B.B. King - Singin' The Blues (US 1957) & The Blues (US 1958)

B.B. King - Singin' The Blues (US 1957)

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His reign as King of the Blues has been as long as that of any monarch on earth. Yet B.B. King continues to wear his crown well. At age 76, he is still light on his feet, singing and playing the blues with relentless passion. Time has no apparent effect on B.B., other than to make him more popular, more cherished, more relevant than ever. 

Don't look for him in some kind of semi-retirement; look for him out on the road, playing for people, popping up in a myriad of T.V. commercials, or laying down tracks for his next album. B.B. King is as alive as the music he plays, and a grateful world can't get enough of him. 

For more than half a century, Riley B. King - better known as B.B. King - has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over fifty albums, many of them classics. He was born September 16, 1925, on a plantation in Itta Bena, Mississippi, near Indianola. In his youth, he played on street corners for dimes, and would sometimes play in as many as four towns a night. 

In 1947, he hitchhiked to Memphis, TN, to pursue his music career. Memphis was where every important musician of the South gravitated, and which supported a large musical community where every style of African American music could be found. B.B. stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled B.B. further in the art of the blues. 

B.B.'s first big break came in 1948 when he performed on Sonny Boy Williamson's radio program on KWEM out of West Memphis. This led to steady engagements at the Sixteenth Avenue Grill in West Memphis, and later to a ten-minute spot on black-staffed and managed Memphis radio station WDIA. "King's Spot," became so popular, it was expanded and became the "Sepia Swing Club." 

Soon B.B. needed a catchy radio name. What started out as Beale Street Blues Boy was shortened to Blues Boy King, and eventually B.B. King. 

In the mid-1950s, while B.B. was performing at a dance in Twist, Arkansas, a few fans became unruly. Two men got into a fight and knocked over a kerosene stove, setting fire to the hall. B.B. raced outdoors to safety with everyone else, then realized that he left his beloved $30 acoustic guitar inside, so he rushed back inside the burning building to retrieve it, narrowly escaping death. 

When he later found out that the fight had been over a woman named Lucille, he decided to give the name to his guitar to remind him never to do a crazy thing like fight over a woman. Ever since, each one of B.B.'s trademark Gibson guitars has been called Lucille. 

Soon after his number one hit, "Three O'Clock Blues," B.B. began touring nationally. In 1956, B.B. and his band played an astonishing 342 one-night stands. 

From the chitlin circuit with its small-town cafes, juke joints, and country dance halls to rock palaces, symphony concert halls, universities, resort hotels and amphitheaters, nationally and internationally, B.B. has become the most renowned blues musician of the past 40 years.

01. Please Love Me  
02. You Upset Me Baby  
03. Everyday I Have the Blues  
04. Bad Luck  
05. 3 O'Clock Blues  
06. Blind Love  
07. Woke Up This Morning  
08. You Know I Love You  
09. Sweet Little Angel  
10. Ten Long Years  
11. Did You Ever Love a Woman  
12. Crying Won't Help You

B.B. King - The Blues (US 1958) 

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Recorded in 1958, THE BLUES was one of the last albums B.B. King cut for the Crown label before moving to ABC-Paramount. 

The record has a loose, roadhouse vibe and features King backed by a full band, including horns, piano, harmonica, and a thumping rhythm section. At the heart of the set are, of course, King's stinging, soulful leads and his passionate vocals, serving up instant classics like "Why Does Everything Happen to Me" and "When My Heart Beats Like a Hammer." The album is distinguished by a raw, ragged feel, which proves refreshing in light of the artist's subsequent slicker recordings.

01. Why Does Everything Happen to Me 

02. Ruby Lee 

03. When My Heart Beats Like a Hammer 

04. Don't Have To Cry (AKA Past Day) 

05. Boogie Woogie Woman 

06. Early in the Morning 

07. I Want To Get Married 

08. That Ain't The Way To Do It 

09. Troubles, Troubles, Troubles 

10. Don't You Want a Man Like Me 

11. You Know I Go for You 

12. What Can I Do

1. BB King

or

2. BB King

Quicksilver Messenger Service - Bill Graham Archives 1966-67

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Bitrate: 320
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Found in DC++
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Quicksilver Messenger Service (sometimes credited as simply Quicksilver) is an American psychedelic rock band formed in 1965 in San Francisco. They were most famous for their biggest hit, the single "Fresh Air" (from the album Just for Love), which reached #49 in 1970.

Quicksilver Messenger Service gained wide popularity in the San Francisco Bay Area and through their recordings, with psychedelic rock enthusiasts around the globe, and several of their albums ranked in the Top 30 of the Billboard Pop charts. Though not as commercially successful as contemporaries Jefferson Airplane and The Grateful Dead, Quicksilver was integral to the beginnings of their genre. 

With their jazz and classical influences and a strong folk background, the band attempted to create an individual, innovative sound.  Member Dino Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swung rhythms and twanging guitar sounds.

After many years, the band has attempted to reform despite the deaths of several members. Recently, original members Gary Duncan and David Freiberg have been touring as the Quicksilver Messenger Service, using various backing musicians.

im Murray left the group not long after they performed at the Monterey International Pop Festival in June 1967. The band began a period of heavy touring on the West Coast of the United States where they built up a solid following and featured on many star-studded bills at the Avalon Ballroom and the Fillmore West. Sound engineer (and infamous LSD chemist) Owsley Stanley regularly recorded concerts at major San Francisco venues during this period, and his archive includes many QMS live performances from 1966–67, which were released on his Bear Recordings label in 2008-2009.

QMS initially held back from signing a record deal at the time but eventually signed to Capitol Records in late 1967, becoming the last of the top-ranked San Francisco bands to sign with a major label. Capitol was the only company that had missed out on signing a San Francisco “hippie” band during the first flurry of record company interest and, consequently, Quicksilver Messenger Service was able to negotiate a better deal than many of their peers. At the same time, Capitol signed the Steve Miller Band, with whom Quicksilver Messenger Service had appeared on the movie and soundtrack album Revolution, together with the group Mother Earth.

Quicksilver Messenger Service released their eponymous debut album in 1968. It was followed by Happy Trails, released in early 1969 and largely recorded live at the Fillmore East and the Fillmore West. "Happy Trails" has a few additions to the original live performances: a studio comment at the beginning of side 2 and a completely different version of "Calvary," which was recorded in the studio just before Gary Duncan left the band; otherwise it reflects Quicksilver's live sound faithfully. Happy Trails was awarded a gold album in the United States. 

These albums, which have been hailed as "...two of the best examples of the San Francisco sound at its purest," define the classic period in the group's career and showcase their distinctive sound, emphasizing extended arrangements and fluid twin-guitar improvisation. Cipollina's highly melodic, individualistic lead guitar style, combined with Gary Duncan's driving minor scale, jazzy sound guitar style, feature a clear, notable contrast to the heavily amplified and overdriven sound of contemporaries like Cream and Jimi Hendrix. 

In 2003 Happy Trails was rated at No. 189 in the Rolling Stone Top 500 albums survey, where it was described as "...the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience..." Archetypal QMS songs include the elongated, continually re-titled suite based on Bo Diddley's Who Do You Love??, featured on Happy Trails.

Duncan left the group not long after the recording of Happy Trails; according to David Freiberg, this was largely because of his escalating problems with opiates and amphetamines. His 'farewell' performances were the studio recordings that ended up on Happy Trails and a final live performance with the band on New Year's Eve 1969. Duncan recalled 18 years later:

"Well, let's put it this way, at the end of 1968, I was pretty burned out. We'd been on the road for, really, the first time in our lives. I just left for a year. I didn't want to have anything to do with music at all. And I left for a year and rode motorcycles and lived in New York and L.A. and just kind of went crazy for about a year."
Freiberg later recalled that Duncan's departure shook the core of the band: "Duncan was the 'engine' man, it just didn’t WORK without him ... for me. I was really ... I was devastated...

For their 1969 album Shady Grove, Duncan did not participate, replaced by renowned English session keyboardist Nicky Hopkins, who had played on scores of hit albums and singles by acts like The Kinks, The Rolling Stones, The Beatles, The Who and Steve Miller, among many others. Hopkins' virtuoso piano boogie dominates the album, giving it a unique sound within the Quicksilver catalog.

The band that became Quicksilver Messenger Service originally was conceived as a rock vehicle for folk singer/songwriter Dino Valente (b. Nov. 7, 1943, d. Nov 16, 1994), author of "Get Together." Living in San Francisco, Valente had found guitarist John Cipollina (b. Aug. 24, 1943, d. May 29, 1989) and singer Jim Murray. Valente's friend David Freiberg (b. Aug. 24, 1938) joined on bass, and the group was completed by the addition of drummer Greg Elmore (b. Sep. 4, 1946) and guitarist Gary Duncan (b. Sep 4, 1946). As the band was being put together, Valente was imprisoned on a drug charge and he didn't rejoin Quicksilver until later.

Happy Trails They debuted at the end of 1965 and played around the Bay Area and then the West Coast for the next two years, building up a large following but resisting offers to record that had been taken up by such San Francisco acid rock colleagues as Jefferson Airplane and the Grateful Dead. 

Quicksilver finally signed to Capitol toward the end of 1967 and recorded their self-titled debut album in 1968 (by this time, Murray had left). Happy Trails, the 1969 follow-up, was recorded live. After its release, Duncan left the band and was replaced for Shady Grove (1970) by British session pianist Nicky Hopkins. By the time of its release, however, Duncan had returned, along with Valente, making the group a sextet.

Just for Love This version of Quicksilver, prominently featuring Valente's songs and lead vocals, lasted only a year, during which two albums, Just for Love and What About Me, were recorded. Cipollina, Freiberg, and Hopkins then left, and the remaining trio of Valente, Duncan, and Elmore hired replacements and cut another couple of albums before disbanding. There was a reunion in 1975, resulting in a new album and a tour, and in 1986 Duncan revived the Quicksilver name for an album that also featured Freiberg on background vocals.

Personnel:
♣ Gary Duncan - guitar, vocals
♣ John Cipollina - guitar
♣ Jim Murray - guitar, vocals
♣ David Freiberg - bass, vocals
♣ Greg Elmore - drums

Fillmore Auditorium 1966.11.05
Set 1:
01. Dino's Song
02. Hair Like Sunshine
03. I Hear You Knockin'
04. Babe I'm Gonna Leave You
05. Smokestack Lightning
06. If You Live
07. All Night Worker

Set 2:
01. Got My Mojo Workin'
02. You Don't Love Me
03. Suzy Q
04. Babe I'm Gonna Leave You
05. Gold And Silver
06. Stand By Me
07. Pride Of Man

Fillmore Auditorium 1967.02.04 
Set 1:
01. You Don't Love Me (Cuts In After 10 Seconds Following An Unknown Song)
02. I Hear You Knockin'
03. Gold And Silver
04. All Night Worker
05. Codeine
06. Got My Mojo Workin'
07. Mona
08. A Fool For You
09. I Can't Believe It
10. Look Around You

Set 2:
01. Dino's Song
02. Walkin' Blues
03. Babe I'm Gonna Leave You
04. Hoochie Coochie Man
05. Stand By Me
06. Drivin' Wheel (Early Version Of ''it's Been Too Long'')
07. Duncan And Brady
08. Pride Of Man
09. Who Do You Love

Fillmore Auditorium 1967.02.05
Set 1:
01. Suzy Q ( Cuts In )
02. I Hear You Knockin'
03. Dandelion
04. Gold And Silver
05. You Don't Love Me
06. Codeine
07. Instrumental
08. Smokestack Lightning

Set 2:
01. Dino's Song ( Cuts In )
02. Walkin' Blues
03. Drivin' Wheel ( Early Version Of It's Been Too Long )
04. Babe I'm Gonna Leave You
05. Hey Mama
06. Hoochie Coochie Man
07. All Night Worker
08. Stand By Me
08. Pride of Man

Fillmore Auditorium 1967.02.06
Set 1:
01. You Don't Love Me
02. All Night Worker
03. Gold And Silver
04. Hey Mama
05. Walkin' Blues
06. Year Of The Outrage
07. I Hear You Knockin'
08. A Fool For You
09. I Can't Believe It

Part 1: Link
Part 2: Link
Part 3: Link
Part 4: Link
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Part 1: Link
Part 2: Link
Part 3: Link
Part 4: Link
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The Dictators - Demos and Rare Tracks (US 1973-76) + Gino Club Stockholm 1996

The Dictators - Demos and Rare Tracks (US 1973-76)

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Bitrate: 320
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The Dictators are an American proto punk and punk rock band formed in New York City in 1973. Critic John Dougan said that they were "one of the finest and most influential proto-punk bands to walk the earth." The Dictators are represented in the "Punk Wing" of the Rock and Roll Hall of Fame, in Cleveland, Ohio. Steven Van Zandt called them "The connective tissue between the eras of The MC5, Stooges, NY Dolls, and the punk explosion of the mid to late 1970s".

The original recording line-up consisted of songwriter/vocalist/bassist Andy "Adny" Shernoff, lead guitarist Ross "The Boss" Friedman (aka Ross Funicello), rhythm guitarist Scott "Top Ten" Kempner, and drummer Stu Boy King. It was this line-up - along with roadie/occasional vocalist and "Secret Weapon" Handsome Dick Manitoba - which recorded the band's 1975 debut album, The Dictators Go Girl Crazy! for Epic Records, produced by Sandy Pearlman and Murray Krugman (best known for their work with Blue Öyster Cult). The album sold poorly at the time but is now considered to be the starting point for American punk rock . Entertainment Weekly wrote "Go Girl Crazy's junk-generation culture and smart-aleck sensibility did provide an essential blueprint for '70s punk. With its TV references and homely vocals, this ground-breaking and long-unavailable album continues to inspire underground groups everywhere." 

Frustrated by the lack of sales, the band broke up for a few months in late 1975, but reconvened in early 1976, with bassist Mark "The Animal" Mendoza replacing Shernoff and Ritchie Teeter replacing King. After a few months Shernoff was persuaded to return to the group as the group's keyboardist. This line-up soon secured a contract with Asylum Records (at least partly due to the notoriety the group had developed following a well-publicized brawl between Manitoba and Wayne County) and released their second album, Manifest Destiny, in 1977. The album was produced by Pearlman and Krugman with songs written by Shernoff.

During this period the band was christened with their nickname, "The 'Taters". This culminated in an incident during a tour with Uriah Heep and Foreigner in which Foreigner's roadies strung a net filled with potatoes above the stage and released it during the Dictators' set.

By 1978 Mendoza had left the band (he soon joined Twisted Sister), and Shernoff had returned to his original position on bass guitar. It was this line-up of Manitoba, Shernoff, Friedman, Kempner, and Teeter which recorded Bloodbrothers (yet again produced by Pearlman and Krugman with songs written by Shernoff). It was the first album to feature Manitoba as the group's vocalist on all the songs, though Bruce Springsteen - a big fan of the group to this day - can be heard counting "1-2-1-2-3-4" during the album's opening track, "Faster and Louder." The album's "Baby, Let's Twist" was a minor hit on a number of east-coast radio stations, but the lack of mainstream success caused the band to split the following year. Shortly before the split, drummer Mel Anderson had left Twisted Sister and joined The Dictators, replacing Teeter. [Wikipedia]

Formed in 1974, N.Y.C.'s Dictators were one of the finest and most influential proto-punk bands to walk the earth. Alternately reveling in and satirizing the wanton excesses of a rock & roll lifestyle and lowbrow culture (e.g., wrestling, TV, fast food), with their world-view defined by bassist/keyboardist and former fanzine publisher (Teenage Wasteland Gazette) Andy (occasionally Adny) Shernoff and renegade rock critic/theorist Richard Meltzer, the Dictators played loud, fast rock & roll fueled by a love of '60s American garage rock, British Invasion pop, and the sonic onslaught of the Who. Driven by the guitar barrage of Scott "Top Ten" Kempner and Ross "the Boss" Funichello and fronted by indefatigable ex-roadie and wrestler Handsome Dick Manitoba (aka Richard Blum), it seemed that nothing stood in the way of the Dictators and mega-popularity.

Go Girl Crazy! But that's not what happened. There were complications with record companies (Epic dropped them after their first album, 1975's The Dictators Go Girl Crazy!, and Elektra had little idea of what to do with 1977's Manifest Destiny and 1978's Bloodbrothers), personnel changes (onetime bassist Mark Mendoza left for Twisted Sister; original drummer Stu Boy King was replaced by Richie Teeter), radio hated them, critical response was wildly mixed, and lots of audiences didn't get the jokes; supporters remained loyal and vociferous (especially Meltzer), but it didn't turn into anything tangible.

They did manage to release three fine albums, but after 1978's Bloodbrothers, their strongest fusion of hard rock muscle and punky snark, was greeted with public apathy, the group's members began moving in different directions. Kempner put together the fine roots rock band the Del-Lords and the Little Kings, which paired him with New York rock legend Dion, and he recorded as a solo act. Ross the Boss spent a few years in the over the top, macho heavy metal band Manowar and later joined Shernoff and Manitoba in the punk/metal combo Manitoba's Wild Kingdom. And Shernoff worked as a producer. However, as Shernoff put it, "The Dictators never broke up. Sure there were occasional gaps of a few years between some shows (we had lives to lead) but deep in our hearts and souls we always knew we were Dictators. We couldn't escape it even when we tried."

New York, New York: The Dictators Live With this in mind, the bandmembers got together to play a handful of shows in 1980, one of which was recorded for the cassette-only album Fuck 'Em If They Can't Take a Joke, which was later reissued as New York, New York. The band hit the road again in 1991, and began heading out on a semi-regular basis after that. In 2001, the Dictators made their abandoned retirement official and recorded a new album, D.F.F.D., which ranked with the band's finest work in the studio. More touring followed, and a live album recorded at two shows in support of D.F.F.D., Viva Dictators!, came out in 2005.

The Dictators continued to launch occasional tours (most notably in Spain, where they'd gained an especially loyal following), but as Shernoff and Kempner devoted more time to their solo careers, the Dictators splintered, and in 2012, Handsome Dick launched a new band, Manitoba, which featured himself, Ross the Boss, drummer J.P. "Thunderbolt" Patterson (who played in Manitoba's Wild Kingdom and the D.F.F.D.-era Dictators), guitarist Daniel Rey (formerly of Shrapnel, and a writer and producer who worked extensively with the Ramones), and bassist Dean Rispler (ex-Murphy's Law and a respected producer). The band initially focused on the Dictators and Manitoba's Wild Kingdom songbooks as well as full-bodied cover material, and in 2013 they changed the name to the Dictators NYC and began working on new original material.[AMG]

Manitoba's Wild Kingdom
Manitoba's Wild Kingdom emerged out of the legendary New York City punk band, the Dictators. While the Dictators were always known as a great live band, bassist and producer Andy Shernoff formed Manitobs'a Wild Kingdom in the late eighties. Daniel Rey, who is the brother of the late Joey Ramone of the Ramones was part of the original line up but left the band soon after they started recording their album. By the time the band was complete, the line up was three Ex-Dictators including Handsome Dick Manitoba on Lead Vocals, Ross the Boss on Guitar, Andy Shernoff on Bass and Vocals and Future Dictator J.P. Thunderbolt Patterson on Drums and Vocals. The result was a Killer Punk/Metal album called . . . AND YOU ? This album is packed with 10 rocking songs that showcases lightning speed riffs, thunderous beats, savage vocals and amusing lyrics all rolled up in under 26 minutes. Manitoba's Wild Kingdom continued into the early nineties but eventually evolved back into the Dictators along with original member Scott "Top Ten" Kempner on Guitar. Since then, they have only performed as Manitoba's Wild Kingdom on a few occasions. While performing as the Dictators, they still play songs from . . . AND YOU ? often openin.g shows with NEW YORK NEW YORK or THE PARTY STARTS NOW !!

Members:
♦ Ross "The Boss" Friedman - lead guitars/backing vocals
♦ Richard Manitoba - lead vocals
♦ Andy Shernoff - bass/keyboards/lead & backing vocals
♦ Scott "Top Ten" Kempner - rhythm guitars
♦ J.P. Patterson - drums

Former:
◊ Stu Boy King - drums (1973-1975)
◊ Ritchie Teeter - drums (1976-1979; died 2012)
◊ Mark Mendoza - bass (1976-1978)
◊ Mel Anderson - drums (1979)
◊ Frank Funaro - drums (1996-1998)

Discography
• Go Girl Crazy! (1975)
• Manifest Destiny (1977)
• Bloodbrothers (1978)
• D.F.F.D. (2001)
• Viva Dictators (2005) (live album)
• Every Day Is Saturday (2007) (compilation of rarities)
• Faster... Louder - The Dictators' Best 1975-2001 (2014) (greatest hits)

as Manitoba's Wild Kingdom
• ...And You? (1990)

Demos 1973
01. Weekend
02. Backseat Boogie
03. Master Race Rock
04. California Sun
05. Fireman's Friend

Demos 1975
06. Interstellar Overdrive
07. Tits to You
08. Too Much Fun
09. Dogs

"Jabberwalk" Session March 1976)
10. America the Beautiful
11. Sleepin' with the TV On

Demos 1975
12. Heartache
13. Search & Destroy
14. Disease
15. Sleepin' with the TV On
16. Exposed

Live 1976 Reference to "The Wayne County Incident"
17. Smash That Faggot's Head (clip)

18. 1977 Radio ad

1. Demos
or
2. Demos
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The Dictators - Live at Gino Club Stockholm 1996

Size: 130 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
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The Dictators are a rock and roll band formed in New York City in 1973.

Critic John Dougan said that they were "one of the finest and most influential proto-punk bands to walk the earth."The Dictators' debut album, The Dictators Go Girl Crazy! (1975) was perhaps the first album released by a New York punk group. They found relatively little commercial success, and their smart-guys-playing-dumb shtick would be further refined by later punkers -- notably The Ramones.

The Dictators are represented in the "Punk Wing" of the Rock and Roll Hall Of Fame, in Cleveland, Ohio. Steven Van Zandt called them"The connective tissue between the eras of The MC5, Stooges, NY Dolls, and the punk explosion of the mid to late 1970's".

The original recording lineup consisted of bassist/vocalist Andy (aka "Adny") Shernoff, lead guitarist Ross "The Boss" Friedman (aka Ross Funicello), rhythm guitarist Scott "Top Ten" Kempner, and drummer Stu Boy King (who was, in fact, the band's fourth drummer since forming in 1973). It was this lineup - along with roadie/occasional vocalist and "Secret Weapon" Handsome Dick Manitoba - which recorded the band's 1975 debut album, The Dictators Go Girl Crazy for Epic Records, produced by Sandy Pearlman and Murray Krugman (best known for their work with Blue Öyster Cult). Although the album sold poorly at the time, today it is considered one of the most important albums ever recorded by a New York punk band of the period, and still stands as arguably one of the funniest records ever made.

Frustrated by the lack of sales, the band broke up for a few months in late 1975, but reconvened in early 1976, with bassist Mark "The Animal" Mendoza replacing Shernoff. After a few months Shernoff was persuaded to return to the group as the group's keyboardist. This lineup soon secured a contract with Asylum Records (at least partly due to the notoriety the group had developed following a well-publicized brawl between Manitoba and Wayne County) and released their second album, Manifest Destiny, in 1977. The album - again produced by Pearlman and Krugman - is usually considered the weakest of the group's first three albums, and featured a considerably more mainstream sound. The band resisted playing songs from Manifest Destiny for several years because the album hadn't been re-released on CD.

During this period the band was christened with their nickname, "The 'Taters." This culminated in an incident during a tour with Uriah Heep and Foreigner in which Foreigner's roadies strung a net filled with potatoes above the stage and released it during the Dictators' set.

By 1978 Mendoza had left the band (he soon joined Twisted Sister) and Shernoff had returned to his original position on bass guitar. It was this lineup of Manitoba, Shernoff, Friedman, Kempner, and Rich Teeter which recorded Bloodbrothers (yet again produced by Pearlman and Krugman). At the time it was - and still is - generally considered to be a stronger album than Manifest Destiny. It was the first album to feature Manitoba as the group's vocalist on all the songs, though Bruce Springsteen - a big fan of the group to this day - can be heard counting "1-2-1-2-3-4" during the album's opening track, "Faster and Louder." 

The album's "Baby, Let's Twist" was a minor hit on a number of east coast radio stations, but the lack of mainstream success caused the band to split the following year. Shortly before the split drummer Mel Anderson had left Twisted Sister and joined The Dictators, replacing Teeter. After the breakup, Manitoba drove a cab, Shernoff worked as a producer, and Friedman became something of a gun-for-hire; working first with the French hard rock band Shakin' Street, then becoming a founding member of Manowar in 1982, and producing the first demo for Anthrax.

Although Friedman had spoken to the press with some bitterness about The Dictators during the early Manowar period, he and the other members of the band began reuniting occasionally in 1981, and later that year ROIR released the cassette-only Fuck 'Em If They Can't Take a Joke, which featured numbers from all three of the group's studio albums, covers of the Velvet Underground's "What Goes On" and Mott the Hoople's "Moon Upstairs," and two new Shernoff numbers; "Loyola" and "New York New York."

Other than occasional reunion shows, little was heard from The Dictators during the next five years. However, in late 1986 Shernoff and Manitoba (along with guitarist Daniel Rey) formed Wild Kingdom, releasing a version of "New York New York" on the 1988 soundtrack to Mondo New York. By the time of the band's 1990 MCA Records debut, ...And You? (by which time they were now billed as Manitoba's Wild Kingdom), Rey had left the group and had been replaced by Friedman, making it - for all practical purposes - the fourth Dictators album (the group was rounded out by drummer J.P. Patterson). ...And You? - clocking in at a whopping 25 minutes in length - received excellent reviews, with Rolling Stone calling it "the first great punk rock album of the '90s." Following a club tour that year Kempner (who had been previously occupied by his work with the Del Lords during much of the 1980s) joined the group and Manitoba's Wild Kingdom was replaced by The Dictators.

The ...And You? album cover was a source of some controversy at the time since it was lifted from a Nazi recruiting poster dating back to World War II. It was not the first time members of the band (most of whom, ironically, were Jewish) had been associated with charges of this sort since Go Girl Crazy had featured the songs "Master Race Rock" and "Back to Africa."

By the 1990s much about the lives of the band's members had changed markedly.

Shernoff had recorded and briefly toured with The Fleshtones, become a wine expert, and written with Joey Ramone.

Manitoba opened a successful East Village bar called Manitoba's, and currently sings lead vocals with the surviving members of the MC5, and is a Sirius Satellite Radio DJ on Little Steven's Underground Garage channel.

Kempner had developed a certain degree of respect from roots-rock audiences due to his 1980s work with The Del-Lords. In 1992 he released his highly acclaimed solo album Tenement Angels and joined The Brandos in 1993.

Friedman's work with Manowar and Brain Surgeons had given him a certain cachet with heavy metal audiences.

However, the group - first with Frank Funaro on drums, then again with Patterson - began recording a fourth Dictators album in the late 1990s, which was eventually released as D.F.F.D. in 2001. The album was well-received, and a couple of the songs - particularly "Who Will Save Rock 'n' Roll" and "I Am Right" - should be regarded as legitimate classics of the band's catalog. However, Shernoff has remarked that it will probably be the group's final studio album of new material since he finds writing rock songs to be more difficult as time goes on. He is currently compiling an album of demos, rarities, and unreleased songs recorded at various times over the band's thirty-plus year career. However, even following Kempner's move to California in 2002 and his departure from the group, The Dictators continue to perform to a devoted audience, and released a new live album, VIVA Dictators (with Kempner on rhythm guitar) in 2005.

Since February 2005, Manitoba has been singing lead with The MC5, a Detroit pre-punk rock and roll band. Manitoba also has his own show, "The Handsome Dick Manitoba Program" on Little Steven Van Zandt's Underground Garage channel, on Sirius Satellite Radio. Manitoba's, a New York City rock n' roll bar on 99 Ave B (btwn 6th & 7th St) NYC: Lower East Side, was opened by Manitoba on January 14, 1999

01. New York New York  03:23
02. Haircut and Attitude  02:54
03. Master Race Rock  04:27
04. I want You Tonight  02:48
05. Faster and Louder  02:55
06. Baby Let's Twist  04:14
07. I'm Right  04:30
08. Call me Animal (MC5)  02:52
09. The Party Starts Now  02:09
10. I stand Tall  04:25
11. Science Gone Too Far  03:47
12. Had it Coming  02:26
13. Search and Destroy (Iggy Pop "Raw Power")  03:56
14. The Next Big Thing  04:32
15. Stay With Me  05:36

1. Gino
or
2. Gino

Enjoy!!!

About Dead Links...

Hi all. 

One thing about dead links, it would be nice if visitors upload dead links to each other. 

I have uploaded two links, that's enough for me. So, help each other with dead links and make a new one if you already got the file, then add the link in comment section.

//ChrisGoesRock

Jefferson Airplane 1967-10-05 Rehearsal's & Finished Album (Bootleg)

Size: 231 MB
Bitrate: 320
mp3
Found at CyberSpace
Some Artwork Included

After Bathing at Baxter's was released in 1967 and is the third album by the San Francisco rock band Jefferson Airplane. Unlike Surrealistic Pillow, released earlier the same year, After Bathing at Baxter's is classified as psychedelic rock because it eschews the more commercial type pop songs, such as "Somebody to Love", that appeared on the earlier LP. As such, it was a watershed album; Jefferson Airplane was now a much heavier rock group. Jorma Kaukonen's electric guitar was especially more to the forefront in both volume and tone.

Divided into "suites", this musical shift is typified by lengthier and more experimental compositions such as the nine-minute instrumental "Spare Chaynge" and Grace Slick's mammoth and unusual "reJoyce", a homage to James Joyce's novel "Ulysses", with its quirky arrangement and Jack Casady's stentorian bass-line. Many of the album tracks reflect the band's heavy use of the drug LSD. The cover art is by artist Ron Cobb.

Japane Front Cover Version

The membership of Jefferson Airplane remained relatively stable until 1970, during which time they recorded five more albums and performed extensively in the USA and Europe, but the group's music underwent a significant transformation after Surrealistic Pillow and the influence of founder Marty Balin began to wane after their first commercial peak.

The band delved deeper into acid rock with their third LP, After Bathing at Baxter's. The product of many sessions over several months, it was released on 27 November 1967, and entered the charts in December, eventually peaking at #17. Its famous cover, drawn by renowned artist and cartoonist Ron Cobb, features a whimsical re-imagining of the group's Haight-Ashbury house on Fulton Street, depicted as a Heath Robinson-inspired flying machine soaring about the chaos of American commercial culture.

Key influences on the group's new direction was the popularity and success of Jimi Hendrix and in particular the first headlining U.S. tour by British supergroup Cream, which prompted many groups including the Airplane to adopt a 'heavier' sound and to place a greater emphasis on improvisation.

Advertise From Billboard Magasine

Baxter's took more than four months to record, with little interference from the nominal producer Al Schmitt. Where the previous LP had consisted entirely of short 2-3 minute songs, the new album was dominated by long multi-part suites, demonstrating the group's growing engagement with psychedelic rock. 

It also marked the emergence of Kantner and Slick as the band's major composers and the concurrent decline as major contributor of Marty Balin, who was becoming increasingly disenchanted with the "star trips" and inflated egos that their runaway commercial success had produced.

Baxter's also marked the end of the Airplane's brief run of success on the singles chart. Both "White Rabbit" and "Somebody To Love" were US Top 10 hits, but the single from Baxter's, "The Ballad of You and Me and Pooneil", peaked at #43. None of their subsequent singles made it into the Top 50 and several did not chart at all.

Despite this, Jefferson Airplane continued to enjoy significant success as "album" artists and between 1967 and 1972 they scored a run of eight consecutive Top 20 albums in the USA, with both Surrealistic Pillow and Crown of Creation making the Top 10.

♣ Grace Slick - vocals 
♣ Marty Balin - vocals
♣ Jorma Kaukonen - guitar 
♣ Paul Kantner - guitar
♣ Jack Casady - bass 
♣ Spencer Dryden - drums

Jefferson Airplane, October 05, 1967
Rehearsals for "After Bathing at Baxter's"

Disc 1
01. Satisfaction 01:03
02. It's Allright 02:22
03. It's Allright 02:13
04. Won't You Try - Saturday Afternoon 04:03
05. Won't You Try Rehearsal Session 03:49
06. Won't You Try Rehearsal Session 04:24
07. Won't You Try Rehearsal Session 00:23
08. Martha Rehearsal Session Part 1 02:54
09. Martha Rehearsal Session Part 1 & 2 06:31
10. Martha Rehearsal Session Part 2 00:21
11. Martha Rehearsal Session Part 2 00:25
12. Martha Rehearsal Session Part 2 01:49
13. Martha Rehearsal Session Part 2 00:20
14. Martha Rehearsal Session Part 2 00:23
15. Martha Rehearsal Session Part 2 07:48
16. Martha Rehearsal Session Part 2 00:23
17. Martha Rehearsal Session Part 2 02:55
18. Martha Rehearsal Session Part 2 05:05
19. It's Alright 01:22
20. Young Girl Sunday Blues 03:48
21. Go To Her 03:47

Jefferson Airplane, October 5, 1967
Pacific High Studios, San Francisco, CA
After Bathing At Baxter's studio rehearsals

Disc 2
01. It's Alright  05:44
02. Won't You Try, Saturday Afternoon  08:32
03. Jaam session - part 1  04:31
04. Won't You Try  04:00
05. Jam Session - part 2  03:00
06. Martha  17:31


The Finished Original Album 
"After Bathing at Baxter's" 1967

Disc 3
Streetmasse
01. "The Ballad of You & Me & Pooneil" (Kantner) – 4:29 
02. "A Small Package of Value Will Come to You Shortly" (Dryden/Blackman/Thompson) – 1:39 
03. "Young Girl Sunday Blues" (Balin/Kantner) – 3:33 
The War is Over
04. "Martha" (Kantner) – 3:26 
05. "Wild Tyme" (Kantner) – 3:08 
Hymn To An Older Generation
06. "The Last Wall of the Castle" (Kaukonen) – 2:40 
07. "rejoyce" (Slick) – 4:01 
How Suite It Is
08. "Watch Her Ride" (Kantner) – 3:11 
09."Spare Chaynge" (Casady/Dryden/Kaukonen) - 9:12 
Shizoforest Love Suite
10. "Two Heads" (Slick) – 3:10 
11. "Won't You Try / Saturday Afternoon" (Kantner) - 5:09 

Bonus Tracks:
12. "The Ballad of You & Me & Pooneil" (Live Long Version) (Paul Kantner) - 11:04 
13. "Martha" (Mono Single Version) (Grace Slick)- 3:26 
14. "Two Heads" (Alternate Version) (Paul Kantner) - 3:15 
15. "Things Are Better In The East" (Demo Version) (Marty Balin) - 2:31 
16. "Young Girl Sunday Blues" (instrumental - hidden track) - 3:59 

Part 1: Baxter
Part 2: Baxter
or
Part 1: Baxter
Part 2: Baxter
.