Darius, Don't You Get The Feelin

Friday, May 28, 2021

The Artwoods - Art Gallery Album UK 1966 (R&B UK 1964-67 w John Lord) + Bonus Tracks

Size: 303 MB

Bitrate: 256

mp3

Ripped by: ChrisGoesRock

Artwork Included

Japan 24-Bit Remaster

The Artwoods were formed in 1963, and over the next two years became an extremely popular live attraction, rivaling groups such as the Animals, although, despite releasing a clutch of singles and an album, their record sales never reflected this popularity. Singer Arthur Wood, from whom the band took their name, was the elder brother of The Rolling Stones' Ronnie Wood. He had been a vocalist with Alexis Korner's Blues Incorporated for a short period during 1962, simultaneously fronting his own group, the Art Wood Combo..

When keyboardist Jon Lord and guitarist Derek Griffiths joined from Red Bludd's Bluesicians they re-christened themselves the Artwoods. Keef Hartley, formerly with Rory Storm & The Hurricanes, joined on drums in '64 and the band turned professional, secured a residency at London's 100 Club and gained a recording contract with Decca Records.

The intended debut single, a cover of Muddy Waters' "Hoochie Coochie Man" was shelved in favour of a version of an old Leadbelly song, Sweet Mary". Although it didn't reach the Charts it got sufficient airplay to bring them a lot of live work, including an appearance on the first live edition of Ready Steady Go! The second record, "Oh My Love", was another blues cover. Like its predecessor, and subsequent releases, it failed to chart.

The Artwoods were dropped by Decca at the end of 1966 and signed a one record deal with Parlophone, but "What Shall I Do" also flopped. Later in 1967 a final "one-off" single appeared on Fontana under the name "St. Valentine's Day Massacre" but by the time of its release the Artwoods had effectively ceased to exist.

The Artwoods' early records today stand up well against the work of more successful groups such as the Rolling Stones, the Yardbirds or ironically, the Birds, who included Art's younger brother Ron. But at the time they came out, despite appearances on programs like Ready, Steady, Go! their singles never seemed to connect with the record-buying public. In live performance, on the other hand, it was a different matter. They had a virtuoso lineup, Lord's piano and organ sound was a great complement to Wood's singing, Griffith's guitar work was tastefully flashy, and Keef Hartley was animated as well as powerful, with a big sound on the drums. Club audiences always knew they were good for a great show and the band loved playing live. Ultimately, in fact, the group's success in touring and their love of playing live may have hurt them.

The group broke up in mid '67 with Hartley going on to play with John Mayall's Bluesbreakers,Malcolm Pool played with Colosseum and Lord becoming a founder member of Deep Purple.

Singles

♦ Nov '64 - Sweet Mary/If I Ever Get My Hands On You (Decca F 12015)

♦ Feb '65 - Oh My Love/Big City (Decca F 12091)

♦ Aug '65 - Goodbye Sisters/She Knows What To Do (Decca F 12206)

♦ Apr '66 - I Take What I Want/I'm Looking For A Saxophonist (Decca F 12384)

♦ Aug '66 - I Feel Good/Molly Anderson's Cookery Book (Decca F 12465)

♦ Apr '67 - What Shall I Do/In The Deep End (Parlophone R 5590)

♦ 1967 - Buddy Can You Spare A Dime/Al's Party (Fontana H883) (as St. Valetine's Day Massacre)

♦ Apr '66 Jazz In Jeans - These Boots Are Made For Walkin'/Taste Of Honey/Our Man Flint/Routine (Decca DFE 8654)

♦ Nov '66 "Art Gallery" (Decca LK 4830)

Band Members

♦ Art Wood - vocals (born Arthur Wood, 6 June 1937, at Hillingdon Hospital, Hillingdon, Middlesex died 3 November 2006, in London)

♦ Derek Griffiths - guitar

♦ Jon Lord - keyboards (born John Douglas Lord, 9 June 1941, in Leicester, Leicestershire)

♦Malcolm Pool - bass guitar (born 10 January 1943, at Corwell Nursing Home, Hayes End, Middlesex)

♦ Keef Hartley - drums (born Keith Hartley, 8 March 1944, in Preston, Lancashire)

01. Can You Hear Me

02. Down In The Valley

03. Things Get Better

04. Walk On The Wild Side

05. I Keep Forgettin'

06. Keep Lookin'

07. One More Heartache

08. Work, Work, Work

09. Be My Lady

10. If You Gotta Make A Fool Of Somebody

11. Stop And Think It Over

12. Don't Cry No More

13. Sweet Mary [Bonus]

14. If i Ever Gets My Hands on You [Bonus]

15. Big City [Bonus]

16. Oh My Love [Bonus]

17. Goodbye Sister [Bonus]

18. She Knows What to Do [Bonus]

19. I Take What i Want [Bonus]

20. I´m Looking For a saxophonist [Bonus]

21. I Feel Good [Bonus]

22. Molly Anderson´s Cookery [Bonus]

Extra Bonus Album: 30 Acetates, Singles & EP Tracks

Part 1: Art Gallery

Part 2: Art Gallery

Part 1: Art Gallery

Part 2: Art Gallery

Part 1: Art Gallery

Part 2: Art Gallery

Big Bill Broonzy w. Studs Terkel (WFMT Studios 1953 + Chicago Studio 1957) (Bootleg) Soundquality A-

Big Bill Broonzy w. Studs Terkel - WFMT Studios 1953 (Bootleg) (@320)

Despite years of research, the details of William Lee Conley Broonzy's birth date remain problematic. He may have been born on 26 June 1893 - the date of birth he often gave - or according to Bill's twin sister Laney, it may have been in 1898. Laney claimed to have documents to prove that. However, definitive research undertaken by Bob Reisman (see www.amazon.co.uk or www.amazon.com search book "I Feel So Good") has changed the picture.

Bill often regaled audiences with tales of his birth on 26 June 1893 and that of his twin sister Laney and of his father's response to being told he had twins to care for. He claimed to have served in the US Army in France from 1918 - 1919 and to have been invited by a record company to travel to the Delta following a major flood in 1927: Turns out, that a good deal of this was fiction at worst and faction at best.

Robert Reisman's impeccable research suggests a birth date for Bill of 26th June 1903 (and in Jefferson County, Arkansas, not Scott Mississippi as previously suggested). Laney was not a twin at all but four years older than Bill. (She was born in 1898).

Bill spoke and sang about experiences in the US army and of his return from France to Arkansas/Mississippi. It turns out though, that the reported army experience was Bill's factional description of an amalgam of the stories told by black soldiers returning from overseas. A trip Bill claimed to have made to Mississippi in 1927 to the flooding was similarly untrue, but was a factional account into which Bill inserted himself.

Broonzy is/was not even his real name. He was born into the world with the name Lee Conly (note spelling) Bradley; and so it goes on.

Bill's father Frank Broonzy (Bradley) and his mother, Mittie Belcher had both been born into slavery and Bill was one of seventeen children. His first instrument was a violin which he learned to play with some tuition from his uncle, his mother's brother, Jerry Belcher. Bob Reisman suggests that there is little evidence that Jerry Belcher existed.

In Arkansas, the young Bill (Lee) worked as a violinist in local churches at the same time as working as a farm hand. He also worked as a country fiddler and local parties and picnics around Scott Mississippi. Between 1912 and 1917, Bill (Lee) worked as an itinerant preacher in and around Pine Bluff. It is not known why he changed his name.

Later, he worked in clubs around Little Rock. In about 1924, Big Bill moved to Chicago Illinois, where as a fiddle player he played occasional gigs with Papa Charlie Jackson. During this time he learned to play guitar and subsequently accompanied many blues singers, both in live performance and on record. Bill made his first recordings in 1927 (just named Big Bill) and the 1930 census records him as living in Chicago and (working as a labourer in a foundry) and his name was recorded as 'Willie Lee Broonsey' aged 28. He was living with his wife Annie (25) and his son Ellis (6).

Over the years, Big Bill became an accomplished performer in his own right. Through the 1930s he was a significant mover in founding the small group blues (singer, guitar, piano, bass drums) sound that typified Chicago bues.

On 23 December, 1938, Big Bill was one of the principal solo performers in the first "From Spirituals to Swing" concert held at the Carnegie Hall in New York City. In the programme for that performance, Broonzy was identified in the programme only as "Big Bill" (he did not become known as Big Bill Broonzy until much later in his career) and as Willie Broonzy. He was described as:

"...the best-selling blues singer on Vocalion's 'race' records, which is the musical trade designation for American Negro music that is so good that only the Negro people can be expected to buy it."

The programme recorded that the Carnegie Hall concert "will be his first appearance before a white audience".

Big Bill was a stand-in for Robert Johnson, who had been murdered in Mississippi in August that year. Hammond heard about Johnson's death just a week before the concert was due to take place. According to John Sebastian (1939) Big Bill bought a new pair of shoes and travelled to New York by bus for the concert. Where he travelled from is, however, left dangling. The inference of the text is that it was from Arkansas, but as noted above, by by late 1938 Bill was established as a session man and band leader, and as a solo performer in Chicago. Within weeks of the 1938 concert Bill was recording with small groups in a studio in the windy city.

In the 1938 programme, Big Bill performed (accompanied by boogie pianist Albert Ammons) "It Was Just a Dream" which had the audience rocking with laughter at the lines,

"Dreamed I was in the White House, sittin' in the president's chair.

I dreamed he's shaking my hand, said "Bill, I'm glad you're here".

But that was just a dream. What a dream I had on my mind.

And when I woke up, not a chair could I find"

Big Big Broonzy w/Studs Terkel - WFMT Studios

Chicago, IL US Performance date: 1953-07-22

01. Conversation 3:37

02. Cryin' Joe Turner 4:18

03. Conversation 5:24

04. Plowhand Blues 3:16

05. Conversation 1:49

06. CC Rider Blues 1:33

07. Conversation 2:37

08. Makin' My Get Away 2:51

09. Conversation 1:50

10. Stand Your Test and Judgement 1:23

11. Conversation 1:46

12. Willie Mae 3:19 (digiskip at end)

13. Conversation 4:54

14. The Little Crawfish 2:18

15, Conversation (Goin' Down the Road Feelin' Bad tease) 3:14

16. John Henry 3:08

17. Glory of Love Outro 0:47

Big Bill Broonzy w. Studs Terkel - Chicago Studio 1957 (Bootleg) (@320)

Big Bill Broonzy was born William Lee Conley Broonzy in the tiny town of Scott, Mississippi, just across the river from Arkansas. During his childhood, Broonzy's family -- itinerant sharecroppers and the descendants of ex-slaves -- moved to Pine Bluff to work the fields there. Broonzy learned to play a cigar box fiddle from his uncle, and as a teenager, he played violin in local churches, at community dances, and in a country string band. During World War I, Broonzy enlisted in the U.S. Army, and in 1920 he moved to Chicago and worked in the factories for several years. In 1924 he met Papa Charlie Jackson, a New Orleans native and pioneer blues recording artist for Paramount. Jackson took Broonzy under his wing, taught him guitar, and used him as an accompanist. Broonzy's entire first session at Paramount in 1926 was rejected, but he returned in November 1927 and succeeded in getting his first record, House Rent Stomp, onto Paramount wax. As one of his early records came out with the garbled moniker of Big Bill Broomsley, he decided to shorten his recording name to Big Bill, and this served as his handle on records until after the second World War. Among aliases used for Big Bill on his early releases were Big Bill Johnson, Sammy Sampson, and Slim Hunter.

Broonzy's earliest records do not demonstrate real promise, but this would soon change. In 1930, the Hokum Boys broke up, and Georgia Tom Dorsey decided to keep the act going by bringing in Big Bill and guitarist Frank Brasswell to replace Tampa Red, billing themselves as "the Famous Hokum Boys." With Georgia Tom and Brasswell, Broonzy hit his stride and penned his first great blues original, "I Can't Be Satisfied." This was a hit and helped make his name with record companies. Although only half-a-dozen blues artists made any records during 1932, the worst year in the history of the record business, one of them was Big Bill, who made 20 issued sides that year.

Through Georgia Tom and Tampa Red, Big Bill met Memphis Minnie and toured as her second guitarist in the early '30s, but apparently did not record with her. When he did resume recording in March 1934 it was for Bluebird's newly established Chicago studio under the direction of Lester Melrose. Melrose liked Broonzy's style, and before long, Big Bill would begin working as Melrose's unofficial second-in-command, auditioning artists, matching numbers to performers, booking sessions, and providing backup support to other musicians. He played on literally hundreds of records for Bluebird in the late '30s and into the '40s, including those made by his half-brother, Washboard Sam, Peter Chatman (aka Memphis Slim), John Lee "Sonny Boy" Williamson, and others. With Melrose, Broonzy helped develop the "Bluebird beat," connoting a type of popular blues record that incorporated trap drums and upright string bass. This was the precursor of the "Maxwell Street sound" or "postwar Chicago blues," and helped to redefine the music in a format that would prove popular in the cities. Ironically, while Broonzy was doing all this work for Melrose at Bluebird, his own recordings as singer were primarily made for ARC, and later Columbia's subsidiary Okeh. This was his greatest period, and during this time Broonzy wrote and recorded such songs as "Key to the Highway," "W.P.A. Blues," "All by Myself," and "Unemployment Stomp." For other artists, Broonzy wrote songs such as "Diggin' My Potatoes." All told, Big Bill Broonzy had a hand in creating more than 100 original songs.

When promoter John Hammond sought a traditional blues singer to perform at one of his Spirituals to Swing concerts held at Carnegie Hall in New York City, he was looking for Robert Johnson to foot the bill. Hammond learned that Johnson had recently died, and as a result, Big Bill got the nod to appear at Carnegie Hall on February 5, 1939. This appearance was very well received, and earned Broonzy a role in George Seldes' 1939 film Swingin' the Dream alongside Louis Armstrong and Benny Goodman. In the early '40s, Big Bill appeared at the Café Society, the Village Vanguard, and the Apollo Theater, in addition to touring with Lil Greenwood, all of which kept Big Bill busy during the AFM recording ban. By the mid- to late '40s, the operation in Chicago with Melrose had finally begun to wind down, just as electric blues started to heat up. Big Bill continued to record for labels ranging from majors Columbia and Mercury to fly-by-nights such as Hub and RPM. In 1949, Broonzy decided to take some time off from music, and got a job working as a janitor at the Iowa State University of Science & Technology in Ames.

In 1951 Broonzy was sought out by DJ and writer Studs Terkel and appeared in the latter's concert series I Come for to Sing. Suddenly, Broonzy started to get a lot of press attention, and by September of that year, he was in Paris recording for French Vogue. On this occasion Broonzy was finally able to wax his tune "Black, Brown and White," a song about race relations that had been in his book for years, but every record company he had ever sung it for had turned it down. In Europe, Broonzy proved incredibly popular, more so than at any time in the United States. Two separate documentary films were made on his life, in France and Belgium, respectively, and from 1951 until ill health finally put him out of the running in the fall of 1957, Broonzy nearly doubled his own 1927-1949 output in terms of new recordings.

Broonzy updated his act by adding traditional folk songs to his set, along the lines of what Josh White and Leadbelly had done in then-recent times. He took a tremendous amount of flak for doing so, as blues purists condemned Broonzy for turning his back on traditional blues style in order to concoct shows that were appealing to white tastes. But this misses the point of his whole life's work: Broonzy was always about popularizing blues, and he was the main pioneer in the entrepreneurial spirit as it applies to the field. His songwriting, producing, and work as a go-between with Lester Melrose is exactly the sort of thing that Willie Dixon would do with Chess in the '50s. This was the part of his career that Broonzy himself valued most highly, and his latter-day fame and popularity were a just reward for a life spent working so hard on behalf of his given discipline and fellow musicians. It would be a short reward, though; just about the time the autobiography he had written with Yannick Bruynoghe, Big Bill Blues, appeared in 1955, he learned he had throat cancer. Big Bill Broonzy died at age 65 in August, 1958, and left a recorded legacy which, in sheer size and depth, well exceeds that of any blues artist born on his side of the year 1900.

Big Bill Broonzy with Studs Terkel

Unknown studio

Chicago, IL US

1957-07-??

01. Studs 0:50

02. Swing Low Sweet Chariot 4:07

03. Studs 0:52

04. When the Sun Goes Down 6:28

05. Studs 0:52

06. Take this Hammer 7:22

07. The Glory of Love 3:27

08. Studs 0:36

09. Old Folks At Home (Swanee River) 2:22

10. Studs 0:35

11. Crawdad Song 4:42

12. Studs 0:33

13. Down by the Riverside 5:59

14. Studs 0:27

15. Bill Talks 4:38

16. Studs 0:48

17. If You're Black, Get Back 4:27

18. Ain't Got No Home 0:58

19. Studs 0:14

20. You Got to Stand for Yourself 1:27

Part 1: Broonzy & Terkel

Part 2: Broonzy & Terkel

Part 1: Broonzy & Terkel

Part 2: Broonzy & Terkel

Part 1: Broonzy & Terkel

Part 2: Broonzy & Terkel

Studs Terkel (1912-2008) radically redefined the concept of radio interviews. For 45 years starting in 1952, WFMT was his homebase. His daily radio show was a pillar of WFMT’s programming, with its eclectic and astute mix of music and conversation. Studs juxtaposed interviews with the many of the 20th century’s most significant figures with the voices of uncelebrated, working people from Chicago. As a Pulitzer Prize-winning author, Studs helped established oral history as a popular and socially ambitious literary genre. Some of his titles include: Division Street, Hard Times, Working, Race and And They All Sang (Adventures of an Eclectic Disc Jockey). Studs was also a recipient of the National Book Award.

Sunday, May 02, 2021

Singles and EP's Picture Sleeves 50-70's, Billboard Magazine Artist Review 60-70's, PDF Rock Magazines "Classic Rock Magazine", "Shindig Music Magazine" and more...

Hi All
Here is a little present from me. Read and enjoy! 📖 📃 ♫♪♪

Singles and EP's Picture Sleeves 50-70's (Click on pictures for bigger size)

Record Company Logotypes (Click on pictures for bigger size)

Billboard Magazine Artist Review 60-70's (Click on pictures for bigger size)

PDF - Classic Rock Magazine

PDF - Shindig Music Magazine

PDF - Uncut Magazine

PDF - MOJO Magazine

PDF - Vintage Rock Magazine

PDF - The History of Rock (By Year 1965-1988)

//ChrisGoesRock

News from May 03, enjoy 📖 📃 ♫♪♪

The Beatles Artwork

Artist Articles 60-70's

Pop Spots Album Artwork From Photos

Sunday, April 25, 2021

Some Various Articles For Today

Open Pictures in a new window for 100%.

High Tide Article - Melody Maker

King Biscuit Times Radio Show Billboard Article May 1971

Spirogyra - Beat Instrumental of November 1971

The Youngbloods Article November 26, 1966

Thursday, April 22, 2021

Liquid Sound Company - Psychoactive Songs For The Psoul (Psychedelia US 2021)

Size: 224 MB

Bitrate: 320

mp3

Ripped by: ChrisGoesRock

Artwork Included

Fourth album of Texas Psychedelic rock! Taking the acid experience to higher levels and recreating the sound within, this album sees the band expand upon the already wide reaching range of styles and sounds within the realms of psychedelic consciousness!

Formed in 1996 by Solitude Aeturnus guitarist John Perez and Last Chapter drummer Jason Spradlin. The goal: create mind expanding psychedelic sounds for the head! With the nucleus of the band being Perez & Spradlin the band has had several members of "The Company" come through it's ranks including Terri Pritchard, David Fargason, Alan "Skip" Wise, Mark Cook, and Ron McCain.

Psychedelic music.

Why be so forward and diligent on categorizing music? Quite simply because we want to and our intentions are to make what we believe to be psychedelic music. What is psychedelic music? Ask different people and you'll almost always get a different answer, but as far as we're concerned it's music that challenges and titillates the senses, much like psychedelic drugs do (although music doesn't have the sheer force of these aforementioned substances).

Psychedelic music is the most broad of all genres of music as it covers a vast catalog of styles and influences and assimilates it into one package for your aural delight, and while it may lack the "sheer force" described above, it offers a glimpse into the heady world of altered consciousness.

Which brings us to another point. We could go on for quite some time on the virtues of psychoactive substances, but that would take days and more paper than this insert will hold. What we can say is that this music, particularly on this LP is intended to be listened to under the influence of a mind altering substance. More specifically, the preferred substance being LSD. Now look out - we're not advocating the irresponsible use of psychoactive drugs mind you!

Rather, we advocate the religious experience of enjoying this music in the comfort of your temple (home) and with your religious congregation (family, close friends, spouse). "Religious" too strong a word for this scene? Nope. To those that know, music can be a very spiritual and cosmic experience if you open yourself up to it and give it the attention it deserves. Psychedelics merely enhance this process 1000 fold. Sound becomes a physical reality and at times an abstract amalgamation of otherworld movements and vibrations.

You begin to understand the true nature of music, the pipes of Pan, the Devil's tool, and god's way of creating joy. Insanity and genius, Hellish tribulation and blissful elation. A paradox so beautifully crafted by "turned on" musicians and artists in an effort to turn on their fellow brethren.

We should make it clear that while recommended to be listened to in this state it is not by any means necessary to enjoy the music on a more "reality based" level. The music is designed for maximum enjoyment either in or out of the psychoactive state of mind. And of course we don't want to advocate breaking the law in any way so check your local laws to make sure that whatever substance you may imbibe in is legal in your country and/or planet.

Please enjoy your trip and don't forget to leave your luggage behind as you won't be needing it on this voyage. Above all, respect and love one another. Start with the music.

The Band

♣ John Perez - guitars, percussion, vocals, traaltakor, rare Owsley tabs

♣ Jason Spradlin - drums, vibes, percussion, platgroost

♣ David Fargason - bass, Moog, 4 star general of "getting into it," entraypton

Album Tracks

01. Cosmic Liquid Love 05:36

02. Blacklight Corridor 04:51

03. I'm Getting Older 04:38

04. And To Your Left...Neptune 06:37

05. Mahayuga 04:28

06. I Feel You 06:42

07. Who Put All Of Those Things In Your Hair? 03:32

08. Laila Was Here 04:59

Bonus Tracks From 2017

09. Cubehead 03:13

10. The League For Spiritual Discovery Lives 08:01

11. Preparation For The Psychedelic Eucharist 06:30

12. Inside The Acid Temple 05:54

13. Free! 04:07

14. The Art Of Ecstasy 07:26

15. The Gospel According To Robot A. Hull 03:25

16. Unfolding 09:17

Part 1: Liquid

Part 2: Liquid

Part 1: Liquid

Part 2: Liquid

Part 1: Liquid

Part 2: Liquid

Sunday, April 11, 2021

A Bunch of Posters For Today

Open The poster in a new window to get 100% size.

//ChrisGoesRock

Thursday, April 01, 2021

The Bonniwell Music Machine - Selftitled (Psych, Garage Rock US 1967)

Size: 422 MB

Bitrate: 320

mp3

Ripped by: ChrisGoesRock

Artwork Included

The Music Machine were renamed the Bonniwell Music Machine when they went to Warner Bros., as the original lineup disbanded at some point, leaving only chief singer and songwriter Sean Bonniwell. Much of the material on Warner, however, was recorded by the original group, and this album was pasted together from some singles (some of which had appeared on Original Sound in 1967) and other tracks, both by the original incarnation and a second outfit that was pretty much a Sean Bonniwell solo vehicle.

Accordingly, the tone of the album is pretty uneven, but much of the material is excellent. In fact, some of the songs rate among their best; a few are also found on the Rhino anthology, but other first-rate tunes ("Bottom of the Soul," "Talk Me Down," "The Trap") are not. Some of the cuts (presumably those recorded after the first lineup broke up) find Bonniwell branching out from psych-punk into a poppier and more eclectic direction, sometimes with very good results, sometimes not.

The Music Machine were one of the more fascinating one-hit wonders to emerge from the garage rock movement of the '60s. Led by singer and songwriter Sean Bonniwell, the Music Machine only scored one major chart success, 1966's "Talk Talk," but Bonniwell was a prolific songwriter whose tunes tackled the social and philosophical issues of the day in a style that was at once thoughtful and broadly theatrical, accompanied by sneering garage rock dominated by savage fuzztone guitars.

By all accounts, Bonniwell led the Music Machine with an iron fist, and the group's original lineup crumbled before they could record a second album, but Bonniwell landed a new record deal with Warner Bros. and assembled a new version of the group that he dubbed the Bonniwell Music Machine. The Bonniwell Music Machine's sole eponymous album was a more musically ambitious set than the Music Machine's LP for Original Sound, with horns, woodwinds, acoustic guitars, and esoteric keyboards dotting several cuts, while allowing Bonniwell plenty of room to explore his individual world-view.

Big Beat's The Bonniwell Music Machine is a comprehensive anthology that includes Bonniwell's complete Warner Bros. recordings -- all 14 tracks from the BMM album as well as 11 single sides and alternate mixes -- along with a bonus disc featuring demos and rarities from Bonniwell, the Music Machine, and Bonniwell's early group the Ragamuffins.

While the Bonniwell Music Machine's LP has an uneven reputation among fans, there are plenty of tracks that anyone who dug "Talk Talk" would be likely to latch on to, including "Double Yellow Line" and "The Eagle Never Hunts the Fly," while "Soul Love" is a proto-hard rock number that suggests these guys could have hopped on a tour bus with Blue Cheer and done just fine.

Despite conventional wisdom regarding Bonniwell's Warner Bros. period, this material sounds very much like the Music Machine's best-known work, just with an extra coat of varnish; the real surprises are on disc two, where the acoustic demos and home-recorded tracks allow Bonniwell to show off his inner folkie (and his songs fit the unplugged format better than you'd imagine), the Ragamuffins deliver some spirited uptempo folk-rock that boasts attitude and charm, and tracks like "Dark White" and "She Is" show Bonniwell could have pulled off a more subtle approach if he'd been given the time and resources. While this is best recommended to obsessives (and who else is likely to buy a two-disc reissue of an album that was a resounding flop?), Big Beat's edition of The Bonniwell Music Machine shows the guy was smarter and had a broader range than most would have you believe.

Disc 1

01. Music Machine, The - Astrologically Incompatible 02:35

02. Music Machine, The - Double yellow line 02:09

03. Music Machine, The - The day today 02:53

04. Music Machine, The - Absolutely positively 02:14

05. Music Machine, The - Somethin' hurtin' on me 03:03

06. Music Machine, The - The Trap 02:34

07. Music Machine, The - Soul love 03:38

08. Music Machine, The - Bottom Of The Soul 02:00

09. Music Machine, The - Talk Me Down 01:52

10. Music Machine, The - The eagle never hunts the fly 02:46

11. Music Machine, The - I've loved you 02:49

12. Music Machine, The - Affirmate no 02:08

13. Music Machine, The - Discrepancy 02:36

14. Music Machine, The - Me, Myself, And I 02:13

Bonus

15. Music Machine, The - You'll love me again 01:51

16. Music Machine, The - In my neighborhood (Stereo Mix) 02:21

17. Music Machine, The - To the light (Stereo Mix) 02:11

18. Music Machine, The - Everything is everything 01:52

19. Music Machine, The - This should make you happy 02:04

20. Music Machine, The - Black snow 02:32

21. Music Machine, The - Tell me what ya got 02:06

22. Music Machine, The - Time out (for a daydream) (Stereo Mix) 02:06

23. Music Machine, The - Tin can beach (Stereo Mix) 02:07

24. Music Machine, The - Unka tina ty 02:18

25. Music Machine, The - 902 01:57

Disc 2

Bonniwell, Sean - Gimme gimme (Home Demo) 02:23

Bonniwell, Sean - Stand aside (Home Demo) 01:57

Ragamuffins, The - Two much 01:58

Ragamuffins, The - Push don't pull 02:14

Ragamuffins, The - Chances 03:03

Ragamuffins, The - Talk me down 01:41

Music Machine, The - Point of no return (Home Demo) 02:40

Bonniwell, Sean - I'll take the blame (Home Demo) 01:52

Bonniwell, Sean - The life I live (Home Demo) 01:50

Bonniwell, Sean - Would you believe (Home Demo) 02:19

Bonniwell, Sean - Inside eternity (Home Demo) 02:55

Bonniwell, Sean - Paper machine (Home Demo) 02:29

Bonniwell, Sean - You'll love me again (Home Demo) 02:06

Music Machine, The - Dark white (Demo) 04:34

Music Machine, The - King mixer (Demo) 03:04

Music Machine, The - She is (Demo) 003:21

Music Machine, The - Reach me in time (Rehearsal) 02:22

Music Machine, The - Closed (Rehearsal) 02:11

Music Machine, The - Temporary knife (Rehearsal) 02:37

Music Machine, The - Advise & consent (Stereo Mix) 02:57

Music Machine, The - Mother nature / Father earth (Stereo Mix) 02:16

Music Machine, The - King mixer 03:16

Music Machine, The - Dark white 04:15

Bonniwell, Sean - Citizen fear 02:29

Part 1: Machine

Part 2: Machine

Part 3: Machine

Part 1: Machine

Part 2: Machine

Part 3: Machine

Part 1: Machine

Part 2: Machine

Part 3: Machine

Picadilly Line - The Huge World of Emily Small (Pop Psychedelia UK 1967)

Size: 137 MB

Bitrate: 256

mp3

Ripped by: chrisGoesRock

Artwork Included

Source: japan 24-Bit Remaster

The Huge World of Emily Small is one of those albums that just seems to have slipped under the radar of most UK pop psych collectors. As such it has never been reissued in any form until now! The band (a duo lead by Rod Edwards and Roger Hand, who would later record as Edwards Hand) flourished briefly in the late 60's releasing this one album. With them is the cream of UK session men including Danny Thompson (bass), Alan Hawkshaw (keys), Herbie Flowers (bass) and Harold McNair (flute). The Picadilly Line even managed an appearance at The Middle Earth club in London, the then hallowed centre of the UK psychedelic scene.

The album is breezy post Sergeant Pepper psychedelic pop with plenty of swinging London vibes, orchestration and evocative whimsical lyrics. Reference points are a psychedelic Hollies, Chad and Jeremy (circa Of Cabbages and Kings) Nirvana, Kaleidoscope (UK), World Of Oz, Donovan and The Bee Gees. Filled with beautiful dreamy vocal harmonies and elaborate electric and acoustic arrangements this is a real trip back to the height of UK Flower Power. All material is original except for a great version of Dylan's "Visions of Johanna" and The Everly Brothers "Gone, Gone Gone". This exact limited edition reissue is housed in a reproduction of the original sleeve. Features ten unreleased bonus tracks, including their non-album singles "Yellow Rainbow / Evenings With Corrina" and "Evenings With Corrina / My Best Friend", both from 1968..