Pink Floyd - Akademiska Föreningen Lund Sweden 1970 (Bootleg) (Sounsquality A)

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Great sound, everything comes through really clear, and there's no extraneous noise/chatter near the taper in the audience, to interfere with the listening experience. 

I'd definitely feel comfortable rating this show as an A. Their earlier tours (pre-Eclipsed) tend to get glossed over a little, since the material they performed isn't as legendary as their later works, which is a shame because these shows were just as tight and solid as the ones they did for The Dark Side of the Moon, Wish You Were Here, and Animals.

Lund Master is the latest incarnation of one of the more interesting Pink Floyd tapes in circulation.  A high generation copy of this tape was used for the earliest release Atom Heart Moo Live (WPOCM 0390 F 048-2).  It was listed incorrectly, claiming to be the March 8th show in Birmingham.  But also the label completely ruined the tape with the NoNoise procedure and produced one of the worst Pink Floyd bootlegs to ever be released.  

Better sounding versions were issued including Interstellar Highlights (Orange Records FP-70-A/B) released in 2002, In The Lund Of Grey and Pink (Ayanami 132) on CDR and Lund Sweden 1970 (Flux And Reflux Music FARM 20507).  Sigma use the master cassette which surfaced several years ago.  The sound quality is not only an improvement over all previous releases, but can be considered to be one the best sounding tapes from their short European tour that spring.  It is very clear before a quiet audience and is very enjoyable.

When they toured England earlier in the year, Pink Floyd incorporated more numbers into their live repertoire including songs from their soundtrack More, songs from their own avant-grarde theater piece The Man And The Journeyand even a couple attempts at “Sysyphus” from Ummagumma.  But when they began their tour of continental Europe on March 11th in Offenbach, Germany, the set took on a standard form with numbers from their released albums, the unreleased song “The Embryo,” and their epic “Atom Heart Mother.”  The show in Lund, Sweden was the penultimate gig with the final show being at Tivolis Koncertsal in Copenhagen.

The show begins with Syd Barrett’s signature tune “Astronomy Domine,” a song that is so firmly rooted in their early days that it sounds archaic in the new decade.  It sounds close to the studio version as the band give a perfunctory performance, and it turns out to be the shortest song of the night at nine minutes.  “Careful With That Axe, Eugene” is introduced by Waters as a “track off our last album Ummagumma.”  The band sound much more interested in this song.  It’s fascinating to hear the instrumental taking its time to build.  The vocals, articulating the song’s title, is delivered in an evil monotone.  The latter half of the song hits a rare intensity in a tribal sounding beat  under the guitar, only to be answered by the tranquil keyboard melody.  It’s a very dramatic performance.  

The first set ends with “A Saucerful Of Secrets” which has a tense keyboard solo before Gilmour breaks the tension right before the “Syncopated Pandemonium” section.  Mason favors a strict military beat during “Storm Signal” before “Celestial Voices” ends the piece.   

Disc two contains the second set.  It cuts in with “The Embryo” and this performance is interesting for the extreme dynamism between the instrumental breaks and the vocals.  It sounds as if Waters and Wright join Gilmour on vocals, singing in unison.  There is no giggling children tape played in the middle, but rather it is dominated by the whale-song effect before Wright brings them into the final verse.  “Interstellar Overdrive” begins with an interesting and unique keyboard melody.  In the long improvisation Gilmour’s playing sounds very abstract, sounding very sixties, but at about the eleven minute mark becomes very melodic and having a catchy melody.

Wright dominates the middle improvisation during “Set The Controls For The Heart Of The Sun,” producing tense moments punctuated by Waters playing the melody on the bass guitar.  The show ends with their latest epic “Atom Heart Mother” which at this point was still called “The Amazing Pudding” (it wouldn’t receive its final title until July).  At nineteen minutes, it is close to its final form but is obviously performed without a brass and choir section.  

Gilmour plays an angular guitar solo during the ”Funky Dung” blues section in the middle before he essentially duets with Wright, who plays more fascinating melodies.  Hearing the two interact during the entire show is a wonderful experience.  Fortunately, because the taper paused the tape between songs, the whole epic is captured on tape.  

Lund Master is one of the best shows from this era, demonstrated not only by the number of releases throughout the years, but by the care taken to work with the original master to produce a definitive edition.  As usual Sigma produce very attractive artwork with good live shots on the inserts.  This is definitely an improvement over past releases and is worth having.   

Live at Akademiska Föreningens Stora Sal, Lund, Sweden, 1970 03 20
For Promotional Use Only.

Band:
* David Gilmour
* Nick Mason
* Roger Waters
* Richard Wright

Disc 1:
01. Astronomy Domine   9:23  
02. Careful With That Axe Eugene 11:23  
03. Cymbaline 10:00  
04. A Saucerful Of Secrets  13:09  
    
Disc 2: Time: 
01. Embryo    8:44  
02. Interstellar Overdrive 13:26  
03. Set The Controls  11:53  
04. Atom Heart Mother 18:29 

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Not to be missed!! Buster Brown - The New King of The Blues (Outstanding Blues US 1961)

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Buster Brown (August 15, 1911 – January 31, 1976) was an American blues and R&B singer best known for his hit, "Fannie Mae".

Brown was born in Cordele, Georgia. In the 1930s and 1940s he played harmonica at local clubs and made a few non-commercial recordings. These included "I'm Gonna Make You Happy" (1943), which was recorded when he played at the folk festival at Fort Valley (GA) State Teachers College, and was recorded by the Library of Congress' Folk Music Archive.

Brown moved to New York in 1956, where he was discovered by Fire Records owner Bobby Robinson. In 1959, at almost fifty years of age, Brown recorded the rustic blues, "Fannie Mae", which featured Brown's harmonica playing and whoops, which went to # 38 in the U.S. Top 40, and to #1 on the R&B chart in April 1960. His remake of Louis Jordan's "Is You Is or Is You Ain't My Baby" reached # 81 on the pop charts later in 1960, but did not make the R&B chart. "Sugar Babe" was his only other hit, in 1962, reaching # 19 on the R&B chart and # 99 on the pop chart.

In later years he recorded for Checker Records and for numerous small record labels. He also co-wrote the song "Doctor Brown" with J. T. Brown, which was later covered by Fleetwood Mac on their 1968 album, Mr. Wonderful.

rown died in New York in 1976, at the age of 64. It is often erroneously cited that Brown's real name was "Wayman Glasco" - however, that was Brown's manager who, after his death, bought all of Brown's publishing - thus unintentionally creating the confusion. Though likely a nickname, or alias, Buster Brown may have been his birth name.

If blues musicians took up residency in Vegas during the late '50s, it might come out sounding like this. Brown's gleeful run through myriad blues related styles (gospel, R&B, doo wop, New Orleans, early rock & roll) casts a vaudevillian sheen over many of the 16 tracks here, placing the performance squarely in the realm of Louis Jordan's own showy style. The fact Brown had a very brief hour in the sun with his unexpected 1959 hit "Fannie Mae" further indicates his pop approach to blues probably was better suited to the lounges of the chitlin circuit than the main venues of blues and rock & roll. 

His almost perfunctory versions of war horses like "St. Louis Blues" and "Blueberry Hill" reveal the downside the situation. But he does have his moments, particularly when he plies a hard, Chicago blues groove à la Little Walter on cuts like "Don't Dog Your Woman"; his harmonica sound borrows from both Walter and Sonny Terry while his singing is punctuated with timely whoops taken straight from Terry's animated vocal style. Even with more than just a few bright moments here, the good amount of watered down material ultimately makes this Brown collection a secondary choice next to prime titles by Muddy Waters, Howlin' Wolf, Wynonie Harris, and even Big Jay McNeely.

01. Fannie Mae
02. John Henry
03. The Madison Shuffle
04. St. Louis Blues
05. When Things Go Wrong (It Hurts Me Too)
06. Lost in a Dream [False Start]
07. Lost in a Dream
08. Gonna Love My Baby
09. I Got the Blues When It Rains
10. Is You Is or Is You Ain't My Baby?
11. Don't Dog Your Woman
12. Blueberry Hill
13. Sincerely
14. I'm Goin', But I'll Be Back
15. Good News
16. Raise a Ruckus Tonight
17. Doctor Brown
18. Sugar Babe
19. No More
20. Fannie Mae [Alternate Take]
21. Raise a Ruckus Tonight [Alternate Version]

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Some Articles For The Day...

April 30, 1966 Article
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Ten Years After - Record Mirror January 1969
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David Byron Article 1974
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Al Kooper - Naked Songs (Good Album US 1973)

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Naked Songs is the sixth and final album by singer-songwriter Al Kooper for Columbia Records, released in 1973.

A contract-fulfilling release, coming months after Kooper had set up the Sounds of the South label through MCA Records, it was quickly recorded at New York City's Record Plant (the first time Kooper had recorded in New York since 1970's Easy Does It) and at Studio One in Doraville, Georgia (where the following year Kooper would produce Lynyrd Skynyrd's smash hit "Sweet Home Alabama").

Mixing a heavier dose of gospel into the mix and the Arp synthesizer, Kooper effortlessly blended soul, rhythm and blues, rock, country and pop music much as he had on all of his Columbia albums.

Naked Songs represents the other end of Al Kooper's early career from I Stand Alone. Where that first album was recorded very gradually at the outset of his solo career, soon after exiting Blood, Sweat & Tears, Naked Songs was a much more cohesive work (cut in New York and Georgia) from the end of his stay at Columbia Records. Ironically, it was a contractually obligated album, but never one to throw away an opportunity, Kooper embraced soul, gospel, blues, pop, and even country music in the course of filling its two sides. 

Playing his usual array of instruments, including loud, note-bending blues guitar and gospel-tinged organ on "As the Years Go Passing By," he effortlessly switches gears to the smoother pop-soul sound of "Jolie," then straight country with a blues tinge on "Blind Baby." John Prine's grim and uncompromising "Sam Stone" gets an extraordinary performance, but the real surprise is the presence of Sam Cooke's Soul Stirrers-era gospel classic "Touch the Hem of His Garment" -- the latter is one of a pair of Cooke songs (the other is "A Change Is Gonna Come") that one would not expect any white artist to try and cover, much less do well, but Kooper does it justice and then some, and this track alone is worth the price of the album. 

The album benefits from the fact that Kooper had spent a good chunk of the prior year working with the Atlanta Rhythm Section (which appears here) as well as discovering Lynyrd Skynyrd. Naked Songs may have been intended mostly to get him out of his Columbia contract, but it proved a highlight of his career as well as his last new recording for four years. Naked Songs was reissued in Japan in 2003 in a mini-LP jacket format in state-of-the-art 24-bit digital audio

01. "(Be Yourself) Be Real" – 3:26
02. "As the Years Go Passing By" (Don Robey) – 6:03
03. "Jolie" – 3:48
04. "Blind Baby" – 3:07
05. "Been and Gone" (Annette Peacock) – 2:35
06. "Sam Stone" (John Prine) – 4:41
07. "Peacock Lady" – 3:22
08. "Touch the Hem of His Garment" (Sam Cooke) – 4:04
09. "Where Were You When I Needed You" (Irwin Levine, Kooper) – 3:12
10. "Unrequited" – 2:52

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Netherland Single 1973

Fleetwood Mac - Then Play On (Great Blues Album UK 1969)

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Then Play On is the third studio album by blues-rock band Fleetwood Mac, first released in September 1969. It was the first of their original albums to feature Danny Kirwan and the last with Peter Green. Jeremy Spencer did not feature on the album apart from "a couple of piano things" (according to Mick Fleetwood in Q magazine in 1990). The record, appearing after the group's sudden success in the pop charts, offered a broader stylistic range than the classic blues of the group's first two albums. The title is taken from Duke Orsino's opening line, "If music be the food of love, play on," from William Shakespeare's comedy play Twelfth night.

This was the band's first release with Warner/Reprise after being lured away from Blue Horizon and a one-off with Immediate Records. Forty years on, Fleetwood Mac remain with Warner. The album, which at its original UK release had an unusually long running time, has been released with four different song line-ups.

The painting used for the cover of the album is "Domesticated Mural Painting", by the English artist Maxwell Armfield. It was featured in the February 1917 edition of The Countryside magazine, which states that the mural was originally designed for the dining room of a London mansion.

This Peter Green-led edition of the Mac isn't just an important transition between their initial blues-based incarnation and the mega-pop band they became, it's also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of "Bare Trees" and "Kiln House" with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. 

The immortal "Oh Well," with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band's most enduring progressive composition. "Rattlesnake Shake" is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green's fiery improvisations power "Searching for Madge," perhaps Mac's most inspired work save "Green Manalishi," and leads into an unlikely symphonic interlude and the similar, lighter boogie "Fighting for Madge." A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on "Coming Your Way" not only defines the Mac's sound, but the rock aesthetic of the day. 

Of the songs with Kirwan's stamp on them, "Closing My Eyes" is a mysterious waltz love song; haunting guitars approach surf music on the instrumental "My Dream"; while "Although the Sun Is Shining" is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged "Underway," the folky "Like Crying," and the final outcry of the ever-poignant "Show Biz Blues," with Green moaning "do you really give a damn for me?" Then Play On is a reminder of how pervasive and powerful Green's influence was on Mac's originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus.

Personnel
♦ Peter Green – vocals, guitar, harmonica, six string bass, violoncello on "Oh Well, Pt. 2"
♦ Danny Kirwan – vocals, guitar
♦ John McVie – bass guitar
♦ Mick Fleetwood – drums, percussion
♦ Jeremy Spencer – piano on "Oh Well" (Pt.2)
  Additional Uncredited Personnel
♦ Christine Perfect – piano
♦ Big Walter Horton – harmonica

01. "Coming Your Way" (Kirwan) – 3:47
02. "Closing My Eyes" (Green) – 4:50
03. "Showbiz Blues" (Green) – 3:50
04. "My Dream" (Kirwan) – 3:30
05. "Underway" (Green) – 2:51
06. "Oh Well" (Green) – 8:56
07. "Although the Sun Is Shining" (Kirwan) – 2:31
08. "Rattlesnake Shake" (Green) – 3:32
09. "Searching for Madge" (McVie) – 6:56
10. "Fighting for Madge" (Fleetwood) – 2:45
11. "When You Say" (Kirwan) – 4:22
12. "Like Crying" (Kirwan) – 2:21
13. "Before the Beginning" (Green) – 3:28

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Article of the day...

Captain Beyond Article
August 1972

Osanna - Milano Calibro 9 (Progressive Rock Italy 1972)

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OSANNA is classic seventies Italian prog. The basis of their sound is original heavy guitar rock often in combination with amazing flute solos. Additionally, more spacey, Pink Floydian parts and quiet interludes with acoustic guitar and flute can be heard as well. There are plenty of mood changes and surprises that make this music very dynamic and interesting. 

Their first three are masterpieces in their own right. The superb "L'Uomo" in which heavy rock and spacey jazz are only a few of the styles included, the soundtrack "Milano Calibro 9" and their best "Palepoli" which is so bizarre and complex, beginners may be too dazzled by the array of styles presented. "Palepoli" covers a wide range of styles, moods, and tempo variations, and OSANNA handle these diverse modes of playing superbly. This eponymus masterpiece can be compared to BANCO DEL SOCCORSO or PREMIATA FORNERIA MARCONI An ultimate classic!

Back in February 1995, I was in Eugene, Oregon at the Eugene Hilton. There was a record convention being held there. It was quite an event, because unlike record stores, I kept running in to people I never knew where I was openly able to talk music to them (because the event seemed to consist of more serious collectors, rather than college kids who, at the time, thought that music began and ended with Kurt Cobain). While there, I noticed an OSANNA album, having been already amazed with "Palepoli", I snatched this earlier release, "Milano Calibro 9". It was an American release on the Peters International label. It was released in 1973, a year after the original Italian release. I also got it for cheap (something you can't always say of Italian prog LPs, unless it was American pressings of PFM albums).

On this album, the band matured quite a bit. Where on "L'Uomo", it was a combination of hard rock, blues, jazz, folk, and prog, on this album, they were able to combine those styles in a more mature and progressive framework. And this time, it's a soundtrack to a film. But despite the trippy artwork on the album cover that might make you think "Milano Calibro 9" was an art film, it was actually apparently a mob film (for one thing, "Calibro 9" translates as "Caliber 9", so you know right it way it has to deal with a gun). The band incorporates an orchestra, conducted by Argentine-born Luis Enriquez Bacalov (who was previously responsible for NEW TROLLS' "Concerto Grosso Per 1" and later IL ROVESCIO DELLA MEDAGLIA's "Contaminazione"). The American LP has all the song titles in English (so instead of "Preludio", "Tema", several "Variazioni"s, and "Canzona", they are "Prelude", "Theme", "Variations" and "There Will Be Time").

The album starts off with "Theme", which starts off with a bizarre sounding ARP 2600 synthesizer. There is some classical piano, the orchestra, then the band kicks in to a mindblowing jam. "Tema" ("Theme") is a more mellow, and pleasant piece, dominated by piano, orchestra, and ARP 2600 synthesizer. Nice piece. Then the album goes through several pieces entitled "Varazioni" (divided by roman numerals I-VII). These movements goes through many different moods and changes, although most of them are quite short. The second movement is also called "My Mind Flies". This is one of only two cuts with vocals. The band chose to sing in English, but as you know, the English language isn't the high point of these guys. Luckily it's stuffed with lots of bizarre, atmospheric and acoustic pieces, with that great flute, and more great loud, aggressive jams. The last piece, "Canzona" is also called "There Will Be Time". This is not a particularly progressive piece. This is the album's only other vocal track, and it's a pretty straightforward pop song, as seemed to be the common occurance on many Italian prog albums.

My big complaint of the album is I wished for lengthier compositions (luckily they fixed that problem with "Palepoli"), because I like the mood of many of the pieces, just wished it lasted longer. But I guess that had to deal with the fact this is a movie soundtrack. Still a great album.

Personnel
- Elio D'anna / flute, piccolo, tenor sax, baritone sax 
- Lino Vairetti / vocals, 12 string guitar, harmonica, hammond              organ,synthesizer   
- Danilo Rusici / guitar, 12 string guitar, pipe organ, electronics 
- Lello Brandi / bass 
- Massimo Guarino / drums

01. Prelude (4:10) 
02. Tema (4:50) 
03. Variatione 1 (2:15) 
04. Variatione 2 (4:58) 
05. Variatione 3 (1:38) 
06. Variatione 4 (1:31) 
07. Variatione 5 (2:10) 
08. Variatione 6 (2:49) 
09. Variatione 7 (1:28) 
10. Canzona (4:54) 

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Blind Faith Review

Bröselmascine - Selftitled (German Folkprog 1969)

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Inspired by the American folk music of Bob Dylan, Joan Baez, Phil Ochs and Joni Mitchell, German master of acoustic guitar Peter Bursch formed the first line-up of BROSELMASCHINE back in 1968 alongwith flautist/vocalist Jenni Schucker - a female singer with an irresistible whispy voice - Willi Kissmer on vocals, guitars and zither, Lutz Ringer on metallaphon and bass, and Mike Hellbach on congas, tabla and mellotron. Although many tracks bear German names, almost all are sung in English. The quintet disbanded after a first album in 1971 and Bursch, keeping only guitarist Kissmer from the original line-up, pursued his musical endeavours under the name of PETER BURSCH UND DIE BROSELMASCHINE, joined by percussionist Mani Neumeier (GURU GURU), drummer Jan Fride (KRAAN) and three other musicians.

Their eponymous LP is definitely their best: a wonderful acoustic album full of finesse of subtle Indian, Middle-Eastern flavour (sitar, tabla, flute) as well as Irish/Scottish traditional folk (mandolin, multi-voice harmonies). Their second album, released under the moniker PETER BURSCH UND DIE BROSELMASCHINE, unfortunately doesn't even come close to the first. In spite of its decidedly folk flavour and many guest appearances, it is altogether different and less inspired, putting the emphasis on Bursch's acoustic guitar techniques (although Kissmer's electric guitar steals the show at times).

For fans of EMTIDI, early HOELDEERLIN or other such cosmic folk bands, the first BROSELMASCHINE album is a breath of fresh air.

 This is one of those rather obscure gems that is probably more folk than progressive, but the interplay of Celtic and Middle Eastern sounds atop a bed of what almost sound like Peter, Paul and Mary covers makes for a very charming album and a good use of a little more than a half-hour of your time.
Bröselmaschine was basically a one-shot German band who seem to have been heavily inspired by American folk singers of the sixties, plus featured the stunningly gorgeous and folksy vocals and flute of one Jenni Schucker. Amazingly Schucker doesn’t seem to have appeared on anything after this release.

This album was impossible to find for decades until it was reissued on CD in 2005. I just read this week that Akarma is releasing this on domestic CD in December 2007. I have the Ohr German import version that was released a couple years ago, which was the only other CD version I’m aware of. I don’t know if the Akarma release has the same tracks as this one or has some bonus material, so I will have to check into that one. But since Peter Bursch’s material after this release is generally considered inferior I’d be surprised if any bonus material amounted to much.

The tracks don’t range too far from my opening description, with the exception of the lengthy “Schmetterling” which does manage to blur the line between Middle Eastern-inspired folk (sitar, flute, zither, metallophon – you get the idea) and full-blown psych. There is even an extended flute solo that places this album squarely at the end of the flower-power era.

The rest of the album is much closer to rather tame hippy folk, although the presence of the zither, congas and tabla do manage to give the remaining tracks a bit of a dated sound.

On “The Old Man's Song” Schucker manages to come off sounding a bit like Grace Slick circa Jefferson Airplane’s Surrealistic Pillow days. This isn’t really a psych number though, as much as it is a rather intense folk piece accented with a light touch of slightly psych-and-blues guitar, tabla and the ever-present zither. Albums like Joe Byrd’s American Metaphysical Circus and the Comfortable Chair’s self-titled release also come to mind. [progarchives.com]

Personell:
- Jenni Schucker - vocals, flute, shells
- Willi Kismer - vocals, guitars, zither
- Lutz Ringer - metallophon, bass
- Mike Hellbach - congas, tabla, spoons, mellotron
- Peter Bursch - vocals, acoustic guitar, sitar, flute

01. Gedanken (5:06)
02. Lassie (traditional) (5:06)
03. Gitarrenstuck (2:03)
04. The Old Man's Song (5:26)
05. Schmetterling (9:31)
06. Nossa Boba (8:06)

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Junior Well's Chicago Blues Band - Hoodoo Man Blues (US 1965)

 

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One of the truly classic blues albums of the 1960s, and one of the first to fully document the smoky ambience of a night at a West side nightspot in the superior acoustics of a recording studio. Wells just set up with his usual cohorts — guitarist Buddy Guy (billed as "Friendly Chap" on first vinyl pressings), bassist Jack Myers, and drummer Billy Warren — and proceeded to blow up a storm, bringing an immediacy to "Snatch It Back and Hold It," "You Don't Love Me," "Chitlin Con Carne," and the rest that is absolutely mesmerizing.

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells kept at precisely this sort of thing for over 40 years — he was an active performer from the dawn of the 1950s to his death in the late '90s.

Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.

Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental, "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though — his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail."

More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Already Wells was exhibiting his tempestuous side — he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells's most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957; the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells's harp was de-emphasized during this period on record in favor of his animated vocals.

 

With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chittlin' Con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise.

After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed — the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.

01. Snatch It Back and Hold It Wells 2:53
02. Ships on the Ocean Wells 4:07
03. Good Morning Little Schoolgirl Williamson 3:50
04. Hound Dog Leiber, Stoller 2:12
05. In the Wee Small Hours of the Morning Hilliard, Mann 3:42
06. Hey Lawdy Mama 3:10
07. Hoodoo Man Blues Wells, Williamson 2:49
08. Early in the Morning Traditional 4:44
09. We're Ready Guy, Wells 3:33
10. You Don't Love Me, Baby Cobbs 2:58
11. Chitlin Con Carne Burrell 2:12
12. Yonders Wall James 4:10

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Frank Zappa & The Mothers - Toronto 1969-02-23 (High Quality Sound)

Size: 155 MB
Bitrate: 320
mp3
Found in Outerspace
Artwork Included

And so we reach the end of our Toronto '69 upgrade series. This is a very popular show, and rightly so - the sound is very good, and so is the setlist with all of its "Rubenism". I don't know the story behind this tape - it's a SBD as opposed to all the stage recordings - but I got it from LC along with the stages, with the same generation number, so it may very well have a similar history.

The only flaws on this tape are a few drop-outs, some of them in one channel. I only fixed one of those by mono conversion, in the other spots it sounded too distracting.

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Composer, guitarist, singer, and bandleader Frank Zappa was a singular musical figure during a performing and recording career that lasted from the 1960s to the '90s. His disparate influences included doo wop music and avant-garde classical music; although he led groups that could be called rock & roll bands for much of his career, he used them to create a hybrid style that bordered on jazz and complicated, modern serious music, sometimes inducing orchestras to play along. As if his music were not challenging enough, he overlay it with highly satirical and sometimes abstractly humorous lyrics and song titles that marked him as coming out of a provocative literary tradition that included Beat poets like Allen Ginsberg and edgy comedians like Lenny Bruce. Nominally, he was a popular musician, but his recordings rarely earned significant airplay or sales, yet he was able to gain control of his recorded work and issue it successfully through his own labels while also touring internationally, in part because of the respect he earned from a dedicated cult of fans and many serious musicians, and also because he was an articulate spokesman who promoted himself into a media star through extensive interviews he considered to be a part of his creative effort just like his music. The Mothers of Invention, the '60s group he led, often seemed to offer a parody of popular music and the counterculture (although he affected long hair and jeans, Zappa was openly scornful of hippies and drug use). By the '80s, he was testifying before Congress in opposition to censorship (and editing his testimony into one of his albums). But these comic and serious sides were complementary, not contradictory. In statement and in practice, Zappa was an iconoclastic defender of the freest possible expression of ideas. And most of all, he was a composer far more ambitious than any other rock musician of his time and most classical musicians, as well.

Zappa was born Frank Vincent Zappa in Baltimore, MD, on December 21, 1940. For most of his life, he was under the mistaken impression that he had been named exactly after his father, a Sicilian immigrant who was a high school teacher at the time of his son's birth, that he was "Francis Vincent Zappa, Jr." That was what he told interviewers, and it was extensively reported. It was only many years later that Zappa examined his birth certificate and discovered that, in fact, his first name was Frank, not Francis. The real Francis Zappa took a job with the Navy during World War II, and he spent the rest of his career working in one capacity or another for the government or in the defense industry, resulting in many family moves. Zappa's mother, Rose Marie (Colimore) Zappa, was a former librarian and typist. During his early childhood, the family lived in Baltimore, Opa-Locka, FL, and Edgewood, MD. In December 1951, they moved to California when Zappa's father took a job teaching metallurgy at the Naval Post-Graduate School in Monterey. The same year, Zappa had first shown an interest in becoming a musician, joining the school band and playing the snare drum.

Although the Zappa family continued to live in California for the rest of Zappa's childhood, they still moved frequently; by the time Zappa graduated from Antelope Valley Joint Union High School in Lancaster in June 1958, it was the seventh high school he had attended. Meanwhile, his interest in music had grown. He had become particularly attracted to R&B, joining a band as a drummer in 1955. Simultaneously, he had become a fan of avant-garde classical music, particularly the work of Edgard Varèse. After his high school graduation, Zappa studied music at several local colleges off and on. He also switched to playing the guitar.

Zappa married Kathryn J. Sherman on December 28, 1960; the marriage ended in divorce in 1964. Meanwhile, he played in bands and worked on the scores of low-budget films. It was in seeking to record his score for one of these films, The World's Greatest Sinner, that he began working at the tiny Pal recording studio in Cucamonga, CA, run by Paul Buff, in November 1961. He and Buff began writing and recording pop music with studio groups and licensing the results to such labels as Del-Fi Records and Original Sound Records. On August 1, 1964, Zappa bought the studio from Buff and renamed it Studio Z. On March 26, 1965, he was arrested by a local undercover police officer who had entrapped him by asking him to record a pornographic audiotape. Convicted of a misdemeanor, he spent ten days in jail, an experience that embittered him. After completing his sentence, he closed the studio, moved into Los Angeles, and joined a band called the Soul Giants that featured his friend, singer Ray Collins, along with bass player Roy Estrada and drummer Jimmy Carl Black. In short order, he induced the group to play his original compositions instead of covers, and to change their name to the Mothers (reportedly on Mother's Day, May 10, 1965).

Freak Out! In Los Angeles, the Mothers were able to obtain a manager, Herb Cohen, and audition successfully to appear in popular nightclubs such as the Whiskey Go-Go by the fall of 1965. There they were seen by record executive Tom Wilson, who signed them to the Verve Records subsidiary of MGM Records on March 1, 1966. (Verve required that the suggestive name "The Mothers" be modified to "The Mothers of Invention.") The contract called for the group to submit five albums in two years, and they immediately went into the studio to record the first of those albums, Freak Out! By this time, Elliot Ingber had joined the group on guitar, making it a quintet. An excess of material and Zappa's agreement to accept a reduced publishing royalty led to the highly unusual decision to release it as a double-LP, an unprecedented indulgence for a debut act that was practically unheard, much less for an established one. (Bob Dylan's Blonde on Blonde appeared during the same period, but it was his seventh album.)

Freak Out! was released on June 27, 1966. It was not an immediate success commercially, but it entered the Billboard chart for the week ending February 11, 1967, and eventually spent 23 weeks in the charts. In July 1966, Zappa met Adelaide Gail Sloatman; they married in September 1967, prior to the birth, on September 28, 1967, of their first child, a daughter named Moon Unit Zappa who would record with her father. She was followed by a son, Dweezil, on September 5, 1969. He, too, would become a recording artist, as would Ahmet Zappa, born May 15, 1974. 

A fourth child, Diva, was born in August 1979. During the summer of 1966, Zappa hired drummer Denny Bruce and keyboardist Don Preston, making the Mothers of Invention a septet, but by November 1966, when the Mothers of Invention went back into the studio to record their second album, Absolutely Free, Bruce had been replaced by Billy Mundi; Ingber had been replaced by Jim Fielder; and Zappa had hired two horn players, Bunk Gardner on wind instruments and Jim "Motorhead" Sherwood on saxophone, bringing the band up to a nine-piece unit. The album was recorded in four days and released in June 1967. It entered the charts in July and reached the Top 50.

Lumpy Gravy The Mothers of Invention moved to New York City in November 1966 for a booking at a Greenwich Village club called the Balloon Farm that began on Thanksgiving Day and ran through New Year's Day, 1967. After a two-week stint in Montreal, they returned to California, where Fielder left the group in February. In March, Zappa began recording his first solo album, Lumpy Gravy, having signed to Capitol Records under the impression that he was not signed as an individual to Verve, a position Verve would dispute. Later that month, the Mothers of Invention returned to New York City for another extended engagement at the Garrick Theater in Greenwich Village that ran during Easter week and was sufficiently successful that Herb Cohen booked the theater for the summer. That run began on May 24, 1967, and ran off and on through September 5. During this period, Ian Underwood joined the band, playing saxophone and piano. In August, the group began recording its third album, We're Only in It for the Money.

Sgt. Pepper's Lonely Hearts Club Band In September 1967, the Mothers of Invention toured Europe for the first time, playing in the U.K., Sweden, and Denmark. On October 1, Verve failed to exercise its option to extend the band's contract, although they still owed the label three more LPs. They finished recording We're Only in It for the Money in October, but its release was held up because of legal concerns about its proposed cover photograph, an elaborate parody of the Beatles' Sgt. Pepper's Lonely Hearts Club Band, which was finally resolved by putting the picture on the inside of the fold-out LP sleeve. We're Only in It for the Money was released on March 4, 1968, and it reached the Top 30. Another legal dispute was resolved when Verve purchased the tapes of Lumpy Gravy from Capitol. Zappa then finished recording this orchestral work, and Verve released it under his name (and that of "the Abnuceals Emuukha Electric Symphony Orchestra and Chorus") on May 13, 1968; it spent five weeks in the charts.

Uncle Meat Although the Mothers of Invention still owed one more LP to Verve, Zappa already was thinking ahead. In the fall of 1967, he began recording Uncle Meat, the soundtrack for a proposed film, with work continuing through February 1968. During this period, Billy Mundi left the band and was replaced on drums by Arthur Dyer Tripp III. In March, Zappa and Herb Cohen announced that they were setting up their own record label, Bizarre Records, to be distributed by the Reprise Records subsidiary of Warner Bros. Records. The label was intended to record not only the Mothers of Invention, but also acts Zappa discovered. Early in the summer, Ray Collins quit the Mothers of Invention, who continued to tour. Their performance at the Royal Festival Hall in London on October 25, 1968, was released in 1991 as the album Ahead of Their Time. That month, Bizarre was formally launched with the release of the single "The Circle," by Los Angeles street singer Wild Man Fischer. In November, guitarist Lowell George joined the Mothers of Invention. In December, Verve released the band's final album on its contract, Cruisin' with Ruben & the Jets, on which Zappa for once played it straight, leading the group through a set of apparently sincere doo wop and R&B material. The LP spent 12 weeks in the charts. (Zappa was then free of Verve, although his disputes with the company were not over. Verve put out a compilation, Mothermania: The Best of the Mothers, in March 1969, and it spent nine weeks in the charts.)

Pretties for You The ambitious double-LP Uncle Meat, the fifth Mothers of Invention album, was released by Bizarre on April 21, 1969. It reached the Top 50. (The movie it was supposed to accompany did not appear until a home video release in 1989.) In May, Bizarre released Pretties for You, the debut album by Alice Cooper, the only act discovered by the label that would go on to substantial success (after switching to Warner Bros. Records proper, that is).The same month, Lowell George left the band; later, he and Roy Estrada would form Little Feat. Zappa began working on a second solo album, Hot Rats, in July 1969. On August 19, the Mothers of Invention gave their final performance in their original form, playing on Canadian TV at the end of a tour. One week later, Zappa announced that he was breaking up the band, although, as it turned out, this did not mean that he would not use the name "the Mothers of Invention" for groups he led in the future. Hot Rats, the second album to be credited to Frank Zappa, was released on October 10, 1969. It spent only six weeks in the charts at the time, but it would become one of Zappa's best-loved collections, with the instrumental "Peaches en Regalia" a particular favorite. Although the Mothers of Invention no longer existed as a performing unit, Zappa possessed extensive tapes of them, live and in the studio, and using that material, he assembled a new album, Burnt Weeny Sandwich, released in February 1970; it made the Top 100.

200 Motels At the invitation of Zubin Mehta, conductor of the Los Angeles Philharmonic Orchestra, Zappa assembled a new group of rock musicians dubbed the Mothers for the performance, with the orchestra, of a work called 200 Motels at UCLA on May 15, 1970. Adding singers Howard Kaylan and Mark Volman, formerly of the Turtles, Zappa launched a tour with this version of the Mothers in June 1970. (Also included were a returning Ian Underwood, keyboardist George Duke, drummer Aynsley Dunbar, and guitarist Jeff Simmons.) In August, Bizarre released another archival Mothers of Invention album, Weasels Ripped My Flesh, which charted. Chunga's Revenge, released in October, was billed as a Zappa solo album, even though it featured the current lineup of the Mothers; it spent 14 weeks in the charts. After touring the U.S. that fall, the group went to Europe on December 1. From January 28 to February 5, 1971, they were in Pinewood Studios in the U.K. making a movie version of 200 Motels with the Royal Philharmonic Orchestra and co-stars Theodore Bikel, Ringo Starr, and Keith Moon of the Who. Zappa had planned a concert with the Royal Philharmonic at the Royal Albert Hall on February 8 as a money-saving tactic, since according to union rules, he could then pay them for the filming/recording session as if it were rehearsals for the concert. But this strategy backfired when the Royal Albert Hall canceled the concert, alleging that Zappa's lyrics were too vulgar. He added to his expenses by suing the Royal Albert Hall, eventually losing in court.

Fillmore East: June 1971 On June 5 and 6, 1971, the Mothers appeared during the closing week of the Fillmore East theater in New York City, recording their shows for a live album, Fillmore East, June 1971, quickly released on August 2. It became Zappa's first album to reach the Top 40 since We're Only in It for the Money three years earlier. John Lennon and Yoko Ono had appeared as guests during the June 6 show, and they used their performance on their 1972 album Some Time in New York City. the Mothers gave a concert at the Pauley Pavilion at UCLA on August 7, 1971, and the show was recorded for the album Just Another Band from L.A., released in May 1972, which made the Top 100. They continued to tour into the fall. 200 Motels premiered in movie theaters on October 29, 1971, with a double-LP soundtrack album released by United Artists that made the Top 100. Meanwhile, the Mothers' European tour was eventful, to say the least. On December 4, 1971, the group appeared at the Montreux Casino in Geneva, Switzerland, but their show stopped when a fan fired off a flare gun that set the venue on fire. The incident was the inspiration for Deep Purple's song "Smoke on the Water." Six days later, as the Mothers were performing at the Rainbow Theatre in London on December 10, a deranged fan jumped on-stage and pushed Zappa into the orchestra pit. He suffered a broken ankle, among other injuries, and was forced to recuperate for months. This was the end both of the tour and of this edition of the Mothers.

Waka/Jawaka While convalescing at home in Los Angeles, Zappa organized a new big band to play jazz-fusion music; he dubbed it the Grand Wazoo Orchestra and recorded two albums with it. Waka/Jawaka, billed as a Zappa solo album, came out in July 1972 and spent seven weeks in the charts. The Grand Wazoo, credited to the Mothers, appeared in December and missed the charts. By September 10, Zappa felt well enough to play two weeks of dates with the group, now billed as the Mothers, starting at the Hollywood Bowl. He then cut the personnel down to ten pieces (the "Petit Wazoo" band) and toured from late October to mid-December.
Over-Nite Sensation The start of 1973 marked a new and surprisingly popular phase in Zappa's career. He assembled a new lineup of Mothers, made a batch of new recordings on which he himself sang lead vocals (his voice having dropped half an octave as a result of injuring his neck when he was thrown from the stage), and hit the road for the most extensive touring of his career. Inaugurating the new band in Fayetteville, NC, on February 23, he spent 183 days of 1973 on the road, including tours of the U.S., Europe, and Australia. Meanwhile, the Bizarre Records deal with Reprise/Warner had run out, and he launched a new label, also distributed by Warner, DiscReet Records, its first release being Over-Nite Sensation in September 1973. The album reached the Top 40, stayed in the charts nearly a year, and went gold. It was followed in April 1974 by a Zappa solo album, Apostrophe (‘). Much to Zappa's surprise, radio stations began playing a track called "Don't Eat the Yellow Snow." A single edit of the song actually spent several weeks in the lower reaches of the Hot 100, and Apostrophe (‘) peaked at number ten for the week ending June 29, 1974, the highest chart position ever achieved by a Zappa album. The LP also went gold.

Roxy & ElsewhereZappa continued to tour extensively in 1974. His next album, the double-LP live collection Roxy & Elsewhere, credited to "Zappa/Mothers," appeared in September 1974 and made the Top 30. Adding his old friend Captain Beefheart to the band, he played shows at the Armadillo World Headquarters in Austin, TX, on May 20 and 21, 1975, that he recorded for the album Bongo Fury, credited to Frank Zappa/Captain Beefheart/the Mothers, released in October; it made the Top 100. Prior to that had come One Size Fits All, credited to Frank Zappa & the Mothers of Invention, released in June; it made the Top 30. On September 17 and 18, 1975, two concerts of Zappa's orchestral music were performed by a group dubbed the Abnuceals Emuukha Electric Symphony Orchestra (in memory of Lumpy Gravy) and conducted by Michael Zearott at Royce Hall, UCLA. The shows were recorded, but the material was not released until May 1979 as Orchestral Favorites, which spent several weeks in the charts. Starting on September 27, 1975, Zappa launched another extended period of touring, staying in the U.S. through a New Years concert at the Forum in Los Angeles, then playing in Australia, Japan, and Europe, finishing on March 17, 1976. This ended another phase in his career. He split with his longtime manager Herb Cohen and disbanded his group, which, because of legal disputes with Cohen, would turn out to have been the last one called the Mothers or the Mothers of Invention. Hereafter, he would perform and record simply as Frank Zappa. There were also other legal issues. In October 1976, he reached an out-of-court settlement in a suit he had waged against MGM/Verve that resulted in his winning the rights to the masters of his early albums.

Good Singin', Good Playin'Zappa surprised fans when his name turned up as the producer of a new album by Grand Funk Railroad, Good Singin', Good Playin', in August 1976. In September, he launched his first world tour under his own name, playing in the U.S., the Far East, and Europe through February 1977. Zoot Allures, the last album to be credited to the Mothers, was released on Warner Bros. Records on October 29, 1976, the DiscReet label apparently being claimed by Cohen; it reached the Top 100. Zappa was also seeking to end his deal with Warner. In March 1977, he delivered four albums to the label simultaneously (the initial titles were Studio Tan, Hot Rats III [Waka/Jawaka having counted as Hot Rats II], Zappa's Orchestral Favorites, and the double album Live in New York, recorded in December 1976); he demanded the four $60,000 advances the albums called for, and sued Warner for breach of contract when it did not pay. In the summer of 1977, he announced that he had concluded his contract with Warner. He declared that the four albums really constituted a single work called Leather (later spelled Läther), which he sold to Mercury/Phonogram Records. Warner then sued to block its release.

Zappa in New York On September 8, 1977, Zappa launched another North American tour, staying on the road until New Year's Eve. His shows from October 28-31 at the Palladium in New York City were filmed and recorded, the material later emerging in the movie Baby Snakes. The European leg of the tour opened in London on January 24, 1978. The resolutions of Zappa's legal disputes led to an unusually large number of releases over the next year. Zappa in New York (originally called Live in New York) was released on DiscReet in March 1978 and made the Top 100. Studio Tan appeared in September 1978 and charted. Sleep Dirt (originally called Hot Rats III) was released in January 1979 and charted. Orchestral Favorites completed the releases of the material Zappa had delivered to Warner in March 1977. With these matters settled, Zappa launched Zappa Records, with distribution through Mercury/Phonogram in the U.S. and CBS Records in the rest of the world, releasing the double-LP Sheik Yerbouti on March 3, 1979. The album managed to distinguish itself from all the other Zappa albums in the record bins and peaked at number 21, Zappa's best showing in five years, promoted by the single "Dancin' Fool," which made the Top 50. That track was nominated for a Grammy for Best Rock Vocal Performance (Male), and "Rat Tomago," another track on the album, got a Grammy nomination for Best Rock Instrumental Performance.

Joe's Garage: Act IZappa toured Europe and Japan in the spring of 1979, then returned to the U.S., where he completed work on his home studio, called the Utility Muffin Research Kitchen, on September 1. The home studio and his continuing practice of recording his shows, along with greater control over his record releases, seemed to free Zappa to issue more records. Joe's Garage Act I was released in September 1979 and made the Top 30; it was followed in November by the double-LP Joe's Garage Acts II & III, which made the Top 100. Baby Snakes, the film of the 1977 Halloween shows in New York, opened on December 21, 1979. A soundtrack album did not appear until 1983. Zappa spent much of 1980 on the road, beginning a tour of North America and Europe on March 25, with dates continuing through July 3, and then touring again from October 10 through Christmas.

Tinseltown Rebellion Amazingly, Zappa did not release an album during 1980. (A single, "I Don't Wanna Get Drafter," just missed making the Hot 100 in May.) But he made up for that in 1981. In May, yet another new label, Barking Pumpkin Records, was launched with the release of a double-LP, Tinseltown Rebellion, which made the Top 100. By now, Zappa had perfected a method of melding studio and live performances on his records, such that the finished versions were a combination of the two. Also in May 1981, he simultaneously released three instrumental albums via mail order: Shut Up ‘N Play Yer Guitar, Shut Up ‘N Play Yer Guitar Some More, and Return of the Son of Shut Up ‘N Play Yer Guitar. In September came another double album, You Are What You Is, that made the Top 100.

Ship Arriving Too Late to Save a Drowning WitchZappa's spring/summer tour of Europe in 1982 was plagued with problems including canceled dates and even a riot at one show; after finishing the stint on July 14, he did not tour again for two years. Meanwhile, on May 3, 1982, he released a new album, Ship Arriving Too Late to Save a Drowning Witch, and it featured another of his surprise hit singles, as radio picked up on "Valley Girl," a track featuring a vocal by his daughter [Biography by AMG]

Frank Zappa & The Mothers Of Invention
Rockpile, Toronto, Canada
1969 02 23, early show
Soundquality: A-

Personnel:
♫ Frank Zappa - guitar, vocals
♫ Jimmy Carl Black - drums, vocals
♫ Ray Collins - vocals
♫ Roy Estrada - bass, vocals
♫ Buzz Gardner - trumpet
♫ Bunk Gardner - woodwinds
♫ Euclid James Motorhead Sherwood - baritone saxophone
♫ Arthur Dyer Tripp III - drums
♫ Ian Underwood - woodwinds, keyboards
♫ Lowell George - guitar, vocals

01. intro and tune-up
02. Bacon Fat
03. Lonely Lonely Nights
04. preamble
05. Corrido Rock
06. Pachuko Hop
07. Behind The Sun
08. preamble
09. A Pound For A Brown
10. Sleeping In A Jar
11. Charles Ives
12. preamble
13. WPLJ
14. O In The Sky
15. preamble
16. All Night Long

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