Roy Buchanan - My Fathers Place NY 1973-08-17 FM Broadcast (Bootleg)

Size: 154 MB
Bitrate: 320
mp3
Found in my Bootleg Collection
Some Artwork Included

Roy Buchanan has long been considered one of the finest, yet criminally overlooked guitarists of the blues rock genre whose lyrical leads and use of harmonics would later influence such guitar greats as Jeff Beck, his one-time student Robbie Robertson, and ZZ Top's Billy Gibbons. Although born in Ozark, AR, on September 23, 1939, Buchanan grew up in the small town of Pixley, CA. 

His father was both a farmer and Pentecostal preacher, which would bring the youngster his first exposure to gospel music when his family would attend racially mixed revival meetings. But it was when Buchanan came across late-night R&B radio shows that he became smitten by the blues, leading to Buchanan picking up the guitar at the age of seven. First learning steel guitar, he switched to electric guitar by the age of 13, finding the instrument that would one day become his trademark: a Fender Telecaster. By 15, Buchanan knew he wanted to concentrate on music full-time and relocated to Los Angeles, which contained a thriving blues/R&B scene at the time. 

Shortly after his arrival in L.A., Buchanan was taken under the wing by multi-talented bluesman Johnny Otis, before studying blues with such players as Jimmy Nolen (later with James Brown), Pete Lewis, and Johnny "Guitar" Watson. During the mid- to late '50s, Buchanan led his own rock band, the Heartbeats, which soon after began backing rockabilly great Dale ("Suzy Q") Hawkins. By the dawn of the '60s, Buchanan had relocated once more, this time to Canada, where he signed on with rockabilly singer Ronnie Hawkins. 

The bass player of Ronnie Hawkins' backing band, the Hawks, studied guitar with Buchanan during his tenure with the band. Upon Buchanan's exit, the bassist-turned-guitarist would become the leader of the group, which would eventually become popular roots rockers the Band: Robbie Robertson. Buchanan spent the '60s as a sideman with obscure acts, as well as working as a session guitarist for such varied artists as pop idol Freddy Cannon, country artist Merle Kilgore, and drummer Bobby Gregg, among others, before Buchanan settled down in the Washington, D.C., area in the mid- to late '60s and founded his own outfit, the Snakestretchers. 

Despite not having appeared on any recordings of his own, word of Buchanan's exceptional playing skills began to spread among musicians as he received accolades from the likes of John Lennon, Eric Clapton, and Merle Haggard, as well as supposedly being invited to join the Rolling Stones at one point (which he turned down). The praise eventually led to an hour-long public television documentary on Buchanan in 1971, the appropriately titled The Best Unknown Guitarist in the World, and a recording contract with Polydor Records shortly thereafter. Buchanan spent the remainder of the decade issuing solo albums, including such guitar classics as his 1972 self-titled debut (which contained one of Buchanan's best-known tracks, "The Messiah Will Come Again"), 1974's That's What I Am Here For, and 1975's Live Stock, before switching to Atlantic for several releases. But by the '80s, Buchanan had grown disillusioned by the music business due to the record company's attempts to mold the guitarist into a more mainstream artist, which led to a four-year exile from music between 1981 and 1985. 

Luckily, the blues label Alligator convinced Buchanan to begin recording again by the middle of the decade, issuing such solid and critically acclaimed releases as 1985's When a Guitar Plays the Blues, 1986's Dancing on the Edge, and 1987's Hot Wires. 

But just as his career seemed to be on the upswing once more, tragedy struck on August 14, 1988, when Buchanan was picked up by police in Fairfax, VA, for public intoxication. 

Shortly after being arrested and placed in a holding cell, a policeman performed a routine check on Buchanan and was shocked to discover that he had hung himself in his cell. Buchanan's stature as one of blues-rock's all-time great guitarists grew even greater after his tragic death, resulting in such posthumous collections as Sweet Dreams: The Anthology, Guitar on Fire: The Atlantic Sessions, Deluxe Edition, and 20th Century Masters and the live When a Telecaster Plays the Blues, which appeared in 2009. ~ Greg Prato, Rovi

Roy Buchanan, My Father's Place Roslyn, Long Island, NY 
1973-08-17, FM Broadcast

Personnel:
» Roy Buchanan - Guitar, Vocals
» Dick Heintze - Keyboards
» Robbie Magruder - Drums
» John Harrison - Bass, Vocals

01. Rodney's Song
02. CC Ryder
03. Susie Q
04. Hey Joe
05. Linda Lou
06. Johnny B. Goode
07. Bad Case of the Blues (?)
08. Green Onions
09. Pete's Blues
10. Sweet Dreams

1. My Fathers Place
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2. My Fathers Place
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Big Leg Emma - Live at The Village Green Park 2005 (Bootleg) + Bonus Concert

Size: 427 MB
Bitrate: 320
mp3
Found in WWW
Some Artwork Included
Superb Sound Quality

Hailing from Western New York, Big Leg Emma has infused high quality, original, Americana roots rock with the magic and art of the Jam band realm. BLE is based on traditional folk, bluegrass and country. This gives them the catchy, dance vibe that initially will attract you.  But, once you are there, and their jamming explodes through the dancy vibe, they begin to take you on a musical journey with their psychedelic side.  Through juggling band members, and growing into their musical skin, the new Big Leg Emma has emerged into a winding powerhouse that is creating a musical addiction to those who see them…needing to come back for more and more. Throw in some thought provoking mystical songwriting and phenomenal harmonies and you have an incredible musical force to be reckoned with which is BLE.

Big Leg Emma was born in 2001 in Jamestown, NY, and has been on many roads before leading to their current band.  Long time friends & musical partners Steve Johnson and Charity Nuse started the band, and have been a constant. Kev Rowe joined the band as lead guitar bringing an eclectic-tasteful sound to Emma.  After their rebirth in 2012, they added Corey Kertzie (Drums) who drove the band to an even higher level with his energy and groove. 

Mix that with the band’s newest member, Miguel (bass guitar), and you have yourself a rhythm section driving the music like a freight train. It’s this process of finding the perfect members aligned with their quest for this to be their time.

Big Leg Emma in 11 years has performed in many major music festivals including, Finger Lakes Grassroots Music Festival, Great Blue Heron Music Festival, Bliss Festival, Silver Maple Music Fest and many others.

The band has shared the stage with Rusted Root, Donna the Buffalo, ,Little Feat ,Del McCoury 10,000 Maniacs, Max Creek, and Hot Tuna to name a few. BLE has performed in over 25 states from NY to Colorado. And all the way down to the Florida Keys and Punta Cana.

Check them out…It’s their time. They are ready….are you?

Touring americana, roots rock band, Big Leg Emma has made a documentary movie called, "Heartbreakin' Balance" while touring in 2012! Please take a moment to check out the preview videos on the band's Jango Profile. The band had a lot of fun making the videos and hope you enjoy them too!

Personnel:
♣ Charity Nuse - Mandolin, Vocals
♣ Steve Johnson - Acoustic Guitar, Vocals
♣ Kev Rowe - Electric Guitar, Vocals
♣ Miguel Morales - Bass Guitar
♣ Corey Kertzie - Drums

Big Leg Emma - The Village Green Park
Mayville, NY, July 21, 2005 

Disc 1: 
01. Fallin' In The Way (Soundcheck) 
02. Intro 
03. Hey Maker 
04. So Long 
05. Sugarfoot Rag 
06. Cornfed 
07. The Old Crossroads 
08. The Kettle 
09. Moonless Night 
10. Wipe My Tears Away 
11. Wild Things Grow 

Disc 2: 
01. Daniel 
02. Amny 
03. Peanut Farmer 
04. Broken Sky 
05. Eyes So Blue 
06. Birds Of Destiny 
07. Sing To Me* 
08. Peoples

Encore: 
09. Announcements
10. Scotland > I Know You Rider

Bonus Concert:  
Big Leg Emma - The Hollow
Albany, NY, March 29, 2014

01. That's What Makes You Happy
02. Queen of Hearts
03. Shady Grove
04. Daniel 
05. Dear Prudence 
06. Daniel
07. Peoples > Not Fade Away
08. Unknown new song

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Size: 272 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

The Rolling Stones - Trident Mixes 
(Unreleased 1968-70)

Trident Mixes on Dog n Cat sounds like a straight transfer from the vinyl release on K&S Records complete with front and back cover on the inserts. This album was reissued on LP as Trident Demos 1969 (Chelsea Records 2R-68). Parts of these recordings appear on The Trident Mixes (Living Legend LLR-CD 039), A Beggars Opera (The Early Years 02-CD-3308), Catfish (Missing In Action), and complete Thee Satanic Sessions (Diablo Music CDDIA002), The Trident Mixes (STONES), and on disc one of Hillside Blues (VGP-214-1). 

The Rolling Stones - Live Album 1966

The Dog N Cat was subsequently copied in The Mick Taylor Years (RSMT BOX CD1-12). It gathers together important alternate takes and outtakes from the very last days of Brian Jones and first couple of years of Mick Taylor’s involvement with the band. 

“Jiving Sister Fanny” was recorded on July 2nd, 1969 at Olympic Studio, the day before Brian Jones died. Two versions with different lyrics were recorded that day. This is the rarer of the two, having appeared on some pressings of Metamorphosis while the second take appears on most pressings of the album and on the London Years. “I’m Going Down” was initially worked on between April 17th to July 1969 at Olympic Studio and later right before the US tour from October and November, 1969 in Los Angeles. This take, which was also used for Metamorphosis in 1975, dates from July 14th and July 15th, 1970 at Olympic. This track differs from the commercial version by having a false start. This track features Bobby Keys on sax, Rocky Dijon on percussion, Stephen Stills on guitar, and Bill Plummer on upright bass. 

The Rolling Stones - German Single 1968 

“Hamburger To Go” (aka “Give Me A Hamburger To Go” and “Stuck Out Alone”) dates from sessions at Olympic from March and April, 1968 and remains unreleased. ”Downtown Susie” is a Bill Wyman tune recorded on April 23rd, 1969 at Olympic Studio and is the same as the version on Metamorphosis except is shorter at the fade by five seconds. “Blood Red Wine” was recorded May, 1968 at Olympic Studio. Jagger sings the vocals, Nicky Hopkins plays piano, and no other information is available. It has never been released which is a shame because it is the most intriguing song in this collection. “Travelin’ Man” is another unreleased song recorded at Olympic in October, 1970. 

The first version of “Family” dates from May, 1968 in Olympic and it the arrangement with the electric guitar. The acoustic guitar arrangement which would appear on Metamorphosis would be recorded the following month. “Still A Fool” was recorded at the same sessions and is a ten minute jam on the Muddy Waters tune. Jagger tries his best to sing like the blues singer too.

The Rolling Stones - France EP 1965

Six out of the last seven tracks are instrumentals. “Leather Jacket,” recorded on June 22nd, 1970 at Olympic Studio in London, is a lighthearted and infectious pop instrumental whose sunniness is outside the pale of the Stones. “Dancing In the Light,” dating from the spring of 1970, is another upbeat instrumental but with some recognizable Stones raunch. 

“Potted Shrimp” and “Aladdin Story” come from the same time period as “Leather Jacket” but recorded at Stargroves. “And I Was A Country Boy” comes from the Feb.18-Mar.31 1969 sessions. 

“Who Am I?” (aka “See I Love You”) is a true mystery. It is listed on this release as being from Olympic Studio in March to May 1970. Others sources say late 1969 and even others from Jamaica 1972 and still others claim it comes from 1963 because of its simplicity.

Billboard Review
December 1967

The best sources say it was recorded on July 14th - 15th, 1970. The final Trident jam is another mystery. There is no name associated with it and was never used by the band. The Trident Mixes sound fantastic. 

I compared some of the songs with what appears on the latest official remaster of Metamorphosis and there is a profound difference. The official release sounds like many CDs being remastered by the major record labels today. 

It is compressed, loud, and very harsh sounding. DAC on the other hand sounds very warm and detailed and is very enjoyable. Although there are no hidden gems on this (there is a reason why many of them still reside in the vaults) but this is an interesting collection.

This is a different version to the Living Legend title of the same name, although the bulk of the tracks are the same. 

It's a very enjoyable compilation of, well, blues, from the late 1960s and early 1970s. They had the makings of a great slow, dark, bluesy, downer album there, and it's a real shame they never put out something like this in a more coherent manner. 

01. Jiving Sister Fanny  03:21
02. I'm Going Down  03:00
03. I Don't Know Why  02:06
04. Give Me A Hamburger To Go  03:18
05. Downtown Susie  03:44
06. Blood Red Wine  05:15
07. Travelling Man  05:58
08. Family  03:42
09. Still A Fool  09:48
10. Family (Outtake)(More Upbeat, Jazzier)  04:08
11. Leather Jacket  03:27
12. Dancing In The Light [Instrumental] 02:49
13. Potted Shrimp [Instrumental] 04:08
14. Alladin Story  05:23
15. And I Was A Country Boy  04:21
16. Who Am I  03:50

The Rolling Stones - Necrophilia 
Alternate versions from 1964 to 1967
Unreleased 1972 album

"Unreleased album planned as follow-up to ?Hot Rocks? (1972). The project was cancelled due to disagreements between Andrew Oldham and Allen Klein about the eclectic track selection; which included controversial songs such as "Andrew's Blues" and "Pay Your Dues" (alternate version to "Street Fighting Man"). It was replaced with the more conservative double album "More Hot Rocks". Album was produced by Andrew Oldham. Digitally remastered 2002 from original vinyl source. A faithful reproduction of the prototype concept and recording. This record is the pre-curser to the "Black Box" concept that was revived in 1975, and would ultimately culminate into "Metamorphosis." A lot of thought was put into retrospective recordings by ABKCO in the early to mid-Seventies. Sound Quality - Excellent Studio Recordings. Some acetate surface noise heard at intros & outros. Upgraded clear stereo sound on many older outtakes that have surfaced over the years, such as Pay Your Dues."

01. Out Of Time  03:24
02. Don'T Lie To Me  02:07
03. Have You Seen Your Mother, Baby [Standing In The Shadow]  02:26
04. Think  03:15
05. Hear It [Instrumental]  01:47
06. Some Things Just Stick In Your Mind  02:25
07. Aftermath [Instrumental]  03:19
08. I'D Much Rather Be With The Boys  02:12
09. Andrew'S Blues  03:07
10. Pay Your Dues  03:08
11. Let The Good Times Roll  02:00
12. Heart Of Stone  03:49
13. Each & Every Day Of The Year  02:51
14. [Walkin' Thru The] Sleepy City  02:53
15. Try A Little Harder  02:19
16. Blue Turns To Grey  02:46
17. We'Re Wastin' Time  02:41 

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Picture of the day: Can we jump back some years...i wanna see this...

Melody Maker Concert Advertise 26-29 May 1972

John Lennon - The Ultimate Mind Games Anthology (Bootleg)

Size: 461 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included
Excellent Sound Quality

The “mountain” on the cover of John Lennon’s 1973 Mind Games album is the face of his wife, Yoko Ono. Lennon had designed the cover himself. It is seen by many as symbolism for John walking away from Ono’s huge influence on him. The Lennon’s had split up in mid-1973, around the time the recording sessions for Mind Games was to begin. Their separation was to last 18-months before they reconciled.

Mind Games is John Lennon's fourth album, and was recorded at Record Plant Studios in summer 1973, and released in November of that year. The album was Lennon's first self-produced recording without help from Phil Spector. Like his previous album, the politically topical and somewhat abrasive Some Time in New York City, Mind Games was poorly received by some music critics upon release, but its reissue has been met with more favourable reviews. It reached number 13 in the UK and number 9 in the US, where it was certified gold.

The album was recorded while Lennon was having difficulties with US immigration and at the beginning of his 18-month separation from Yoko Ono. The title track was released as a single at the same time as the album. The album itself was later reissued several times throughout the 1970s and 1980s.

Background:
By the start of 1973, John Lennon began distancing himself from the political and social issues he had embraced in the previous 18 months. It was also around this time that he and his wife, Yoko Ono, were going through marital problems. As Ono was completing her fourth album, Feeling the Space, Lennon decided he also wanted to record a new album, and liked the studio musicians that their assistant and production coordinator May Pang had assembled for Ono's album. Shortly thereafter, he asked Pang to book them for his sessions. Wanting to produce an album that would be more accepted than his previous politically charged commercial flop Some Time in New York City, Lennon began writing and demoing a few songs for Mind Games in his Greenwich Village apartment. He began composing after a period of almost a year of not writing any material.

Amid frequent court appearances battling to stay in the US, Lennon became stressed, a situation that was only worsened by constant surveillance by the FBI, due to his political activism. Lennon said "I just couldn't function, you know? I was so paranoid from them tappin' the phone and followin' me." All this combined made Lennon begin to feel emotionally withdrawn. Lennon put his suffering aside to write the songs for Mind Games, writing all the songs for it in a week.

John Lennon - Mind Games - UK Single 1973

Under the moniker of "The Plastic U.F.Ono Band", Lennon engaged the services of session drummer Jim Keltner, guitarist David Spinozza, Gordon Edwards on bass, Arthur Jenkins on percussion, Michael Brecker on saxophone, Ken Ascher on piano and organ, and the vocal backing of a group called Something Different. Difficulties between Lennon and Ono became more and more noticeable around this time. Just as the sessions were to get under way in June at New York's Record Plant Studios, John and Yoko separated. At Ono's urging, Pang became Lennon's companion and lover in what would become an 18-month relationship later renowned as Lennon's 'lost weekend'.

Mind Games was recorded between July and August 1973 in Lennon's characteristic quick fashion, and was mixed over a two-week period. Lennon produced the album by himself, following after a previous two-year partnership with Phil Spector. When the album was remixed in 2002, many audio anomalies hidden in the original mixing were uncovered. Some rough mixes appear on bootlegs and on 1997's John Lennon Anthology. The album continues Lennon's previous attempts to chronicle his life through his songs. The tone of this album is a range of mixed feelings from sombre and melodic songs directed to Ono ("Aisumasen (I'm Sorry)", "One Day (At a Time)", "Out the Blue", and "You Are Here"), to more light-hearted and optimistic tracks ("Intuition", "Only People") and a few that indulge Lennon's affinity for pure rock 'n' roll ("Tight A$" and "Meat City").

The title track (with its "love is the answer" refrain and call to "make love not war") was begun during the Beatles' Get Back sessions under the name "Make Love, Not War", Lennon recorded demos of the re-titled "Mind Games" on 28 and 29 December 1970 at his home studio, Ascot Sound Studios. "Bring on the Lucie (Freeda Peeple)", "Only People" and the three-second silent "Nutopian International Anthem" were the only political tracks on the album. 

The latter referred to "Nutopia: The Country of Peace", a conceptual country which the Lennons had announced at a press conference in New York City on April Fool's Day 1973. "I Know (I Know)" features lyrics in which Lennon apologises for his thoughtlessness and discusses the causes of his insecurity. On some of the rough mixes that have appeared on bootlegs, the time-consuming overdubbing on the song is apparent, as Lennon gradually refined the arrangement. The Mind Games closer, "Meat City", contains a Lennon curse, "Fuck a pig!", sped up and backwards, while the mix used on the "Mind Games" single B-side gives the same treatment to the phrase "Check the album!".

"Rock and Roll People" was also recorded during the album's sessions and given to Johnny Winter for his John Dawson Winter III album. Lennon's version wasn't released until 1986's posthumous Menlove Ave. album.

Release, reception and aftermath:
Tony King, vice president of Apple Records in Los Angeles at the time, convinced Lennon to promote Mind Games, arranging interviews for Lennon with Billboard and Record World.[6] He also persuaded Lennon to do a television commercial in which King dressed up as the Queen of England and waltzed with Lennon (the commercial session can be seen in the 1988 film Imagine: John Lennon). King reprised his role as the Queen for several radio spots.

The title track was released as a single on Apple Records on 29 October and 16 November 1973, in the US and UK respectively. The single reached number 26 in the UK, and peaked in the US at number 18. The album was released on 2 November and 16 November 1973, in the US and UK respectively, around the same time as Ono's Feeling the Space. The album charted at number 13 in the UK, while in the US it peaked at number 9. The album sold better than Lennon's previous album, Some Time in New York City.

John Lennon - Mind Games - France Single 1973

Lennon created the Mind Games album cover himself, hand-cutting the photos. The front and back covers are similar; on the back sleeve Lennon is more toward the foreground, representing his symbolic walking away from Ono and her apparent mountainous influence on him.

Rolling Stone magazine assessed the album as "his worst writing yet" and found Lennon to be "helplessly trying to impose his own gargantuan ego upon an audience ... waiting hopefully for him to chart a new course". Writing for Allmusic, critic Stephen Thomas Erlewine wrote of the album: "While the best numbers are among Lennon's finest, there's only a handful of them, and the remainder of the record is simply pleasant."

The album was reissued in the US on Capitol Records in 1978 and 1980, with the latter being a budget reissue. In the UK, the album was reissued on EMI's budget label, Music for Pleasure (MFP), on 28 November 1980, featuring a different album cover. 

John Lennon - Mind Games - Japan Single 1973

After Lennon's death in December 1980, the album, along with seven other Lennon albums, was reissued by EMI as part of a box set, which was released in the UK on 15 June 1981. 

It was first issued on CD on 3 August 1987, this time on the Parlophone label, and several months later on 22 March 1988 in the US on the Capitol label. In 2002, a remixing of Mind Games for its remastered reissue, containing three previously unreleased demo recordings, was overseen by Allan Rouse, which was released on 21 October 2002 in the UK, and almost a month later in the US, on 5 November 2002. It was reissued again by Mobile Fidelity Sound Lab in 2004 on CD and LP. 

In 2010, the original mix was remastered as part of the re-release of the entire John Lennon catalogue, the album was available separately or as part of the John Lennon Signature Box.

The Original UK album : (Not included in this Bootleg):
01. "Mind Games" – 4:13
02. "Tight A$" – 3:37
03. "Aisumasen (I'm Sorry)" – 4:44
04. "One Day (At a Time)" – 3:09
05. "Bring on the Lucie (Freeda Peeple)" – 4:12
06. "Nutopian International Anthem" – 0:03
07. "Intuition" – 3:08
08. "Out the Blue" – 3:23
09. "Only People" – 3:23
10. "I Know (I Know)" – 3:49
11. "You Are Here" – 4:08
12. "Meat City" – 2:45

Disc 1: The Alternate Album 
01. Mind Games  04:11
02. Tight A$  04:25  
03. Aisumasen (I'm Sorry)  04:43  
04. One Day (At A Time)  03:20
05. Bring On The Lucie (Freda People)  04:16
06. Nutopian International Anthem  00:04
07. Intuition  02:52
08. Out The Blue  04:12
09. Only People  03:05  
10. I Know (I Know)  03:46
11. You Are Here  04:39
12. Meat City  02:34
13. Radio Spot 1  00:59
14. Radio Spot 2  00:46

The Sessions:
15. Rock'n'Roll People  04:22
16. Rock'n'Roll People  03:09
17. Rock'n'Roll People  06:03
18. Rock'n'Roll People  02:44
19. Rock'n'Roll People  02:59

Disc 2: The Alternates
01. Tight A$  04:44
02. Tight A$  04:14
03. Aisumasen (I'm Sorry)  04:45
04. One Day (At A Time)  03:15
05. Out The Blue  04:13
06. Out The Blue  03:21
07. Only People  02:51
08. I Know (I Know)  03:42
09. I Know (I Know)  03:49
10. I Know (I Know)  01:00
11. I Know (I Know)  03:42
12. Meat City  02:54

The Demos:
13. I Promise  01:56
14. Make Love, Not War  03:31
15. Rock'n'Roll People  03:40
16. Call My Name  05:19
17. Call My Name  04:33
18. Call My Name  05:18

Disc 3: The Demos Continue
01. Shoeshine
02. Free The People
03. Meat City
04. Meat City
05. Rock'n'Roll People
06. Tight A$
07. Intuition
08. Intuition
09. Here We Go Again
10. I Know (I Know)
11. I Know (I Know)
12. I Know (I Know)
13. I Know (I Know)
14. I Know (I Know)
15. I Know (I Know)
16. I Know (I Know)
17. I Know (I Know)
18. I Know (I Know)
19. Just Because
20. Just Because
21. Just Because
22. Steel And Glass

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Mind Games Poster 1973

The Electric Fuzz Band - Live The Taphouse 2014-05-16 (Bootleg)

Size: 343 MB
Bitrate: 320
mp3
Some Artwork Included

The Electric Fuzz Band is a psychedelic southern rock jam band formed in 1996 in Norfolk, VA. EFB was a full time band from 1996-2002. 

During this time they worked their local scene, did some touring, played some festivals (Jerry’s Birthday Bash at Sunshine Daydream, Treehugger’s Ball, and their own Wild Billstock), and won 9Volt Magazine, the official journal of entertainment in Hampton Roads, VA, Jam Band of the Year Award in 2002. 

Through the years the EFB has built up a strong faithful following. They continued to have reunions a couple times a year, even throwing a couple more Wild Billstocks. However, the last reunion was in 2008. After 6 years, EFB will be having a few reunion shows in May 2014 and are hoping to keep the EFB more relevant in the future.

Now the easy part. All you have to do is mark May 15th – 16th on your calendar and check these guys out. You’ll be glad you did.  Thanks for reading and thank you for supporting local music in Virginia!

The Electric Fuzz Band
2014-05-16 The Taphouse
Norfolk, VA

The Electric Fuzz Band: 
♣ Jay Morgan - Guitar, vocals
♣ Ryan Russell - Guitar, vocals  
♣ Derek Givans - Drums, vocals
♣ Cory Potrafka - Bass, vocals

DISC 1
01. Gettin Better
02. Searching For Sunshine
03. Fried Neckbones
04. Jingo
05. Blue Hats Little Sister
06. Iron Maiden tease
07. Neighborhood Dispute
08. Sister Sunday
09. Fire On The Mountain
10. Pain and Tears

DISC 2
01. Tienas Llerba Buena
02. Muy Gordo
03. Machine Gun
04. Get Out Of Norfolk
05. 20th and DeBree
06. Wanna Take You Higher
07. Tripsong
08. Super Slick Butt Kck Mix
09. Revolution Revelation

DISC 3
01. Southbound
02. Grinning In Your Face
03. Franklin's Tower
04. Olde Crowe
05. Voodoo Child

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Willie Dixon & Memphis Slim (Studs Terkel 1962, Paris, France FM Broadcast (Bootleg)

Size: 73 MB
Bitrate: 320
mp3
Found in WWW
Some Artwork

WILLIE DIXON:
Willie Dixon's life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of America's musical heritage. That Dixon was one of the first professional blues songwriters to benefit in a serious, material way -- and that he had to fight to do it -- from his work also made him an important symbol of the injustice that still informs the music industry, even at the end of the 20th century. A producer, songwriter, bassist, and singer, he helped Muddy Waters, Howlin' Wolf, Little Walter, and others find their most commercially successful voices.

By the time he was a teenager, Dixon was writing songs and selling copies to the local bands. He also studied music with a local carpenter, Theo Phelps, who taught him about harmony singing. With his bass voice, Dixon later joined a group organized by Phelps, the Union Jubilee Singers, who appeared on local radio. Dixon eventually made his way to Chicago, where he won the Illinois State Golden Gloves Heavyweight Championship. He might have been a successful boxer, but he turned to music instead, thanks to Leonard "Baby Doo" Caston, a guitarist who had seen Dixon at the gym where he worked out and occasionally sang with him. The two formed a duo playing on street corners, and later Dixon took up the bass as an instrument. They later formed a group, the Five Breezes, who recorded for the Bluebird label. The group's success was halted, however, when Dixon refused induction into the armed forces as a conscientious objector. Dixon was eventually freed after a year, and formed another group, the Four Jumps of Jive. In 1945, however, Dixon was back working with Caston in a group called the Big Three Trio, with guitarist Bernardo Dennis (later replaced by Ollie Crawford).

During this period, Dixon would occasionally appear as a bassist at late-night jam sessions featuring members of the growing blues community, including Muddy Waters. Later on when the Chess brothers -- who owned a club where Dixon occasionally played -- began a new record label, Aristocrat (later Chess), they hired him, initially as a bassist on a 1948 session for Robert Nighthawk. The Chess brothers liked Dixon's playing, and his skills as a songwriter and arranger, and during the next two years he was working regularly for the Chess brothers. He got to record some of his own material, but generally Dixon was seldom featured as an artist at any of these sessions.

Dixon's real recognition as a songwriter began with Muddy Waters' recording of "Hoochie Coochie Man." The success of that single, "Evil" by Howlin' Wolf, and "My Babe" by Little Walter saw Dixon established as Chess' most reliable tunesmith, and the Chess brothers continually pushed Dixon's songs on their artists. In addition to writing songs, Dixon continued as bassist and recording manager of many of the Chess label's recording sessions, including those by Lowell Fulson, Bo Diddley, and Otis Rush. Dixon's remuneration for all of this work, including the songwriting, was minimal -- he was barely able to support his rapidly growing family on the 100 dollars a week that the Chess brothers were giving him, and a short stint with the rival Cobra label at the end of the '50s didn't help him much.

During the mid-'60s, Chess gradually phased out Dixon's bass work, in favor of electric bass, thus reducing his presence at many of the sessions. At the same time, a European concert promoter named Horst Lippmann had begun a series of shows called the American Folk-Blues Festival, for which he would bring some of the top blues players in America over to tour the continent. Dixon ended up organizing the musical side of these shows for the first decade or more, recording on his own as well and earning a good deal more money than he was seeing from his work for Chess. At the same time, he began to see a growing interest in his songwriting from the British rock bands that he saw while in London -- his music was getting covered regularly by artists like the Rolling Stones and the Yardbirds, and when he visited England, he even found himself cajoled into presenting his newest songs to their managements. Back at Chess, Howlin' Wolf and Muddy Waters continued to perform Dixon's songs, as did newer artists such as Koko Taylor, who had her own hit with "Wang Dang Doodle." Gradually, however, after the mid-'60s, Dixon saw his relationship with Chess Records come to a halt. Partly this was a result of time — the passing of artists such as Little Walter and Sonny Boy Williamson reduced the label's roster of older performers, with whom he had worked for years, and the company's experiments with more rock-oriented sounds (especially on the "Cadet Concept" imprint) took it's output in a direction to which Dixon couldn't contribute. And the death of Leonard Chess in the fall of 1969 and the subsequent sale of the company brought about the end of Dixon's relationship to the company.

I Am the Blues By the end of the 1960s, Dixon was eager to try his hand as a performer again, a career that had been interrupted when he'd gone to work for Chess as a producer. He recorded an album of his best-known songs, I Am the Blues, for Columbia Records, and organized a touring band, the Chicago Blues All Stars, to play concerts in Europe. Suddenly, in his fifties, he began making a major name for himself on-stage for the first time in his career. Around this time, Dixon began to have grave doubts about the nature of the songwriting contract that he had with Chess' publishing arm, Arc Music. He was seeing precious little money from songwriting, despite the recording of hit versions of such Dixon songs as "Spoonful" by Cream. He had never seen as much money as he was entitled to as a songwriter, but during the 1970s he began to understand just how much money he'd been deprived of, by design or just plain negligence on the part of the publisher doing its job on his behalf.

Led Zeppelin II Arc Music had sued Led Zeppelin for copyright infringement over "Bring It on Home" on Led Zeppelin II, saying that it was Dixon's song, and won a settlement that Dixon never saw any part of until his manager did an audit of Arc's accounts. Dixon and Muddy Waters would later file suit against Arc Music to recover royalties and the ownership of their copyrights. Additionally, many years later Dixon brought suit against Led Zeppelin for copyright infringement over "Whole Lotta Love" and its resemblance to Dixon's "You Need Love." Both cases resulted in out-of-court settlements that were generous to the songwriter.

The Chess Box The 1980s saw Dixon as the last survivor of the Chess blues stable and he began working with various organizations to help secure song copyrights on behalf of blues songwriters who, like himself, had been deprived of revenue during previous decades. In 1988, Dixon became the first producer/songwriter to be honored with a boxed set collection, when MCA Records released Willie Dixon: The Chess Box, which included several rare Dixon sides as well as the most famous recordings of his songs by Chess' stars. The following year, Dixon published I Am the Blues (Da Capo Press), his autobiography, written in association with Don Snowden.

La BambaDixon continued performing, and was also called in as a producer on movie soundtracks such as Gingerale Afternoon and La Bamba, producing the work of his old stablemate Bo Diddley. By that time, Dixon was regarded as something of an elder statesman, composer, and spokesperson of American blues. Dixon eventually began suffering from increasingly poor health, and lost a leg to diabetes. He died peacefully in his sleep early in 1992.

MEMPHIS SLIM:
An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John "Peter" Chatman -- better known as Memphis Slim -- assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy's early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.

As befits his stage name, John "Peter" Chatman was born and raised in Memphis; a great place to commit to a career as a bluesman. Sometime in the late '30s, he resettled in Chicago and began recording as a leader in 1939 for OKeh, then switched over to Bluebird the next year. Around the same time, Slim joined forces with Broonzy, then the dominant force on the local blues scene. After serving as Broonzy's invaluable accompanist for a few years, Slim emerged as his own man in 1944.

After the close of World War II, Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label reeled in the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."

The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he waxed the first version of his uncommonly wise down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. 

This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, the estimable Matt Murphy, who added some serious fret fire to "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A."

Before the decade was through, the pianist landed at Vee-Jay Records, where he cut definitive versions of his best-known songs with Murphy and a stellar combo in gorgeously sympathetic support (Murphy was nothing short of spectacular throughout).

Slim exhibited his perpetually independent mindset by leaving the country for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he permanently moved to Paris, where recording and touring possibilities seemed limitless and the veteran pianist was treated with the respect too often denied even African-American blues stars at home back then. He remained there until his 1988 death, enjoying his stature as expatriate blues royalty. [Source: AMG]

Willie Dixon and Memphis Slim
1962-x-x Paris, France
Studs Terkel

01. Intro 01:58
02. Complicated Blues 07:57
03. Conversation 04:39
04. Stewball 02:32
05. Conversation 08:51
06. Lonesome Bedroom Blues 05:56
+ Bonus Concert

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