian McLagan, among others.

Electric Lady Studios:
Electric Lady Studios, at 52 West Eighth Street, in New York City's Greenwich Village, is a recording studio originally built by Jimi Hendrix and designed by John Storyk in 1970. Hendrix spent only four weeks recording in Electric Lady before his death, but it has since been used by many notable artists, such as Erykah Badu, Mew, The Roots, Bob Dylan, John Lennon, Kiss, The Clash, AC/DC, Guns N' Roses, Michael Stanley Band, The Strokes, Hall & Oates, U2, Daft Punk, Kanye West, Christina Aguilera, A-ha, D'Angelo, Dan Auerbach and Lana Del Rey.

History:
Electric Lady Studio's current address has a long history. The basement housed The Village Barn nightclub from 1930 to 1967. Abstract expressionist artist Hans Hofmann began lecturing there in 1938, eventually retiring from teaching in 1958 to paint full-time.

In 1968, Jimi Hendrix and his manager Michael Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village. Their initial plans to re-open the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy Electric Ladyland sessions were astronomical, and Jimi was constantly in search of a recording environment that suited him.

Construction of the studio took nearly double the amount of time and money as planned: permits were delayed numerous times, the site flooded due to heavy rains during demolition, and sump pumps had to be installed (then soundproofed) after it was determined that the building sat on the tributary of an underground river, Minetta Creek. A six-figure loan from Warner Brothers was required to save the project.

Designed by architect and acoustician John Storyk, the studio was made specifically for Hendrix, with round windows and a machine capable of generating ambient lighting in myriad colors. It was designed to have a relaxing feel to encourage Jimi's creativity, but at the same time provide a professional recording atmosphere. Engineer Eddie Kramer upheld this by refusing to allow any drug use during session work. Artist Lance Jost painted the studio in a psychedelic space theme. Jimi Hendrix hired Jim Marron to manage the construction project and run the studio.

Hendrix spent only four weeks recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. An opening party was held on August 26, 1970. The following day Hendrix created his last ever studio recording: a cool and tranquil instrumental known only as "Slow Blues". He then boarded an Air India flight for London to perform at the Isle of Wight Festival, and died less than three weeks later.

Ron Wood - Electric Ladyland Studios 
New York, NY, November 2, 1992
WNEW-FM 102.7 FM Broadcast

Albums (or albums including tracks) recorded at 
Electric Lady Studios, New York City, 125 albums i total:
AC/DC - Back in Black
Kizz - Destroyer
Jimi Hendrix - First Rays of the New Rising Sun
Peter Frampton - Frampton's Camel
Patti Smith - Horses
Sir Lord Baltimore - Kingdom Come
Leslie West - The Leslie West Band
Cactus - One Way... or Another
Led Zeppelin - Houses of the Holy
Led Zeppelin - Physical Graffiti
Lou Reed - Sally Can't Dance
David Bowie - Young Americans
Dead Boys - Young Loud and Snotty
The Clash - Sandinista!

Personnel:
♦ Ronnie Wood - vocals, guitar, harmonica
♦ Bernard Fowler - vocals
♦ Ian McLagan - keyboards
♦ Johnny Lee Schell - guitar
♦ Shaun Solomon - bass

01."WNEW Introduction" - 01.43
02."Show Me" (Jerry Williams) - 03.41
03."Flying" (Ronnie Wood, Rod Stewart, Ronnie Lane) - 04.40
04."Testify" (George Clinton, Deron Taylor) 05.14
05."Pretty Beat Up" (Mick Jagger, Keith Richards, Ron Wood) - 05.04
06."Always Wanted More" (Ronnie Wood, Bernard Fowler) - 05.48
07."Breathe on Me"(Ronnie Wood) - 06.38
08."Silicone Grown" (Ronnie Wood, Rod Stewart) - 03.36
09."Black Limousine" (Mick Jagger, Keith Richards, Ronnie Wood) - 04.41
10."Little Red Rooster" (Willie Dixon) - 06.59
11."Stay With Me" (Ronnie Wood, Rod Stewart) - 04.03

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Wucan - Sow the Wind + Bonus (German Retro Band Hardrock/Folkrock w. Flute 2015)

Size: 145 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Sourse: Japan 24-Bit Remaster

The Dresden heavy retro band WUCAN began their quick ascent in 2014. Despite their short history the young band is still able to look back at a remarkable success. Everything began with their first EP "Vikarma," released in November 2014 on Metalizer Records. 

WUCAN are a young heavy retro rock band from Dresden, Germany with deep roots in the late 60s and early seventies with a dash of blues, folk, progressive and Kraut rock. This sort of time-warp music is covering the gamut from the Woodstock generation to the modern rock sound, starting with acoustic guitar, traverse flute and Hammond organ and ending at the modern rock sound of the heavy kind.

WUCAN made the right choice of partners with producer and owner of the Big Snuff Studios in Berlin Richard Behrens and with Andreas “Lupo “ Lubich of Calyx Mastering for a successful debut in the retro rock scene. 

Richard Behrens, who is bassist of the 70s band HEAT and live toning of the genre heroes KADAVAR additionally to his producing duties, created an authentic 70s sound by using analogue machinery. Combined with the modern heavy surround of the band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

This release, which quickly sold its first 500 vinyl copies, received many positive reviews. By taking their chances through their extraordinary, energetic live presence, the band quickly gained an audience at their numerable concerts. Some of their biggest moments include playing the prestigious Hammer of Doom Festival and a tour as support for Siena Root. 

Heavy metal veteran Karl Walterbach recognized these qualities and soon after took on the role as the band's manager. A record deal with Manfred Schütz' MIG Music sublabel Hänsel & Gretel followed. Lastly the band became part of Berlin-based booking agency Magnificent Music's roster, who agreed to support the band's live success. With all of this praise WUCAN entered the studio to record their debut album "Sow the Wind." 

The band worked at Big Snuff Studio in Berlin, a well-known studio in the retro scene, with pioneer Richard Behrens. He is infamous for producing quite a number of retro bands, working with Kadavar as their live sound engineer and is the bassist of the Berliner band Heat. Sow the Wind"'s striking sound was primarily achieved through analog techniques and fits perfectly with the late 60s and 70s vibe. 

The band also worked with new instruments such as a Moog synthesizer and a Moog Etherwave Theremin. Behrens was able to capture on tape the essence and dynamic of a WUCAN live show, which carries a hippy attitude with a modern rock sound. 

Andreas Lupo Lubich von Calyx added the final touches with his mastering skills. The result is six extremely diverse tracks, whose sound and composition could have more than likely originated in the 70s. 

However WUCAN does not imitate any artist but has developed its own individuality fitting somewhere between then and now. The band has always been able to create their own style despite their influences such as Jethro Tull, Renft, Lucifer's Friend, Birth Control and Krautrock in general. 

WUCAN presents changing hymns, from jamming passages to metal riffs with flutes doubled and the complete range of 70s folk rock to classical hard rock. andersmann' is a 16-minute song filled with psychedelic splashes of color and the just named influences. It is also the only song on the album sung in German. Even the powerful opener ather Storm,' the reefy and hard wl Eyes' and the melodicing Korea' bring a bright bouquet of 70s flashbacks. 

The key element is vocalist Francis Tobolsky's characteristic, energetic and emotional voice. The charismatic singer grasps her audience with her voice and catchy flute melodies. Rounding out this successful debut release is the eye-catching packaging. "Sow the Wind"'s artwork was inspired by a Rufus Segar art piece, an artist who is particularly known for his work in anarchist publications in the 70s. 

Divided in a seeing and screaming head in a stylistic representation, the cover and back perfectly fit the mood of the album. The storm which will be seeded with "Sow the Wind" figuratively hisses at the beholder before even playing the album. This CD is strictly limited to 500 copies.

Personnel:
○ Francis (Vocals, Flute, Guitar)
○ Tim (Guitar)
○ Patrik (Bass)
○ Pätz (Drums)

01. Father Storm 03:57
02. Owl Eyes 05:50
03. Looking In The Past 05:43
04. Face in the Kraut 04:16
05. King Korea 07:04
06. Wandersmann 15:45

Bonus Tracks:
07. Franis Vikarma 05:37 
08. Frank 04:32
09. Big Red Bun 05:32
10. Wizard of Concrete Jungle 09:32 

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Buy Their Albums Here: Wucan Homepage or The Japan Edition with Bonustracks: Wucan - Sow The Wind + 4

Menace - G.L.C. The Best of Menace (UK 1987)

Size: 100 MB
Bitrate: 256
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Ripped by ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Menace are an English punk band formed in London in 1976. They are notable for being one of the immediate forerunners of the 'Oi' sound later adopted by skinhead bands.

Menace was a ‘second wave’1 punk band from Islington, London. The band was formed in 1976 after Morgan Webster (singer) met the members of a pub rock band, Stonehenge, Steve Tannett (guitar), Charlie Casey (Bass) and Noel McDonagh (Drums: known as Noel Martin) at a punk gig at the renowned pub venue The Hope and Anchor.

Menace’s forceful, simple yet musically competent and creative music is often described as having influenced, or even been the origin of, ‘Oi’ music, a subgenre of punk music associated with the skinhead culture. Traces of Menace’s influence can be found in the music of bands such as Sham 69 and The Cockney Rejects both of which became more popular and both of which were more closely associated with the skinhead movement. The band itself did not associate itself with either the mainstream punk movement or the skinhead movements; it attracted followers from both camps. 

As a result is often described as a ‘cross over’ punk/skinhead band blending the more critically aware and art-inclined punks and the more visceral working class protest strands of skinhead music.

In the 00's they reformed for the 2nd time with original vocalist Morgan Webster and guitarist Steve Tannett and a revolving door of drummers and bass players. They're reformation has proved very successful as they have had sell-out shows in Japan and in Europe as well as playing festivals around the world like the Rebellion Festival, Punk and Disorderly Festival, The Last Jubilee and Avenues and Alayways. They have had numerous lineup changes in the past ten years, but it seems that Tannett and Webster are the core members of the band

Menace formed in August 1976 when singer, Morgan Webster, met school friends Noel Martin, Charlie Casey and Steve Tannett at the Hope and Anchor pub in Islington. Their first gig at the now legendary Roxy was attended by Miles Copeland from Step Forward and Illegal Records who signed Menace straight away… The end finally came in late 1979 when after lack of interest from the record companies (due to their records being banned) and a lack of interest from the music press (possibly due to the working class ethics and the working class background of the boys in the band)… Menace’s last single Final Vinyl with the classic songs Last Years Youth and Carry No Banners, which lift the reputation of the band up another notch. After the split up the reputation of Menace continued to grow worldwide…

Following Menace the boys joined a feisty biker chick called Vermillion who was working with Steve at Step Forward Records.

The Ace’s, Noel Steve and Charlie sprang into existence during the encore of Vermillion and the Aces gig at the Lyceum Ballroom (If anyone knows the date let me know) when Steve launched into the Menace classic GLC. Needless to say we were sacked by Vermillion and the Aces were born.

One of the most eagerly awaited reformations of recent times has been that of Menace, one of the Godfathers of the Oi! movement and creators of the seminal punk classic “G.L.C”.

Oddy from Resistance 77 came in as vocalist and Uncle Albert was our friend Paul on guitar, who didn’t want his identity to be known. He came from the Stains, alongside Geordie who played with the Spitting Vicars.

I met Jonny at the 12-Bar Club, which figures a lot in the Menace story. I went to see the owner, Barnet, and a band called Bomb 45 were playing. Johnny was onstage doing a soundcheck, he said, ‘Hello Noel’. I vaguely remembered him but couldn’t recall where we’d met. I was very impressed by his playing

“I hear you’re looking for a new guitarist”. “You’ve got to see Finn, he’s great.” I didn’t know Finn, which is unusual, because Finn knows everyone – We had a chat that night and he seemed OK. We arranged a rehearsal. Charlie knew him from his days at Fresh Records days, because he had been in loads of bands; Headhunters, Bloodsport, Public Heirs, Junior Manson Slags, just loads of bands. Apparently we once played with him, as a member of Fuck All Else To Do, at the Royal Standard at an impromptu festival we did after a Punk Aid gig was cancelled.

Martin Sawtell on bass, with occasionally appearances from Charlie, Toby and Rob. Martin moves to New Zealand and Rob takes over.

Current members
◊ Noel Martin − drums (1976-present)
◊ Rob − bass (1976-present)
◊ Finn Panton − guitar and vocal (2009-present)

Former members
◊ Steve Tannett - guitar (1976-1979)
◊ Morgan Webster − vocals (1976-1979)
◊ Andrew Tweedie - guitar (1997-2002)
◊ John Lacey - vocals (1997-2002)
◊ Charlie Casey - Bass (1976-2012)

01.Screwed Up
02.Insane Society
03.G.L.C.
04.I'm Civilised
05.I Need Nothing
06.Electrocutioner
07.The Young Ones
08.Tomorrow's World
09.Live For Today
10.Last Years Youth
11.Carry No Banners

Bonus Tracks
12.Last Years Youth (Bonus Live 1978)
13.Screwed Up (Bonus Live 1978)
14.I Like Chips (Bonus Live 1978)
15.G.L.C. (Bonus Live 1978)
16.One Way Street(The Aces)
17.Why Should It Be Mine (The Aces)

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Neil Young - The Ranch Rehearsals w. Crazy Horse 1990 (Bootleg) (Superb Quality!)

Size: 164 MB
Bitrate: 320
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Found in Cyber Space
Artwork Included
Superb Sound Quality

These live recordings of Neil Young & Crazy Horse may be old news in trader’s circles, but… they never get old. Here are some of the raw rehearsals leading up to the recording of Ragged Glory, taped at Neil’s Broken Arrow Ranch in the summer of 1990. Great sound quality, with a few false starts mixed in and the group’s ringing guitars lingering in the fade outs. Some actually prefer a few of these takes to the official versions, but that’s hardly worth debating. If you want to know what it’s like to hang with Neil and the boys at the ranch, this is what you need.

German Single 1990

Ragged Glory (Recorded in April 1990 at Plywood Digital, Woodside, CA (except "Mother Earth": The Hoosier Dome) is the nineteenth studio album by Canadian musician Neil Young, his sixth with Crazy Horse, released on September 9, 1990. It was voted album of the year in the annual Pazz & Jop critics' poll and in 2010 was selected by Rolling Stone as the 77th best album of the 1990s.

The album revisits the hard-rock style previously explored on Everybody Knows This Is Nowhere and Zuma. The first two tracks are songs Young and Crazy Horse originally wrote and performed live in the 1970s with "Country Home" notably being performed on their 1976 tour. "Farmer John" is a cover of a 60s song, written and performed by R&B duo Don and Dewey and also performed by garage band The Premiers. Young revealed that the song "Days that Used to Be" is inspired by Bob Dylan's "My Back Pages". The album features many extended guitar jams, with two songs stretching out to more than ten minutes.

The album was very well received by critics with Kurt Loder in Rolling Stone raving that it was "a monument to the spirit of the garage - to the pursuit of passion over precision" and calling it "a great one". The CD single culled from the album, "Mansion on the Hill", included the otherwise unreleased song "Don't Spook the Horse" (7:36).

"F*!#in' Up" (pronounced "Fuckin' Up") is frequently covered by Pearl Jam live  and was performed by Bush in their headlining set at Woodstock 1999. Toronto-based band Constantines recorded a version of "F*!#in' Up" in Winnipeg, which surfaced as the b-side to their "Our Age" 7" in November 2008. 

Scottish heavy metal band The Almighty recorded the song and included it as a B-side (with an uncensored title) to their "Out of Season" single in 1992. An outtake from the sessions for the album, "Interstate," was released on the vinyl version of the 1996 album Broken Arrow and on the CD single for the track "Big Time."

Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. 

Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. 

Much about the record had a retrospective feel -- the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.

Neil Young & Crazy Horse - The Ranch Rehearsals
Recorded at Broken Arrow Ranch June thru July, 1990

Personnel
♫♪ Neil Young - guitar, vocals
♫♪ Frank Sampedro - guitar, vocals
♫♪ Billy Talbot - bass guitar, vocals
♫♪ Ralph Molina - drums, vocals

01. Mansion On The Hill - 09.02
02. White Line (1) - 03.37
03. White Line (2) - 00.59
04. Love To Burn (1) - 03.40
05. Love To Burn (false start) - 00.18
06. Love To Burn (2) - 09.50
07. The Days That Used To Be - 04.47
08. Love And Only Love - 09.56

Bonus Tracks (the Santa Monica Civic Auditorium April 1, 1990)
09. Everything's Broken - 04.15
10. Pocahontas - 04.07
11. Crime In The City - 07.39
12. After The Gold Rush - 04.20
13. The Needle And The Damage Done - 02.09
14. No More - 04.54

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Formerly Fat Harry - Selftitled (Folk-Prog-Country Influenced Rock UK 1972)

Size: 80.5 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

FORMERLY FAT HARRY are one the forgotten greats of late '60s British rock. The band was formed in London in 1969 by ex-Country Joe & the Fish bassist Bruce Barthol and two old friends from the Berkeley California folk music scene, Gary Petersen and Phil Greenberg. Fat Harry was soon signed up by the original Pink Floyd management company. 

Playing a highly idiosyncratic brand of Americana that frequently experimented with jazz time signatures, the band played at two of the now legendary free concerts in Hyde Park, the 1970 Bath Festival, Phun City and many of the clubs of the era such as The Marquee in London.

A quartet of 'musician's musicians', admired by everyone from Ralph McTell to Edgar Broughton and Michael Chapman, the group made only one LP for Harvest Records before disbanding in 1972. Though reflecting their musical and song-writing abilities, that record failed to capture their true flavour. 

Formed in England in 1971, Formerly Fat Harry revolved around the talents of US expatriates Gary Peterson (vocals/guitar/keyboards), Phil Greenberg (vocals/guitar) and Bruce Barthol (bass, ex-Country Joe And The Fish). Saxophonist George Khan (formerly of Battered Ornaments) and Laurie Allen (drums) completed the featured line-up on Formerly Fat Harry, a pleasant country rock, good time music set which anticipated the ‘pub rock’ boom. 

Unfortunately, the band failed to make commercial headway and they split up when the core members returned to the USA. Allen subsequently worked with Gong, Lol Coxhill and Robert Wyatt. George Khan, also known as Nisar Ahmet Khan, played on several jazz rock features by Annette Peacock and Mike Westbrook before leading Mirage (1977).

Led by Bruce Barthol (bassist with San Francisco psych heroes Country Joe & The Fish), this oddly-named quartet coalesced in London in 1969 and soon gained admirers for their laid-back country-influenced sound. They became a fixture in the city's underground clubs and at free festivals, but their sole album appeared in late 1971, by which time their moment had passed. It makes its long-awaited return to CD here, complete with background notes.

Musicians:
♦ Bruce Barthol - bass/vocals
♦ Phil Greenberg - guitar/vocals
♦ Gary Peterson - guitar/keyboards/vocals
♦ Laurie Allan - drums (tracks 1, 3, 4, 8)
♦ John Marshall - drums (tracks 2, 5, 7)
♦ Alan Jackson - drums (track 6) 

01. Passing The River 05:04
02. My Friend Ws A Pusher 05:15
03. About My Life 05:45
04. Please Go Away 04:35
05. I Saw The Ringing Of The Bell 04:45
06. Tell Me All About It 04:40
07. Captain Heart 03:28
08. Goodbye For Good 06:55

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It's a Beautiful Day - Greek Theatre, Berkeley, CA, FM Broadcast 1978-10-01, (Bootleg)

Size: 133 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included

It's a Beautiful Day is an American band formed in San Francisco, California, in 1967, featuring vocalist Pattie Santos along with violinist David LaFlamme and his wife, Linda LaFlamme, on keyboards.

David LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members of It's a Beautiful Day in its early years were Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from 1967's social phenomenon Summer of Love, the band never quite achieved the success of contemporaries such as Grateful Dead, Jefferson Airplane and Santana, with whom they had connections. The band created a unique blend of rock, jazz, folk, classical and world beat styles during the initial seven years it was officially together.

Early history: 1967–1969
The band's original manager, Matthew Katz, had previously worked with the rock bands Jefferson Airplane and Moby Grape. The members of the band were unaware that the other two bands were already trying to end their business relationships with Katz. During 1967 and early 1968, Katz prevented It's a Beautiful Day from performing in San Francisco, telling them they were not ready. He booked their first public appearances at a club he controlled in Seattle, Washington, formerly known as the Encore Ballroom. Katz renamed the club San Francisco Sound. While in Seattle, the group lived in the attic of an old house owned by Katz while writing and rehearsing new songs in between club performances. Few customers came to the club during the band's engagement in Seattle during December 1967.

The band's signature song "White Bird" was inspired by the experiences David and Linda LaFlamme had while living in Seattle. In an ironic twist on the band's name, the sad song was partly inspired by Seattle's rainy winter weather. In a later interview, David LaFlamme said:

"Where the 'white bird' thing came from ... We were like caged birds in that attic. We had no money, no transportation, the weather was miserable. We were just barely getting by on a very small food allowance provided to us. It was quite an experience, but it was very creative in a way."
By the time the group members returned to San Francisco they had no money and were frustrated by Katz's attempts to manipulate their career. In desperation, they began playing at a few clubs without Katz's approval. The band gradually began to gain some recognition and earn money. The band got its first big break when offered a chance to open for Cream at the Oakland Coliseum, in Oakland, California on October 4, 1968. Around this time, the band first began a long process of trying to disentangle themselves from Katz.

The band's debut album, It's a Beautiful Day, was produced by David LaFlamme in Los Angeles, California, and released by Columbia Records in 1969. It features tracks such as "White Bird", "Hot Summer Day", and "Time Is". The album reached number 47 in the U.S. charts and number 58 in the UK. The theme from the song "Bombay Calling" was later used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its Deep Purple in Rock album. The vocals and violin playing of David LaFlamme plus Santos's singing attracted FM radio play attention, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at number 118.

The band was almost invited to play at Woodstock. When Michael Lang was negotiating with Bill Graham to get the Grateful Dead to appear, Graham insisted Lang put one of two acts that he managed on the bill. Lang then listened to a tape of both It's a Beautiful Day and the other band and liked them so much that he couldn't decide so he flipped a coin and It's a Beautiful Day lost. The band that won was Santana, who became stars overnight.

1970s and beyond
July 5, 1970, the band played the (second) Atlanta International Pop Festival in Byron, GA to an estimated 250,000 people. Linda sang lead on "White Bird", "Hot Summer Day" and "The Dolphin Song". The band had a regional radio hit with "Don and Dewey". By later that year, the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb. The following album, Marrying Maiden, recorded at Pacific High Recording Studio in San Fransisco, released in 1970, was their most successful in the charts. It reached number 28 in the U.S. (their only Top 40 placing) and number 45 in the U.K. In that year, the band also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, Netherlands, and at the Bath Festival of Blues and Progressive Music. Tom Fowler (later bassist for Frank Zappa) and Bill Gregory joined in March 1971, their very first performance being live on San Francisco's KSAN FM radio, with host Tom Donahue introducing them as the band's two new members.

In July 1971, the band was one of the last acts to appear at Fillmore West in San Francisco. Its performance of "White Bird" appeared as part of the musical documentary film Fillmore (1972).

The band continued to record Choice Quality Stuff/Anytime in 1971 and the live album Live at Carnegie Hall in 1972, touring until 1974 when it split up. In 1976, LaFlamme's solo version of "White Bird" finally cracked the Billboard Hot 100, peaking at No. 89. Santos was killed in a car crash near Geyserville in Sonoma County, California on December 14, 1989.

The band reunited occasionally for reunions and special concerts. The band's music continued under the name "David LaFlamme Band" as well as "It's a Beautiful Day" until Katz let his trademark of the name go un-renewed.

Since 2000, the band features founder David LaFlamme and original drummer Fuentes. Other band members are LaFlamme's current wife, whom he met in 1974, Linda Baker LaFlamme (vocals), Toby Gray (basses and producer), Gary Thomas (keyboards and producer), Rob Espinosa (guitars) and Michael Prichard (percussion). They continue performing today, with LaFlamme contributing to Jefferson Starship's 2008 release, Jefferson's Tree of Liberty. This lineup is the longest continual group that has ever performed the band's material. In the summer of 2014 Rob Cunningham (The Zins, The Coasters, The Drifters, The Diamonds and Al Wilson) replaced Espinosa on lead guitar.

It's a Beautiful Day - Greek Theatre, Berkeley, CA
FM Broadcast 1978-10-01 

01. Intro  03.31
02. Wasted Union Blues  06.55
03. Hot Summer Day  05.34
04. Bombay Callin  07.28
05. Bulgaria  05.42
06. Time is  09.58
07. White Bird  11.13
08. Don & Dewey  07.47

1. Beautiful Day 1978

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2. Beautiful Day 1978

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3. Beautiful Day 1978

Rush - Agora Ballroom August 26, 1974 & Electric Lady Studios December 05, 1974 (Bootleg)

Size: 171 MB
Bitrate: 320
mp3
Found in ?
Artwork Included

The Actual Name of the Recording studio is Electric Lady. Not electric Ladyland. 

Dec 1974 Show: Bad Boy stands out on this show. Here Again and Need Some Love are only found on these early broadcasts. This Trilogy of broadcast performances captures the very earliest Rush. You can hear the stripped down, three piece sound. Geddy's bass and vocals are raw, Alex is still in the forefront.

August 1974 Show: 12 days after Peart joins the band, but he is already featured at the end. Fancy Dancer was featured in the "bar" days, but never recorded on an album. Here Again and Need Some Love are only found on these early broadcasts. This Trilogy of broadcast performances captures the very earliest Rush. You can hear the stripped down, three piece sound. Geddy's bass and vocals are raw, Alex is still in the forefront.

If you like old Rush, you'll love this. Recorded in 1974, this CD has two shows with songs no later than Fly By Night. It also contains two songs that have never been officially released, "Bad Boy" (a cover song) and "Fancy Dancer" (an original song). This CD was actually taken from vinyl, as both these shows have been available as LP boots for some time (one is called "Electric"). Because they were taken from vinyl, some pops can be heard throughout the recording, but are not very noticeable unless you're looking for them.? The recording from Electric Ladyland is a soundboard -- it was actually recorded "live in the studio" -- and the quality is similar to Rush's first album. Everything is clear, sharp and very RAW; you can barely hear the polite clapping of the audience. 

The worst thing about it is that halfway through "By-Tor" the song is faded out! The recording from Cleveland is probably a soundboard, but sounds distorted, as if the recording level is set too high. The bass at times overwhelms the guitar. What's odd about this is during some songs ("Working Man" in particular) there is a peculiar stereo effect with Alex's guitar, as if he is magically moving from left to right and back again across the stage in a few seconds. The last two tracks are much quieter than the rest, and not as distorted. The popping is more noticeable during the Cleveland show than the NYC show. 

The packaging is simple, and a short essay by "Marathon Man" graces the back of the booklet.? Inside the company indulged themselves and listed other bootlegs that they manufacture. On the back is a neat black & white photo of the band from "the early days". "Fancy Dancer" is listed incorrectly as "Can't You See" and may fool quite a few. Overall a solid raw recording, one worth having especially if you're in to early Rush. If you are a fan of later recordings, you'll probably want to pass this by.? Counterparts it is not!

Even at this early time point in the history of Rush, the performance value and musicianship is top notch. The sound quality is surprisingly very good for a recording that has previously been floating around as a bootleg. 

The bonus tracks do not sound as good unfortunately. The majority of the disc is from a show from August 26, 1974, which is approximately 5 months after their debut album was released. 

Sections of the songs "Fancy Dancer" and "Garden Road" appear in the "Beyond The Lighted Stage" film, and since I heard them there, I had hoped to get a copy if this performance. An early, and much shorter version than we are used to of Neil Peart's drum solo appears here as well (he had joined the band only weeks before this performance). The audience sections between the songs have been edited, to give the CD a tighter feel, but some of the edits are distracting. That's my only real complaint about this release. Otherwise, it's a must have for the hardcore Rush fan.


Rush - Agora Ballroom, Cleveland, Ohio, USA, August 26, 1974 and
Rush - Electric Lady Studios, New York, New York, USA, December 05, 1974 ★

♦ Geddy Lee - bass, vocals
♦ Alex Lifeson - guitars
♦ Neil Peart - drums

01.  Finding My Way  05:07
02.  The Best I Can  03:06 ★
03.  Need Some Love  03:21
04.  In The End  06:13 ★
05.  Fancy Dancer  03:54 ★
06.  In The Mood  03:18
07.  Bad Boy  05:37
08.  Here Again  07:53
09.  Working Man  09:13 ★
10.  Drum Solo  02:54
11.  What You're Doing  04:26 ★
12.  Garden Road  03:03

Bonus Tracks
13. Anthem  04:21
14. Beneath, Between & Behind  03:06
15. Fly By Night  02:46
16. Donna Halper Interview   05:31

(This is the best version i have heard so far, must be 20 versions of this bootleg, ChrisGoesRock)

1. Rush 1974
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2. Rush 1974
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3. Rush 1974
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