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Saturday, August 15, 2015

Video of the week... "Seasick Steve"




[WIKIPEDIA]
Steven Gene Wold (born 1941), commonly known as Seasick Steve, is an American blues musician. He plays mostly personalized guitars, and sings, usually about his early life doing casual work.

Wold was born in Oakland, California. When he was four years old, his parents split up. His father played boogie-woogie piano and Wold tried to learn when he was five or six, but could not. At the age of eight, he learned to play the guitar from K. C. Douglas, who worked at his grandfather's garage, later realising that he had been taught the blues. Douglas wrote the song "Mercury Blues" and had played with Tommy Johnson in the early 1940s. Wold left home at 13 to avoid abuse at the hands of his stepfather, and lived rough and on the road in Tennessee, Mississippi and elsewhere, until 1973. 


In the 1960s, Wold started touring and performing with fellow blues musicians, and had friends in the music scene including Joni Mitchell. Since then, he has worked, on and off, as a session musician and studio engineer. In the late 1980s, while living in Olympia, near Seattle, he worked with many indie label artists. In the 1990s he continued to work as a recording engineer and producer, producing several releases by Modest Mouse including their 1996 debut album This Is a Long Drive for Someone with Nothing to Think About.

At one time, living in Paris, Wold made his living busking, mostly on the metro. After moving to Norway in 2001, Wold released his first album, entitled Cheap, recorded with The Level Devils as his rhythm section, with Jo Husmo on stand-up bass and Kai Christoffersen on drums. His debut solo album, Dog House Music was released by Bronzerat Records on November 26, 2006, after he was championed by an old friend, Joe Cushley, DJ on the Balling The Jack blues show on London radio station Resonance FM.


Wold made his first UK television appearance on Jools Holland's annual Hootenanny BBC TV show on New Year's Eve 2006. He performed a live rendition of "Dog House Boogie" on the "Three String Trance Wonder" and the "Mississippi Drum Machine". After that show his popularity exploded in Britain, as he explained in an interview:[16]

"I can't believe it, all of the sudden I'm like the cat's meow!"

He was well received in the UK, winning the 2007 MOJO Award for Best Breakthrough Act and going on to appear at major UK festivals such as Reading, Leeds and Glastonbury. In 2007 he played more UK festivals than any other artist.

Wold toured early in 2008, playing in various venues and festivals in the UK. He was joined on stage by drummer Dan Magnusson. KT Tunstall also dueted with Wold at the London Astoria in January 2008.[20] Wold also played many other festivals throughout the world in 2008, including Fuji Rock in Japan, East Coast Blues & Roots Music Festival in Australia, also in April 2008, and Roskilde in Denmark.


Wold's major-label debut, I Started Out with Nothin and I Still Got Most of It Left was recorded with Dan Magnusson on drums, was released by Warner Music on September 29, 2008, and features Ruby Turner and Nick Cave's Grinderman.

He has toured the UK extensively since 2007 being supported by Duke Garwood, Gemma Ray, The Sugars, Billie the Vision and the Dancers in January 2008, Amy LaVere in October 2008, Melody Nelson at the Brighton Dome on 7 October, and Joe Gideon & The Shark in January 2009. His tours in October 2008 and January 2009 were all sold out and included performances at the Royal Albert Hall, the Edinburgh Queen's Hall, the Grand Opera House in Belfast, the Apollo in Manchester, the City Hall in Newcastle and the London Hammersmith Apollo.

In 2009, Wold was nominated for a Brit Award in the category of International Solo Male Artist, That same year, BBC Four broadcast a documentary of Wold visiting the southern USA entitled Seasick Steve: Bringing It All Back Home. On January 21, Wold hosted "Folk America: Hollerers, Stompers and Old Time Ramblers" at the Barbican in London, a show that was also televised and shown with the documentary on BBC Four as part of a series tracing American roots music.

In an interview with an Australian magazine, Wold attributes much of his unlikely success to his cheap and weather-beaten guitar, "The Trance Wonder" and reveals the guitar's mojo might come from supernatural sources.

     "I got it from Sherman, who is a friend of mine down in Mississippi, who had bought it down at a Goodwill store. When we were down there last time he says to me, 'I didn't tell you when you bought it off me, but that guitar used to be haunted'. I say, 'What are you talking about, Sherman?'. He says, 'There’s 50 solid citizens here in Como who'll tell you this guitar is haunted. It's the darnedest thing – we’d leave it over in the potato barn and we'd come back in and it would be moved. You'd put it down somewhere and the next morning you’d come back and it would have moved. When you took that guitar the ghost in the barn left'. He told me this not very long ago and I said to him, 'Sherman! Why didn't you tell me this before?' and he said, 'Well the ghost was gone – I didn't want it around here no more!"


On January 3, 2010, Wold appeared on the popular BBC motoring show Top Gear as the Star In A Reasonably Priced Car. He was the last star to drive in the blue Chevrolet Lacetti.

In February 2010, Wold was nominated for a Brit Award in the category of International Solo Male Artist for the second consecutive year.

In 2010, Wold made numerous festival appearances throughout the summer, including the Pyramid Stage at the Glastonbury Festival, the main stage at V Festival, the main stage at the Hop Farm Festival and many more.

In February 2011, Wold signed to Play It Again Sam to release his new album with the exception of the US, where it will be released on Third Man Records. Subsequently his new album You Can't Teach an Old Dog New Tricks was released on his new labels and it was announced that former Led Zeppelin bassist John Paul Jones had played on the new album, and performed alongside Wold to promote it. This caused some to believe that he will tour with Wold as a part of his backing band, joining his then-current drummer Dan.[citation needed] John Paul Jones did indeed appear onstage to play with Wold at the Isle of Wight 2011 festival and on the main stage of Rock Werchter 2011.

On 16 August 2014 he was the headline act at Beautiful Days in Exeter, UK, and on the 24th August he headlined at 'Victorious Festival' in Southsea, Portsmouth, UK.

Wold owns and plays several obscure and personalized instruments.

Guitars:

The Three-String Trance Wonder
This is a normal guitar that resembles a GHI Guitar made in Japan in the 1960s. It has an old Harmony pickup added with duct tape, and is tuned to G, A and B using an E string in the A position, a D in the G position and a G in the B position. At his gigs, he often tells the story that he bought it for US$75 in this condition in Como, Mississippi, from a man named Sherman, who later told him he only paid US$25 for it the day before. Wold vowed never to add another string, and that he would tour the world telling his story of how Sherman ripped him off.[16] All in good fun as Sherman Cooper is a good buddy, who gave him the guitar having had it nailed to the wall as a decoration.[15] A lot of the time he also adds, while picking up or putting away the guitar, that it is the "...biggest piece of shit in the world, I swear."[citation needed] In a BBC interview Wold claimed that the guitar was found by a friend, just with the three strings on it, and he decided to keep it that way.


Hubcap guitars
When on the TV show Top Gear, presenter Jeremy Clarkson commented that Wold's car history of over 100 cars included a Morris Minor. Wold then presented a four-string guitar that his friend Davey had made out of two old hubcaps from a Minor 1000 joined back-to-back and his wife's broomstick. Wold then played it a little in the episode. Clarkson replied that it was the best use of a Morris Minor he had ever seen.

A similar guitar was made out of Hudson Terraplane hubcaps, one of them given to him by Jack White, referring to "Terraplane Blues" by Robert Johnson.

The Mississippi Drum Machine
A small wooden box that is stomped upon, providing percussion. It is decorated with a Mississippi motorcycle registration plate ("MC33583"), and a small piece of carpet.

Nickname
When asked about his nickname, Wold has said: "because it's just true: I always get seasick". When he was ill on a ferry from Norway to Copenhagen, later in his life, a friend began playfully using the name and, despite Wold not rising to it for a while, it stuck. When asked about his name on British Sunday morning television show, Something for the Weekend, he replied, "I just get sick on boats". On Top Gear, when asked about his name, Wold replied "Well, I guess I just don't like boats!"

Personal life
Wold had two children with his first wife: Sevrin and Ivan. Sevrin is the lead singer in a rock band called Peratus. Wold married his second wife in 1982 and together they have three adult sons. Wold has problems putting down roots in one place, and he and his wife have lived in 59 houses to date. They currently live in Norway and the UK.

One of Wold's sons, Didrik, is an illustrator who is responsible for designing all of his father's album artwork, merchandise, print ads, and websites. His youngest son, Paul Martin Wold, played drums on Dog House Music and first made a guest appearance with him on percussion at the Astoria in January 2008. He has since performed with Wold frequently, playing washboard, shakers, tambourine, floor tom and occasionally guitar. He also works as Steve's guitar-tech. Paul Martin Wold, aka "Wishful Thinking", released his debut album A Waste of Time Well Spent on November 2, 2009, and showcased a selection from the album whilst touring the UK with his father. 

[ALLMUSIC.COM]
Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in life than other musicians. A storytelling singer reviving traditional country blues, Wold spent his childhood in California, but left home at 14. As a hobo, he traveled for several years, jumping trains and working odd jobs. After drifting around the U.S. and Europe, he finally ended up in Norway. 

Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television, and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he'd finally released some official material. His first solo album, Doghouse Music, out in late 2006, was performed almost entirely by Wold. Another record, Cheap, was recorded with the Swedish rhythm section the Level Devils. 

An amorous seven-track Valentine's Day EP called Songs for Elisabeth (six of the cuts were culled from previous releases) arrived in 2010. With a rustic and at time almost punk-blues approach to his material, Wold increasingly merged country blues trance boogie with a street-holler voice that makes Tom Waits seem like a mainstream crooner, and the best of his songs carry a hard-earned wisdom that can only come from living on the street one block over from the edge of civility. He released the stark and powerful You Can't Teach an Old Dog New Tricks in 2011, and returned in 2013 with his sixth offering, Hubcap Music, which featured guest appearances from Jack White and Led Zeppelin bassist John Paul Jones. In 2015, Seasick Steve showed that his blues power was still running strong with the release of the album Sonic Soul Surfer.

Albums:
Cheap (2004)
Dog House Music (2006)
I Started Out with Nothin and I Still Got Most of It Left (2008)
Man from Another Time (2009)
You Can't Teach an Old Dog New Tricks (2011)
Hubcap Music (2013)
Sonic Soul Surfer (2015)

Compilation albums:
Songs For Elisabeth (2010)
Walkin' Man - The Best of Seasick Steve (2011)





Thursday, August 13, 2015

Moby Grape - Selftitled (Great 1st Album US 1967 + Bonus)


Size: 230MB
Bitrate:
mp3
Found in DC++ World
Some Artwork Included

Moby Grape is the rock band Moby Grape's eponymous 1967 debut album. Coming from the San Francisco scene, their reputation quickly grew to immense proportions, leading to a bidding war and a contract with Columbia Records. The album peaked at #24 on the Billboard 200 albums chart in September 1967.


Production began on Moby Grape in Los Angeles in March 1967. Produced by David Rubinson, it took just six weeks, and $11,000, from March 11 to April 25, to record all thirteen tracks and a fourteenth that was intended for the album but for which lyrics were never written ("Rounder").

The cover photograph is by noted rock photographer Jim Marshall. On the original release, Don Stevenson is shown "flipping the bird" (making an obscene gesture) on the washboard. It was airbrushed out on subsequent pressings, but the UK re-issue on Edsel/Demon restored it.

The flag behind Skip Spence is actually a United States flag that Columbia Records decided to obscure through airbrushing, presumably due to the political climate of the times. On the original release, the flag is colored red. When the cover was revised to remove the offending finger mentioned above, the flag was changed from red to black, again presumably due to possible political interpretations (the association of the color red with communism). The Edsel vinyl (1984) and CD (1989) re-issues restored the photo to its original state, with Don Stevenson's displayed finger and an un-airbrushed United States flag. Other CD re-issues use the cover from the first pressing, with the finger intact and the flag tinted red.


Released on June 6, 1967, Columbia chose also to place ten of the thirteen songs on five singles released on the same day: "Fall on You"/"Changes", "Sitting By the Window"/"Indifference" (2:46 edit), "8:05"/"Mister Blues", "Omaha"/"Someday" and "Hey Grandma"/Come in the Morning". Of these five, only "Omaha" and "Hey Grandma" charted.

Nevertheless, as Gene Sculatti and Davin Seay write in their book San Francisco Nights, Moby Grape "remains one of the very few psychedelic masterpieces ever recorded." Justin Farrar considered that "(i)t's no understatement to hail the group's 1967 debut as the ancestral link between [sic] psychedelia, country rock, glam, power pop and punk." In addition, the 1983 Rolling Stone Record Guide said their "debut LP is as fresh and exhilarating today as it was when it exploded out of San Francisco during 1967's summer of love." In 2003, the album was ranked number 121 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Noted rock critic Robert Christgau listed it as one of The 40 Essential Albums of 1967. As reviewed by Mark Deming, "Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands. 

While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good."

In 2008, Skip Spence's song "Omaha" was listed as number 95 in Rolling Stone's "100 Greatest Guitar Songs of All Time". The song was described there as follows: "On their best single, Jerry Miller, Peter Lewis and Skip Spence compete in a three-way guitar battle for two and a quarter red-hot minutes, each of them charging at Spence's song from different angles, no one yielding to anyone else.

" Writing in 1967, shortly after the album's release, Crawdaddy! creator Paul Williams described "Omaha" as "the toughest cut on the album (and) one of the finest recorded examples of the wall-of-sound approach in rock. It surges and roars like a tidal wave restrained by a seawall."

Personnel
Peter Lewis – rhythm guitar, vocals
 Bob Mosley – bass, vocals
 Jerry Miller – lead guitar, vocals
 Skip Spence – rhythm guitar, vocals
 Don Stevenson – drums, vocals

01. "Hey Grandma" Jerry Miller, Don Stevenson  02:43
02. "Mr. Blues" Bob Mosley  01:58
03. "Fall on You" Peter Lewis  01:53
04. "8:05" Miller, Stevenson  02:17
05. "Come in the Morning" Mosley  02:20
06. "Omaha" Skip Spence  02:19
07. "Naked, If I Want To" Miller 00:55
08. "Someday" Miller, Stevenson, Spence 02:41
09. "Ain't No Use" Miller, Stevenson  01:37
10. "Sitting by the Window" Lewis  02:44
11. "Changes" Miller, Stevenson  03:21
12. "Lazy Me" Mosley  01:45
13. "Indifference" Spence  04:14


MOBY GRAPE (KSAN Live Bonus Production )
Avalon Ballroom 1967
    
14. "It Depends On You"  07:34
15. "Changes"  04:23
16. "Leavin'"  01:57
17. "Grape Jam with Big Brother...  05:12


Extra Bonus:
MOBY GRAPE - FALL ON AMSTERDAM 1969-02-12

01. I'm Not Willing  05:23
02. Trucking Man  02:07. 
03. Sitting By The Window  03:40 
04. Fall On You 02:23 
05. Murder In My Heart For The Judge 05:13 
06. Untitled Blues 04:57 
07. Omaha  05:38
08. If You Can't Learn From My Mistakes 05:11
09. Hey Grand Ma  04:53
10. Omaha Reprise  05:49

Part 1: Link
Part 2: Link
.





Canned Heat - Selftitled (1st Album Mono 1967) + Bonus


Size: 72.3 MB
Bitrate: 256
mp3
Artwork Included

Canned Heat is the 1967 debut album by Canned Heat. It was released shortly after their appearance at the Monterey Pop Festival, and features performances of several blues covers.

This debut long-player from Canned Heat was issued shortly after their appearance at the Monterey International Pop Music Festival. That performance, for all intents and purposes, was not only the combo's entrée into the burgeoning underground rock & roll scene, but was also among the first high-profile showcases to garner national and international attention. 

The quartet featured on Canned Heat (1967) includes the unique personnel of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Bob "The Bear" Hite (vocals), and Frank Cook (drums). Cook's tenure with the Heat would be exceedingly brief, however, as he was replaced by Aldolfo "Fido" Dela Parra (drums) a few months later. 

Although their blues might have suggested that the aggregate hailed from the likes of Chicago or Memphis, Canned Heat actually formed in the Los Angeles suburb of Topanga Canyon, where they were contemporaries of other up-and-coming rockers Spirit and Kaleidoscope. Wilson and Hite's almost scholarly approach created a unique synthesis when blended with the band's amplified rock & roll. After their initial studio sessions in April of 1967 produced favorable demos, they returned several weeks later to begin work in earnest on this platter. 

The dearth of original material on Canned Heat was less of a result of any songwriting deficiencies, but rather exemplifies their authentic renderings of traditionals such as the open-throttled boogie of "Rollin' and Tumblin'" -- which is rightfully recognized as having been derived from the Muddy Waters arrangement. Similarly, a rousing reading of Robert Johnson's "Dust My Broom" is co-credited to Elmore James. 

Blues aficionados will undoubtedly notice references to a pair of Howlin' Wolf classics -- "Smokestack Lightning" as well as "I Asked for Water (She Gave Me Gasoline)" -- as part of the rambling "Road Song." While decidedly more obscure to the casual listener, Eddie "Guitar Slim" Jones "Story of My Life" is both a high point on this recording, as well as one of the fiercest renditions ever committed to tape. Until a thorough overhaul of Canned Heat's catalog materializes, this title can be found on the Canned Heat/Boogie With Canned Heat (2003) two-fer that couples this title with their 1968 follow-up.


A hard-luck blues band of the '60s, Canned Heat was founded by blues historians and record collectors Alan Wilson and Bob Hite. They seemed to be on the right track and played all the right festivals (including Monterey and Woodstock, making it very prominently into the documentaries about both) but somehow never found a lasting audience.

Certainly their hearts were in the right place. Canned Heat's debut album -- released shortly after their appearance at Monterey -- was every bit as deep into the roots of the blues as any other combo of the time mining similar turf, with the exception of the original Paul Butterfield band. Hite was nicknamed "The Bear" and stalked the stage in the time-honored tradition of Howlin' Wolf and other large-proportioned bluesmen. 

Wilson was an extraordinary harmonica player, with a fat tone and great vibrato. His work on guitar, especially in open tunings (he played on Son House's rediscovery recordings of the mid-'60s, incidentally) gave the band a depth and texture that most other rhythm players could only aspire to. Henry Vestine -- another dyed-in-the-wool record collector -- was the West Coast's answer to Michael Bloomfield and capable of fretboard fireworks at a moment's notice.

Canned Heat's breakthrough moment occurred with the release of their second album, establishing them with hippie ballroom audiences as the "kings of the boogie." As a way of paying homage to the musician they got the idea from in the first place, they later collaborated on an album with John Lee Hooker that was one of the elder bluesman's most successful outings with a young white (or black, for that matter) combo backing him up. After two big chart hits with "Goin' Up the Country" and an explosive version of Wilbert Harrison's "Let's Work Together," Wilson died under mysterious (probably drug-related) circumstances in 1970, and Hite carried on with various reconstituted versions of the band until his death just before a show in 1981, from a heart seizure.

Personnel:
Bob Hite – vocals
 Alan Wilson – rhythm and slide guitar, vocals, harmonica
 Henry Vestine – lead guitar
 Larry Taylor – bass
 Frank Cook – drums

Additional Musician
 Ray Johnson (brother of Plas Johnson) – piano

01. "Rollin' and Tumblin'" (Muddy Waters) – 3:11
02. "Bullfrog Blues" (Canned Heat) – 2:20
03. "Evil Is Going On" (Willie Dixon) – 2:24
04. "Goin' Down Slow" (James Oden) – 3:48
05. "Catfish Blues" (Robert Petway) – 6:48
06. "Dust My Broom" (Robert Johnson, Elmore James) – 3:18
07. "Help Me" (Sonny Boy Williamson II) – 3:12
08. "Big Road Blues" (Tommy Johnson) – 3:15
09. "The Story of My Life" (Guitar Slim) – 3:43
10. "The Road Song" (Floyd Jones) – 3:16
11. "Rich Woman" (Dorothy LaBostrie, McKinley Millet) – 3:04

Bonus:
Canned Heat, WBCN Studios
Boston, MA, 1972-02-22
Source: FM, Quality: A

-=Disc One=-
01.Back On The Road Again
02.Talking
03.Chicago Bound
04.Talking
05I Don't KNow What I'll Do With Myself
06.Talking
07.I Feel So Bad
08.Sneakin' Around
09.Talking
10.Big City (splice)
11.Big City pt.2
12.Talking
13.My Love For You Won't Grow Cold

-=Disc Two=-
01.Framed
02.Talking
03.Hill Stomp
04.Talking
05.Thats Alright
06.Talking
07.Let's Work Together
08.Let's Work Together pt.2
09.Talking
10.A Long Way From L.A
11.Talking
12.Have You Ever Loved A Women?
13.Radio AD for Canned Heat at the Electric Ballroom,Dallas,TX

Part 1: Link
Part 2: Link


Saturday, August 01, 2015

Barry Goldberg, Charlie Musselhite, Harvey Mandel - Chicago Anthology (Great Blues US 1966)



Size: 140 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Some Artwork Included
Source: Japan 24-Bit Remaster (Not the Bonus Tracks)

Barry Goldberg Story: 
Beginnings. My mother sang and played piano, we used to play duets, then I heard Meade Lux Lewis on the radio and started playing boogie woogie by ear at 5 yrs old. First band was in high school, Denny Lee And The Ramblers. Mike Bloomfield had the rival band and we would compete for sweet 16 party gigs. That’s when I first met him. Influences were Meade Lux, Little Richard, Jerry Lee Lewis, Fats Domino. Each time period has had memorable moments, but the early blues, and rock ‘58 through ‘64 was the most fun. 


Not a business yet! Sitting in for Otis Spann, and playing with Muddy. Michael and I on the West side of Chicago, playing with Howlin’ Wolf. Playing on Charlie Musselwhite’s “Stand Back” album with Harvey Mandel, and last year’s Chicago Blues Festival Reunion with Sam Lay, Nick Gravenites, Harvey Mandel, Charlie Musselwhite, and Corky Siegel. Also San Francisco Blues Festival with Steve Miller and James Cotton. And time you play with great musicians you are influenced by them. There is a level of greatness, they bring you up to, musically,and spiritually. I miss that with Michael.

Actually when I was 5 and started playing piano, my aunt bought me a drum set, and I Muddy Waters was magical, James Cotton can really blow, nobody can shake a string like Michael Bloomfield or Otis Rush. Charlie Musselwhite, and Harvey Mandel are inspirational, I love Nick Gravenites singing, Tracy Nelson and Marcy Levy vocals, Michael Bloomfield’s intensity was unbelieveable. Steve Miller’s Texas shuffle, Buddy Miles powerful drumming. Mick Taylor’s slide playing, Bob Dylan’s funky rhythm guitar, Duane Allman’s slide, Jimi Hendrix’s all around amazing chops. 


Playing “Hey Joe” with him! I always wanted to play with Elmore James! Top five albums: Phil Spector’s Greatest Hits, Blonde On Blonde, here’s Little Richard, Chicago Blues Anthology on Chess, Best of Muddy Waters. The Jerry Lee Lewis’ Greatest Hits on Sun. The band I am playing with at blues festivals: Harvey Mandel, Zach Wagner on guitars, Don Heffington, Sam Lay – drums, Marcy Levy, Nick Gravenites, Tracy Nelson – vocals, Corky Siegel, sometimes Charlie Musselwhite on harp, Rick Reed – bass.

The old blues scene is almost gone. Most of the great masters are in blues heaven, but there is nothing like the power of playing the blues, and the ones that are left must keep that alive! It is synonymous as life itself.
The people in Europe have always picked up on American jazz and blues more then the American people and have traditionally supported and respected the music and the artists more. That’s unfortunate, because its right here in their own backyard.

I like Harvey Mandel, Charlie Musselwhite, White Stripes, Soledad, James Cotton, Jimmy Smith, Johnnie Johnson. I would tell the people of Macedonia to embrace the blues, because it is real and true and free! It helps you when you need it. When you’re up, or when you’re down the blues is always there to help you through! You can have a good time with the blues, it can be your friend when you’re down! You can always count on the blues! We would love to bring the Chicago Blues Reunion to Europe and Macedonia. Maybe there is a way. Dear Vasja, it’s always nice to hear from people who appreciate your work. Thank you for your interest, and love for the blues, blues forever, Barry Goldberg.


Charlie Musselwhite Story:
Harmonica wizard Norton Buffalo can recollect a leaner time when his record collection had been whittled down to only the bare essentials: The Paul Butterfield Blues Band and Stand Back! Here Comes Charley Musselwhite's South Side Band. Butterfield and Musselwhite will probably be forever linked as the two most interesting, and arguably the most important, products of the "white blues movement" of the mid- to late '60s -- not only because they were near the forefront chronologically, but because they both stand out as being especially faithful to the style. Each certainly earned the respect of his legendary mentors. No less than the late Big Joe Williams said, "Charlie Musselwhite is one of the greatest living harp players of country blues. He is right up there with Sonny Boy Williamson, and he's been my harp player ever since Sonny Boy got killed."

It's interesting that Williams specifies "country" blues, because, even though he made his mark leading electric bands in Chicago and San Francisco, Musselwhite began playing blues with people he'd read about in Samuel Charters' Country Blues -- Memphis greats like Furry Lewis, Will Shade, and Gus Cannon. It was these rural roots that set him apart from Butterfield, and decades later Musselwhite began incorporating his first instrument, guitar.

Musselwhite was born in Kosciusko, Mississippi in 1944, and his family moved north to Memphis, where he went to high school. Musselwhite migrated to Chicago in search of the near-mythical $3.00-an-hour job (the same lure that set innumerable youngsters on the same route), and became a familiar face at blues haunts like Pepper's, Turner's, and Theresa's, sitting in with and sometimes playing alongside harmonica lords such as Little Walter, Shakey Horton, Good Rockin' Charles, Carey Bell, Big John Wrencher, and even Sonny Boy Williamson. Before recording his first album, Musselwhite appeared on LPs by Tracy Nelson and John Hammond and duetted (as Memphis Charlie) with Shakey Horton on Vanguard's Chicago/The Blues/Today series


When his aforementioned debut LP became a standard on San Francisco's underground radio, Musselwhite played the Fillmore Auditorium and never returned to the Windy City. Leading bands that featured greats like guitarists Harvey Mandel, Freddie Roulette, Luther Tucker, Louis Myers, Robben Ford, Fenton Robinson, and Junior Watson, Musselwhite played steadily in Bay Area bars and mounted somewhat low-profile national tours. It wasn't until the late '80s, when he conquered a career-long drinking problem, that Musselwhite began touring worldwide to rave notices. He became busier than ever and continued releasing records to critical acclaim.

His two releases on Virgin, Rough News in 1997 and Continental Drifter in 2000, found Musselwhite mixing elements of jazz, gospel, Tex-Mex, and acoustic Delta blues. After signing with Telarc Blues in 2002, he continued exploring his musical roots by releasing One Night in America. The disc exposed Musselwhite's interest in country music with a cover version of the Johnny Cash classic "Big River," and featured guest appearances by Kelly Willis and Marty Stuart. Sanctuary, released in 2004, was Musselwhite's first record for Real World. After extensive touring globally, he returned to the studio for its follow-up, the back-to-basics Delta Hardware, recorded in Mississippi. The set was hard-edged and raw blues and featured one live track, the hip-shaking "Clarksdale Boogie," recorded in front of a small but enthusiastic audience at Red's Juke Joint in that very town. Musselwhite returned to Alligator in 2009 and got down to business and cut The Well in Chicago, an all-original program that featured a guest duet appearance from Mavis Staples on the track "Sad Beautiful World." The song references the murder of his 93-year-old mother during a burglary in her home.

Harvey Mandel Story:
In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. 


Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. 

In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai.

Recorded live in 1966 at the legendary Big John’s, a swinging Blues club in Chicago’s old town. "Together Records" released this concert 1971, USA.

Along with MANDEL and GOLDBERG this recording features CHARLIE MUSSELWHITE on harmonica, ROY RUBY on bass, MORRIS MCKINLEY on drums, and on guitar BOBBY JONES.

Personnel:
Bass – Roy Ruby
 Drums – Maurice McKinley
 Guitar – Dave Brian, Harvey Mandel
 Harmonica – Charlie Musselwhite
 Organ – Barry Goldberg
 Saxophone – Cliff Davis
 Vocals – Bobby Jones, The Day Jobbers

01. Slow Down I'm Gonna Lose You 03:04
02. I Loved And Lost 04:18
03. Big Boss Man 05:09
04. Funk 05:35
05. Aunt Lilly 02:09
06. You Got Me Crying 03:25
07. Times I've Had 02:12
08. Hoochie Cooche Man 03:32

Bonus Tracks:
09. Barry Goldberg & Friends - One More Mile [Bonus]
10. Charlie Musselwhite - Sundown [2006 Bonus Track]
11. Charlie Musselwhite - Blues For Yesterday [2006 Bonus Track]
12. Charlie Musselwhite - Key to the Highway Live [Bonus]
13. A.B. Skhy w. C. Musselwhite - Thinking It Over [Bonus 1969]
14. A.B. Skhy w. C. Musselwhite - Sweet Little Angel [Bonus 1969]

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Saturday, July 25, 2015

Video of the week


Captain Foam and the Doctor was a two piece band out of Canton Ohio from 1967 till probably around 70. Richard Bertram played all guitars and Mike O'brien was on drums. Ritchard previously had led Lord Ritchie and the Mariners, and Mike O'Brien had been in the Angry and The 18th Century. Captain Foam was probably the loudest band ever live.'

Captain Foam was a Extremly loud Heavy Psych/Heavy rock band. This song is of the A side of their very rare sought after single from 1968 . Anyone who knows a member of the band is welcome to get it touch. Rumour has it that Captain Foam played a 45 min version of Crossroads live..




Enjoy!!

Thursday, July 16, 2015

Not to be missed: Pentagram - All Daze Here 1972-76 (Very Good Hardrock)


Size: 237 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included

Compilation of early material from this hard rocking Sabbath influenced American underground metal band. Mostly unreleased tracks from the first period of this long lived but under recorded outfit. Fairly lo-fi stuff recorded live with some demos and with the first single included, the songs stand up well and the guitar playing is excellent. It is surprising they didn't generate more success. Stand out for me is ":Starlady" with a stunning piece of guitar work that give me goose bumps.Overall rating 4.5/5


The album starts with three of the five songs that came from their March ’73 recording sesh and gives the album its real coherence. However, the album hits its peak later on, so give it time if this stuff don’t smoke thy pole immediately. ‘Forever My Queen’ opens up just like Bang doing Sabbath in that remedial Bleib Alien-meets-‘Future Shock’-style, a grunge-a-holic trawl through the lowest grade of Iommi riffs. Vincent McAllister solos wildly and inappropriately all through and then it just… fades and fucks off in my favourite kind of AM radio fade – 3 secs max. Then, off into the next under 3-minutes bliss of ‘When the Screams Come’, complete with Bill Wardian bibles-at-the-sofa drum fills and Sabbalong time changes. 

Man, these guys are screaming out for an LP of their own but there’s not even bones for these dogs! And slowly out of the mists comes the sub-Joy Division/E Pluribus Sabbalong of ‘Walk in the Blue Light’ in which Vincent McAllister exposes his bassist-turned-guitar hero provenance with another Bleib Alien riff you always thought Ace Frehley woulda been knocking out before his Kiss days (not true, I’m sure). In fact, that whole Roky Erikson/Bobby Liebling thing that the Swedish band Witchcraft had going really manifests here in the atmosphere of ‘Walk in the Blue Light’, enjoying a real soaring clarity and openness that Sabbath obviously never approached because of their ubermetal groovelessness. 

Greg Mayne RICKENBACKER BASS Then, ‘Starlady’ kicks in from three years later and weez talking about a totally different, blazing, auspicious rock experience that sounds like a band that’s huge. Gone is the autistic, post-adolescent in-yer-boots vibe to be replaced with a Horned God confidence that screams and struts. Also, here we gotta nutha extra guitarist called Marty Iverson, who adds considerable weight to the sound and pushes the whole Pentagram trip into a Dust-as-played-by-Montrose experience even something like the Australian UGLY THINGS period of MC5/Yardbirds influenced groups. I know I keep punishing the Dust metaphors but Leibling’s voice is uncannily like Richie Wise’s at times. 

Track 5 is that classic ‘Lazylady’ 7” they recorded a year before as Macabre, and comes on with another ‘Walk in the Blue Light’ morons-on-the-frontier riff (play ‘em back to back – they’ze virtually the same fucking riff: excellent) over an Ace Frehley’s ‘Shock Me’/’Dark Light’-style throw away vocal that meets dirty Frank Zappa around the time of OVERNIGHT SENSATION (though this sucker is a year before that Mothers’ LP) – extremely charming and funny too. This is the toon in which Liebling disses his chick and kicks her out so she buys up the whole apartment block he lives in and has him kicked out, too. Nice.

‘Review your Choices’ is the fourth track from that same session that spawned the first three tracks on this disc. Again, we’re deep in Sabbath territory both lyrically and in its per-riffery. Sounds like Liebling never leaves the first four frets for his songwriting and Vincent McAllsiter is a committed ex-bass player when it comes to copping then staying true to the Liebling lick. He also exceeds at soloing like a flayling moron between each vocal delivery. Satan’s coming round the bend in this one, and there’s a man with a pitchfork, and.. oh whatever, I obviously suck this dung into every orifice with more gusto than most, or you wouldn’t be getting it served up as Album of the Month. Two months after that main sesh came the same Boffo Socko alias 7” ‘Hurricane’ that appears on GUITAR EXPLOSION 2, and is just Hendrix-filtered through Iommi’s week old socks. Deeply excellent, relentless, by numbers and irksome that it ain’t internationally known. A quick 2.05 classic, fade and outtahere. 



Then it’s time for two of the three best tracks on the whole record, and both recorded in their rehearsal with sometime extra guitarist Randy Palmer. ‘Living in a Ram’s Head’ (excellent fucking title, Herr Liebling) has a steaming incessant freight train quality you wanna keep playing over and over and over. Man, if they got more of this rehearsal room stuff in the can, clue me druids, I gots to know! The following track is ‘Earth Flight’ which coulda be spunked out in the late 1960s and appeared on PEBBLES VOLUME 5, or UGLY THINGS, or any classic hard rock LP of the time. Monstrous and full of demons, and worthy of ripping off forever. ’20 Buck Spin’ is the final one of the five track session from March 1973, and man does it smoke my unyielding pole. Vincent McAllister is as good here as he is rock in that photo of him you can see in the review. And that SG is more burning here that Iommi’s ever was (honest!) AND this guy never has to resort to soloing OVER his solos as Iommi did countless times (whaddya mean, I cain’t diss Iommi? Only after 20 years did Iommi’s solos become classic through sheer overplaying and I’ll challenge any non-motherfucker to disprove my unhasty assertion!) Someone should release these five tracks as 7” 33RPM European-style pic sleeve maxi single just so we can judge Pentagram on a contemporary 1973 level and understand the songs in context. This band will surely be revisited again and again in the next few years and will, like lost greats such as the Blue Things and the Swamp Rats, become an accepted part of Rock’s great canon like the little glitch that held that first LP up weren’t fucking owt at all. 

Geof O'Keefe DRUMS‘Be Forewarned’ is up next. What do I say? I been listening to this on heavy rotation for 21 years and it is demented and suffused with the kind of incandescant glow that marks it out as the work of the great. Batman-meets-Lucifer Sam-as-played-by-Heavy period Love is not exactly obvious, kiddies, and I think we see here the reason that Fleetwood Mac’s ‘The Green Manalishi’ influenced everyone (except its own writer): it has that LOVE IT TO DEATH interweaving minor key dervish quality that we all try to cop, but rarely even glimpse. 

Then, we conclude with Pentagram’s finest hour by about ten bazzillion miles. ‘Last Daze Here’ is a beautiful, gleaming jewel of a death trip, with Bobby singing like he’s staring out of some spectacular ice palace and ain’t never coming back to the real world. He’s Mithra trapped in the mountain, he’s Loki with the poison reigning down on him,, but there ain’t nobody there to wipe it away in this particklier scenario. This song is imbued with a sense of tragedy you rarely hear in heavy rock. For those who don’t quite get it… whatever. But if you ever approached that post-everything vacuum, that empty cathedral in your head, that hollow, unspeaking, unblinking, unhuman emotionless inertia that even Iggy could only hint at in the flatness of ‘Sick of you’ then you truly NEED NEED NEED this song in your life. If Pentagram had only done this one song and been killed in a plane crash thereafter, we’d still be celebrating it 50 years from now. And when Bobby takes it down from his dazed almost whispered tenor to flat shark-eyed semi-spoken baritone and states: ‘Said it’s bin a little bit too long’, you feel the ice melt, then re-freeze instantly, and you know in that moment how tragic human life is, how intolerably short human life is, how the moments of adolescence that resurface in adult life must be celebrated and further celebrated, then howled about, shrieked out, screamed out… man, we are dead and in the fucking ground for so long… No No No No No No No… Gimme Life and gimme the six minutes of this toon on endless rotation.



Although PENTAGRAM did not officially form until 1971, the beginnings of the band date back to 1970, when vocalist Bobby Liebling joined Washington DC area band, SPACE MEAT, who then changed their name to STONE BUNNY. Aside from Liebling, the line-up featured John Jennings (guitar), Greg Mayne (bass) and Geof O'Keefe (drums), all of whom later turned up in PENTAGRAM. STONE BUNNY only stayed together for a few months because Liebling's harder vocal style wasn't right for Jennings' often melodic material, and they parted ways with the Jennings/Mayne/O'Keefe trio reverting back to the moniker SPACE MEAT before splitting up a brief time later. 

In the fall of 1971, Liebling and O'Keefe decided to pool their talents and form a band that could play originals in the heavy style they both loved. In addition to Liebling (vocals) and O'Keefe (switching to guitar), the very first line-up featured Vincent McAllister (bass), and Steve Martin (drums). They began working up original material influenced by their idols including Blue Cheer, The Frost, The Groundhogs, Stray, and Sir Lord Baltimore, and yet even in this embryonic phase, the sound was uniquely PENTAGRAM. After a month, John Jennings returned to the fold giving the band a twin-guitar style of groups like Wishbone Ash and Thin Lizzy but it soon became apparent that further fine-tuning was needed. Martin's jazz-influence style wasn't right for the heavy direction the band wanted to go in, and so O'Keefe returned to the drums. This sadly unrecorded Mark III line-up of Liebling/Jennings/McAllister/O'Keefe lasted for all of one rehearsal which blew everyone away, but later that evening, Jennings phoned O'Keefe and said he really didn't want to play heavy hard rock, leaving the remaining three members disappointed and without a guitarist. 



The trio soldiered on briefly with Liebling playing rudimentary guitar so they could at least keep working on material until one day when bassist McAllister suggested he try playing guitar. Liebling and O'Keefe figured they had nothing to lose and after a few numbers, realized there had been a guitar hero posing as a bassist in the line-up all that time! They were blown away by his Leigh Stephens-styled soloing, wild and raw. It was just what they needed. O'Keefe promptly phoned his former SPACE MEAT pal bassist Greg Mayne (who also was a friend of Vincent's to begin with, living in the same area) and on Christmas day 1971, the classic "original line-up" of PENTAGRAM was born, although technically it was the 4th version of the band. They rehearsed as often as possible for three to four hours a night at a bulk mailing warehouse in Alexandria, VA where O'Keefe's dad was an executive. Just before the band's first promotional-only single, "Be Forewarned"/"Lazy Lady" was to be pressed in the summer of 1972, the band decided to avoid the potential controversy of being labelled a 'satanic' band and changed their name to MACABRE. Subsequently realizing people had difficulty correctly pronouncing that word (Muh-cah-bra), they went through a number of other names such as VIRGIN DEATH and WICKED ANGEL before finally and permanently reverting back to PENTAGRAM. They played their first live gig on December 8th, 1973 at Montgomery Junior College in Maryland. This Liebling/McAllister/Mayne/O'Keefe line-up remained constant (with the exception of two additions) until late 1976. 

Product Description
Before the name was even coined, Legendary D.C. outfit PENTAGRAM was helping to invent the beast called heavy metal. For over thirty years the band, led by eccentric founder and vocalist Bobby Liebling, has remained true to its vision of songcraft in the macabre art. This unwavering dedication has influenced scores of renowned musicians some three decades on, and the legacy grows stronger with each passing year. First Daze Here Too is a brand new 2-disc set containing rare and unreleased studio recordings and live rehearsals from the early 70's. A deluxe 28-page booklet includes lyrics, detailed historical liner notes by drummer Geof O'Keefe and scores of never-before-seen PENTAGRAM photography! First Daze Here Too is 22 tracks of vintage PENTAGRAM classics from the vaults of the influential and critically-acclaimed D.C. legends!!! The legend lives on! 

Disc 1:
01. Forever My Queen (1973)
02. When the Screams Come (1973)
03. Walk in the Blue Light (1973)
04. Starlady (1976
05. Lazylady (1972)
06. Review Your Choices (1973)
07. Hurricane (1973)
08. Livin’ in a Ram’s Head (1974)
09. Earth Flight (1974)
10. 20 Buck Spin (1973)
11. Be Forewarned (1972)
12. Last Days Here (1974)

Disc 2:  
01. Wheel of Fortune  
02. When the Screams Come  
03. Under My Thumb  
04. Smokescreen  
05. Teaser  
06. Little Games  
07. Much Too Young to Know
  
Disc 3: 
01. Virgin Death  
02. Yes I Do  
03. Ask no More  
04. Man  
05. Be Forewarned  
06. Catwalk  
07. Die in Your Sleep  
08. Frustration  
09. Target  
10. Everything's Turning To Night  
11. Take me Away  
12. Nightmare Gown  
13. Cartwheel  
14. Cat & Mouse  
15. Show 'Em How  

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