Rush - Agora Ballroom August 26, 1974 & Electric Lady Studios December 05, 1974 (Bootleg)

Size: 171 MB
Bitrate: 320
mp3
Found in ?
Artwork Included

The Actual Name of the Recording studio is Electric Lady. Not electric Ladyland. 

Dec 1974 Show: Bad Boy stands out on this show. Here Again and Need Some Love are only found on these early broadcasts. This Trilogy of broadcast performances captures the very earliest Rush. You can hear the stripped down, three piece sound. Geddy's bass and vocals are raw, Alex is still in the forefront.

August 1974 Show: 12 days after Peart joins the band, but he is already featured at the end. Fancy Dancer was featured in the "bar" days, but never recorded on an album. Here Again and Need Some Love are only found on these early broadcasts. This Trilogy of broadcast performances captures the very earliest Rush. You can hear the stripped down, three piece sound. Geddy's bass and vocals are raw, Alex is still in the forefront.

If you like old Rush, you'll love this. Recorded in 1974, this CD has two shows with songs no later than Fly By Night. It also contains two songs that have never been officially released, "Bad Boy" (a cover song) and "Fancy Dancer" (an original song). This CD was actually taken from vinyl, as both these shows have been available as LP boots for some time (one is called "Electric"). Because they were taken from vinyl, some pops can be heard throughout the recording, but are not very noticeable unless you're looking for them.? The recording from Electric Ladyland is a soundboard -- it was actually recorded "live in the studio" -- and the quality is similar to Rush's first album. Everything is clear, sharp and very RAW; you can barely hear the polite clapping of the audience. 

The worst thing about it is that halfway through "By-Tor" the song is faded out! The recording from Cleveland is probably a soundboard, but sounds distorted, as if the recording level is set too high. The bass at times overwhelms the guitar. What's odd about this is during some songs ("Working Man" in particular) there is a peculiar stereo effect with Alex's guitar, as if he is magically moving from left to right and back again across the stage in a few seconds. The last two tracks are much quieter than the rest, and not as distorted. The popping is more noticeable during the Cleveland show than the NYC show. 

The packaging is simple, and a short essay by "Marathon Man" graces the back of the booklet.? Inside the company indulged themselves and listed other bootlegs that they manufacture. On the back is a neat black & white photo of the band from "the early days". "Fancy Dancer" is listed incorrectly as "Can't You See" and may fool quite a few. Overall a solid raw recording, one worth having especially if you're in to early Rush. If you are a fan of later recordings, you'll probably want to pass this by.? Counterparts it is not!

Even at this early time point in the history of Rush, the performance value and musicianship is top notch. The sound quality is surprisingly very good for a recording that has previously been floating around as a bootleg. 

The bonus tracks do not sound as good unfortunately. The majority of the disc is from a show from August 26, 1974, which is approximately 5 months after their debut album was released. 

Sections of the songs "Fancy Dancer" and "Garden Road" appear in the "Beyond The Lighted Stage" film, and since I heard them there, I had hoped to get a copy if this performance. An early, and much shorter version than we are used to of Neil Peart's drum solo appears here as well (he had joined the band only weeks before this performance). The audience sections between the songs have been edited, to give the CD a tighter feel, but some of the edits are distracting. That's my only real complaint about this release. Otherwise, it's a must have for the hardcore Rush fan.


Rush - Agora Ballroom, Cleveland, Ohio, USA, August 26, 1974 and
Rush - Electric Lady Studios, New York, New York, USA, December 05, 1974 ★

♦ Geddy Lee - bass, vocals
♦ Alex Lifeson - guitars
♦ Neil Peart - drums

01.  Finding My Way  05:07
02.  The Best I Can  03:06 ★
03.  Need Some Love  03:21
04.  In The End  06:13 ★
05.  Fancy Dancer  03:54 ★
06.  In The Mood  03:18
07.  Bad Boy  05:37
08.  Here Again  07:53
09.  Working Man  09:13 ★
10.  Drum Solo  02:54
11.  What You're Doing  04:26 ★
12.  Garden Road  03:03

Bonus Tracks
13. Anthem  04:21
14. Beneath, Between & Behind  03:06
15. Fly By Night  02:46
16. Donna Halper Interview   05:31

(This is the best version i have heard so far, must be 20 versions of this bootleg, ChrisGoesRock)

1. Rush 1974
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Music Formats Explained

Various Artist - Dust on The Nettles - British Underground Folk Scene 1967-72

Size: 637 MB
Bitrate: 256
mp3
Found in OuterSpace
Some Artwork Included

It’s one of the most significant musical rediscoveries of recent years and, on its own, makes Dust on the Nettles indispensible. “The Seagulls Scream” by Christine Quayle is track 10 on the first disc of this box set of psychedelically inclined British folk or folk-inspired music. Quayle intones desolately of “a human in bed [who] is singing his prayers in his head, his mind is dead.” 

Eleswhere in the disconsolate lyric, a child asks his mother for love but “beneath his skin, his body is fighting to win but hope is thin”. Her only accompaniments are a distant, echoey, barely strummed acoustic guitar, the sounds of waves on a beach and seagulls crying.

As an intense musical evocation of despair, “The Seagulls Scream” is on the same level as the most desiccated moments of Ed Askew’s debut album from 1968, Sibylle Baier’s early Seventies recordings, Big Star’s “Holocaust” and Joy Division’s “Decades”.

Until now, “The Seagulls Scream” was deeply obscure. Surprisingly, the track has barely any internet presence. Quayle, 17 when she recorded it, had been brought to a studio to tape a contribution for the 1970 compilation album Sounds Like West Cornwall. Though the song became her only solo recording, she was busy and precocious.

Living with her family in Zennor, Cornwall, Quayle ran the local Mermaid Folk Club – described in its flyers as a “Way Out Club” – in 1968. For some of her solo live shows, she played as Chrissie, though Sounds Like West Cornwall credited her as Christine Quayle. 

Comus

She turned up as Chrissy Quayle in the Cornish, but London-based, folk rock band Daylight, who made one album, issued in 1971. Earlier, she was briefly in the unrecorded Temple Creatures alongside former Incredible String Band co-founder Clive Palmer. She also contributed vocals to the Spirit of Love album by another of Palmer's bands, C.O.B. After Daylight folded, she returned to Cornwall, worked in theatre and with a rock ‘n’ roll revival band, but later attracted some attention in the late Seventies/early Eighties with Metro Glider. Nowadays, she lives in Andalucía and plays with Celtic-Latin duo Masque. The picture of her here (left) is the only one known from the period of recording “The Seagulls Scream”.

Folkrock Concert 1969

Although everything collected on Dust on the Nettles is top drawer, Quayle’s existential masterpiece is the standout. The three-disc clamshell box set is a companion piece to last year’s Love, Poetry and Revolution, which billed itself as “A Journey Through the British Psychedelic and Underground Scenes”. Dust on the Nettles, billed as “A Journey Through the British Underground Folk Scene 1967–72”, is similarly no frills, with each disc in a card sleeve. There is a very tightly designed CD-sized booklet, with pithy track-by-track annotation in tiny print. In close to four hours, 63 tracks are heard.

Paul Williams Album w. Jimmy Page UK 1968

The stated mission is to demonstrate and soundtrack folk taking on psychedelia and, in turn, show how musical voyagers drew from folk. In essence, this new release goes further into what was introduced on discs three and four of the pioneering 2005 box set Anthems in Eden (there are track duplications). A few tracks sit uncomfortably with the whole (baroque singer-songwriter Duncan Browne, the blues-based Kevin Coyne and the rocky Gerald Moore), but this diligently represents the many, disparate facets of folk in its turned-on state, what passed for folk or drew from folk, and is a more even listen overall than Love, Poetry and Revolution.

Naturally, The Incredible String Band feature, as do Fairport Convention (both with alternate versions of familiar songs that were issued in the Sixties). Some Fairport offshoots like Steeleye Span and the fantastic Trader Horne (pictured above right, with ex-Fairport Convention singer Judy Dyble on the left) are also collected. The set opens with The Pentangle. Among the better known names are Joan Armatrading (with the spine-tingling “Visionary Mountains”), Anne Briggs, Vashti Bunyan, Shelagh McDonald, Bill Fay, Principal Edwards Magic Theatre, Bridget St. John, Mick Softly, Trees and Tyrannosaurus Rex
Of the lesser-knowns, cults and barely knowns, Comus, with the rare single-only track “Winter is a Coloured Bird”, are reliably and terrifyingly pagan. 

Sun Also Rises - Rare UK EP 1970

Country Sun’s “The Colour is Blue”, originally issued on John Peel’s Dandelion label, is shimmeringly beautiful. “Wizard Shop”, by The Sun Also Rises, sounds exactly and uncannily like The Incredible String Band. From Plymouth, Frozen Tear’s “You Know What Has to be”, from a 99-edition 1969 single, is the otherworldly definition of psychedelic folk.

This new mini-box set, subtitled A Journey Through the British Underground Folk Scene, boasts 63 tracks and a running time of nearly four hours.  The emphasis is on the genre sometimes referred to as “acid folk,” or contemporary folk music inspired by the psychedelic experience much as “acid rock” was for the heavier rock idiom.  This countercultural style of folk particularly blossomed in the United Kingdom, incorporating both acoustic and electric sounds, traditional and newly-written tunes, and everything from religious-oriented to pagan-inspired lyrics.  The array of artists here pushed the envelope even if most weren’t rewarded with considerable commercial success.

Wight (UK) - France Single 1970

Tracks have been drawn from a wide variety of labels including CBS, RCA Victor (and its progressive-minded Neon imprint), Pye (and its Dawn subsidiary), Andrew Loog Oldham’s Immediate, and John Peel’s Dandelion Records.  A number of rare and previously unissued demos also are brought together to tell the story.  Naturally, many “heavy hitters” feature on the diverse track list, most notably Fairport Convention (a 1969 demo of “Fotheringay”), Pentangle (1968 single “Let No Man Steal Your Thyme”), The Incredible String Band (a 1967 demo of “First Girl I Loved”), Vashti Bunyan (“Winter is Blue”), Joan Armatrading (1972’s “Visionary Mountains”), Steeleye Span (1970’s “All Things are Quite Silent”), Tyrannosaurus Rex (the duo’s 1967 recording of “Highways (Misty Mist),” and the recently-rediscovered cult hero Bill Fay (an early 1969 demo of “Garden Song”).

Warm Gold - A Taste of Cornwall UK EP 1972

Steve Peregrine Took, one-half of Tyrannosaurus Rex, is also represented with “Amanda,” a 1969 track from his post-Rex group Shagrat, founded with Larry Wallis and Tim Taylor.  Incredible String Band founding member Clive Palmer gets a solo cut here with 1967’s “Stories of Jesus,” an adaptation of a 19th century hymn.  (There are actually more hymns on this collection than one might expect!)  Palmer also reappears on “Music of the Ages” from his band C.O.B., or Clive’s Original Band.  “Curious Crystals of Unusual Purity” is reprised from Bridget St. John’s time on Dandelion; her entire output for the label was recently collected on a box from Cherry Red.  Bias Boshell, who went on to later fame as the writer of “I’ve Got the Music in Me” for Kiki Dee, wrote “The Garden of Jane Delawney” which he performs with his early band Trees.

This collection, packed with surprises. Rarities and five previously unreleased tracks, includes a lavishly-illustrated 36-page booklet with an introduction by compilation producer David Wells and track-by-track liner notes for each and every track.  Simon Murphy at Another Planet Music has remastered all songs and Andy Morten has handsomely designed the set.  The three discs are housed in individual paper sleeves within the box.


Disc 1
01. The Pentangle - LET NO MAN STEAL YOUR THYME  (Transatlantic TRA 162, 1968)
02. Magnet - WILLOW’S SONG (FROM THE WICKER MAN)  (rec. 1972, first issued 1998)
03. Wight - COME ALL YOU TRAVELLERS  (French Festival SPX 147, 1970)
04. Spirogyra - LOVE IS A FUNNY THING  (B&C CAS 1042, 1971)
05. Gary Farr - IMAGES OF PASSING CLOUDS  (rec. 1968, previously unreleased)
06. Synanthesia - PEEK STRANGELY AND WORRIED EVENING  (RCA Victor SF 8058, 1969)
07. Bob & Carole Pegg - GLASS OF WATER  (Galliard GAL 4017, 1972)
08. Vashti Bunyan - WINTER IS BLUE  (Instant INL 002, 1968)
09. Comus - WINTER IS A COLOURED BIRD  (Dawn DNX 2506, 1971)
10. Chrissie Quayle - THE SEAGULLS SCREAM  (Sentinel SENS 1001, 1970)
11. Clive Palmer - STORIES OF JESUS  (rec. 1967, first issued 1999)
12. Steve Peregrin Took’s Shagrat - AMANDA  (rec. 1969, first issued 1990)
13. Bridget St. John - CURIOUS CRYSTALS OF UNUSUAL PURITY  (Dandelion 63750, 1969)
14. Mark Fry - ROSES FOR COLUMBUS  (Italian ZSLT 70006. 1972)
15. Dando Shaft - TILL THE MORNING COMES  (RCA Neon NE 5, 1971)
16. Mary-Anne - BLACK GIRL  (Joy JOYS 162, 1970)
17. Trees - THE GARDEN OF JANE DELAWNEY  (CBS 63837, 1970)
18. Principal Edwards Magic Theatre - WEIRDSONG OF BREAKING THROUGH AT LAST  (Dandelion DAN 8002, 1971)
19. Oberon - MINAS TIRITH  (Acorn OBE LPS 1, 1971)
20. Paper Bubble - PRISONERS, VICTIMS, STRANGERS, FRIENDS  (rec. 1970, previously unreleased)

Disc 2
01. Gerald Moore - PILGRIM  (rec. 1972, first issued 1999)
02. Melton Constable - RIVER LANE  (rec. 1972, previously unreleased)
03. Moonkyte - WAY OUT HERMIT  (Mother SMOT 1, 1071)
04. Steeleye Span - ALL THINGS ARE QUITE SILENT  (RCA SF 8113, 1970)
05. Heron - UPON REFLECTION  (Dawn DNLS 3010, 1970)
06. Parchment - LOVE IS COME AGAIN  (Pye NSPL 18388, 1972)
07. Shelagh McDonald - STARGAZER  (B&C CAS 1043, 1971)
08. Tony Caro & John - THERE ARE NO GREATER HEROES  (private label, no cat. no., 1972)
09. Joan Armatrading - VISIONARY MOUNTAINS  (Cube HIFLY 12, 1972)
10. Tuesday - GLOW OF THE FIRELIGHT  (rec. 1972, previously unreleased)
11. Warm Gold - SEARCHING FOR LAMBS  (Sentinel SENS 1011, 1972)
12. Benjamin Delaney Lion - SAMANTHA CAROL FRAGMENTS  (Hollick & Taylor, no cat. no., 1969)
13. Fairport Convention - FOTHERINGAY  (rec. 1969, first issued 2000)
14. Frozen Tear - YOU KNOW WHAT HAS TO BE  (RA 5001, 1969)
15. Hunt Lunt & Cunningham - MEANWHILE BACK IN THE FOREST  (Pye 7N 45125, 1972)
16. The Incredible String Band - FIRST GIRL I LOVED  (rec. 1967, first issued 1998)
17. The Moths - HALFDAN’S DAUGHTER  (Deroy LP, no cat. no., 1970)
18. Trader Horne - THE MUTANT  (Dawn DNLS 3004, 1970)
19. Dry Heart - MEETING BY THE MOONLIGHT MILL  (rec. 1970, previously unreleased)
20. Tyrannosaurus Rex - HIGHWAYS (MISTY MIST)  (rec. 1967, first issued 1991)
21. Duncan Browne - GABILAN  (Immediate IMS 018, 1968)
22. Kevin Coyne - SAND ALL YELLOW (Dandelion 2310 228, 1972)

Disc 3
01. Bill Fay - GARDEN SONG  (rec. 1969, first issued 1999)
02. C.O.B. - MUSIC OF THE AGES  (CBS 69010, 1971)
03. Everyone Involved - A SONG FOR THE SYSTEM  (Arcturus ARC 4, 1972)
04. Country Sun - THE COLOUR IS BLUE  (Dandelion 2485 021, 1972)
05. Wild Country - SILENT VILLAGE  (Trafalgar TRAF1, 1970)
06. Marc Brierley - WELCOME TO THE CITADEL (CBS 63478, 1969)
07. The Occasional Word - THE EVIL VENUS TREE  (Dandelion DAN 63753, 1970)
08. Anne Briggs - STANDING ON THE SHORE  (CBS 64612, 1971)
09. Agincourt - KIND SIR  (Merlin HF 3, 1970)
10. Mick Softly - EAGLE  (CBS 64098, 1970)
11. Fresh Maggots - ROSEMARY HILL  (RCA SF 8205, 1971)
12. Music Box - THE HAPPY KING  (Westwood MRS 013, 1972)
13. Fuchsia - ME AND MY KITE  (Pegasus PEG 8, 1971)
14. The Sun Also Rises - WIZARD SHEP  (Village Thing VTS 2, 1970)
15. Folkal Point - SCARBOROUGH FAIR  (Midas MR 003, 1972)
16. Marie Celeste - PRISONER  (no label, no cat. no., 1971)
17. Simon Finn - PATRICE  (Mushroom 100 MR 2, 1971)
18. Shide & Acorn - GIRL OF THE COSMOS  (Solent SM 011, 1971)
19. Chimera - ELEGY TO A DEAD KING  (rec. 1968, first issued 2004)
20. Beau - SILENCE RETURNS  (Dandelion DAN 8006, 1971)
21. Mother Nature - ORANGE DAYS AND PURPLE NIGHTS  (B&C CB166. 1971)

Disc 4 (Extra Bonus Disc)
01. Zior - I Was Fooling (1971)
02. Zakarrias - The Unknown Years (1971)
03. Wooden Horse - Celebration Song (Unreleased Album 1973)
04. Wil Malone -  At The Silver Slipper (1970)
05. Whistler - See What The Future Brings (1971)
06. Unicorn - Cosmic Kid (1971)
07. Trevor Lucas - On The Banks of The Condamine (1966)
08. Trees - Streets Of Derry (1970)
09. Tim Hart & Maddy Prior - Serving Girls Holiday (1971)
10. Thunderclap Newman - The Reason (1970)
11. The World - Things I Could Have Said (1970)
12. The Way We Live - Squares (1971)
13. Quiet World - First Light (1970)
14. The Machine Gun Co. with Mike Cooper - The Singing Tree (1972)
15. The Humblebums - Continental Song (1970)
16. Tennent & Morrison - Death In A Distant Country (1972)
17. John Williams - London Town (1968) (w. Jimmy Page)
18. John & Beverly Martyn - Parcels (1970)

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Wistler - UK Deram Album 1971

Tennent & Morrison - UK Album 1972

Wooden Horse - II UK Album 1973

Trevor Lucas - Overlander Album UK 1966

GRIN - Lisner Auditorium George Washington University Washington DC December 1, 1972

Size: 172 MB
Bitrate: 320
mp3
Some Aretwork Included
Very Good SoundQuality

Nils Hilmer Lofgren (born June 21, 1951) is an American rock musician, recording artist, songwriter, and multi-instrumentalist. Along with his work as a solo artist, he is a member of Bruce Springsteen's E Street Band since 1984, a former member of Crazy Horse, and founder/frontman of the band Grin. Lofgren was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band in 2014.

Early life and career
Lofgren was born in Chicago in 1951 to an Italian mother and a Swedish father. He moved to the suburban town of Garrett Park, Maryland, near the northern border of Washington, D.C. as a young child. Lofgren's first instrument was classical accordion, beginning at age 5, which he studied seriously for ten years. After studying classical music and jazz, throughout his youth, Lofgren switched his emphasis to rock music, and focused on the piano and the guitar. By 1968, Lofgren formed the band Grin originally with bassist George Daly (later replaced by Bob Gordon), and drummer Bob Berberich, former players in the DC band The Hangmen. 

The group played in venues throughout the Washington, D.C. area. Lofgren had been a competitive gymnast in high school, a skill that popped up later in his career. During this time, Lofgren met Neil Young and played for him. Young invited Lofgren to come to California and the Grin trio (Lofgren, Daly and Berberich) drove out west and lived for some months at a home Neil Young rented in Laurel Canyon.

Lofgren joined Neil Young's band at age 19, playing piano and guitar on the album After the Gold Rush. Lofgren worked on his parts around-the-clock when recording was not in session. Lofgren maintained a close musical relationship with Young, appearing on his Tonight's the Night album and tour among others. He was also briefly a member of Crazy Horse, appearing on their 1971 LP and contributing songs to their catalogue.

Grin
Lofgren used the Neil Young album credits to land his band Grin a record deal in 1971. Lofgren had formed the band originally with bassist George Daly and drummer Bob Berberich, and the group played in venues throughout the Washington D.C. area before going to California. Daly left the band early on to become a Columbia Records A & R Executive and was replaced by bassist Bob Gordon, who remained through the release of four critically acclaimed albums of catchy, hard rock, from 1971 to 1974, with guitar as Lofgren's primary instrument. 

The single "White Lies" got heavy airplay on Washington, D.C.-area radio. Lofgren wrote the majority of the group's songs, and often shared vocal duties with other members of the band (primarily drummer Bob Berberich). After the second album Nils added brother Tom Lofgren as a rhythm guitarist. Grin failed to hit the big time, and were released by their record company.


Grin - Lisner Auditorium, December 1, 1972
George Washington University, Washington DC

01. I Had Too Much 3:44
02. Ain't Love Nice 2:11
03. Love or Else 4:05
04. Please Don't Be Long 2:19
05. Moon Tears 8:34
06. Love Again 4:56
07. Heart on Fire 5:09
08. Slippery Fingers 5:47
09. Sad Letter 3:39
10. Heavy Chevy 3:53
11. Like Rain 5:35
12. End Unkind 12:24
13. See What Love Can Do 9:34

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Music Articles of the Week..

Folkrock Article 1973
(Open picture in A NEW WINDOW for 100 Size)

Slade Article 1971
(Open picture in A NEW WINDOW for 100 Size)

Janis Joplin - San Francisco Coffee Gallery 1963 + Bonus Album

Size: 164 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Some Artwork Included

Janis Joplin was born in Port Arthur, Texas, on January 19, 1943, to Dorothy Bonita East (February 15, 1913 – December 13, 1998), a registrar at a business college, and her husband, Seth Ward Joplin (April 19, 1910 – May 10, 1987), an engineer at Texaco. She had two younger siblings, Michael and Laura. The family attended the Church of Christ. The Joplins felt that Janis always needed more attention than their other children, with her mother stating, "She was unhappy and unsatisfied without [receiving a lot of attention]. The normal rapport wasn't adequate." As a teenager, she befriended a group of outcasts, one of whom had albums by blues artists Bessie Smith, Ma Rainey and Lead Belly, whom Joplin later credited with influencing her decision to become a singer. She began singing in the local choir and expanded her listening to blues singers such as Odetta, Billie Holiday and Big Mama Thornton.

Primarily a painter while still in school, she first began singing blues and folk music with friends. While at Thomas Jefferson High School, she stated that she was mostly shunned. Joplin was quoted as saying, "I was a misfit. I read, I painted, I didn't hate niggers." As a teen, she became overweight and her skin broke out so badly she was left with deep scars which required dermabrasion. Other kids at high school would routinely taunt her and call her names like "pig", "freak", "nigger lover" or "creep". Among her classmates were G. W. Bailey and Jimmy Johnson. Joplin graduated from high school in 1960 and attended Lamar State College of Technology in Beaumont, Texas, during the summer and later the University of Texas at Austin, though she did not complete her studies. The campus newspaper The Daily Texan ran a profile of her in the issue dated July 27, 1962, headlined "She Dares to Be Different". The article began, "She goes barefooted when she feels like it, wears Levis to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break into song, it will be handy. Her name is Janis Joplin."

Cultivating a rebellious manner, Joplin styled herself in part after her female blues heroines and, in part, after the Beat poets. Her first song recorded on tape, at the home of a fellow University of Texas student in December 1962, was "What Good Can Drinkin' Do".

She left Texas for San Francisco ("just to get away from Texas", she said, "because my head was in a much different place") in January 1963, living in North Beach and later Haight-Ashbury. In 1964, Joplin and future Jefferson Airplane guitarist Jorma Kaukonen recorded a number of blues standards, further accompanied by Margareta Kaukonen on typewriter (as a percussion instrument). This session included seven tracks: "Typewriter Talk", "Trouble in Mind", "Kansas City Blues", "Hesitation Blues", "Nobody Knows You When You're Down and Out", "Daddy, Daddy, Daddy" and "Long Black Train Blues", and was later released as the bootleg album The Typewriter Tape. Around this time, her drug use increased, and she acquired a reputation as a "speed freak" and occasional heroin user. She also used other psychoactive drugs and was a heavy drinker throughout her career; her favorite beverage was Southern Comfort.

In early 1965, Joplin's friends in San Francisco, noticing the physical effects of her intravenous methamphetamine habit (she was described as "skeletal" and "emaciated"), persuaded her to return to Port Arthur, Texas. In May 1965, Joplin's friends threw her a bus-fare party so she could return home.

Five years later, Joplin told Rolling Stone magazine writer David Dalton the following about her first stint in San Francisco: "I didn't have many friends and I didn't like the ones I had."

For at least six months after she returned to her parents' home in Port Arthur, she regularly corresponded by mail with Peter de Blanc, with whom she had been romantically involved in San Francisco. De Blanc, a year and ten months her junior, was a well-educated New Yorker. Shortly after he and Joplin both moved away from San Francisco and their beatnik lifestyle, de Blanc was hired by IBM to work with computers at the company's location in East Fishkill, New York, and Joplin's letters reached him at his New York home.

Back in Port Arthur in the spring of 1965, Joplin changed her lifestyle. She avoided drugs and alcohol, adopted a beehive hairdo, and enrolled as an anthropology major at Lamar University in nearby Beaumont, Texas. During her time at Lamar University, she commuted to Austin to perform solo, accompanying herself on guitar. One of her performances was at a benefit by local musicians for Texas bluesman, Mance Lipscomb, who was suffering from major health problems. Another of her performances was reviewed in the Austin American-Statesman.

Joplin became engaged to Peter de Blanc in the fall of 1965. Now living in New York where he worked with IBM computers, he visited her, wearing a blue serge suit, to ask her father for her hand in marriage. Joplin and her mother began planning the wedding. De Blanc, who traveled frequently, terminated plans for the marriage soon afterwards.

Just prior to joining Big Brother and the Holding Company, Joplin recorded seven studio tracks in 1965. Among the songs she recorded was her original composition for her song "Turtle Blues" and an alternate version of "Cod'ine" by Buffy Sainte-Marie. These tracks were later issued as a new album in 1995 entitled This is Janis Joplin 1965 by James Gurley.

Janis Joplin - 1963-xx-xx  San Francisco 
California  Coffee Gallery  1353 Grant Avenue 
North Beach

Line-up (unconfirmed) 

★ Janis Joplin - vocals
★ Larry Hanks - acoustic guitar, vocals  
★ Billy Roberts - acoustic guitar, banjo, vocals, harmonica.  
★ OR possibly: Roger Perkins - acoustic guitar & vocals instead of Roberts

01. Leaving' This Morning (K.C. Blues) 
02. Daddy, Daddy, Daddy
03. Careless Love 
04. Bourgeois Blues  
05. Black Mountain Blues
06. Gospel Ship
07. Stealin' 

Bonus Album:

01. What Good Can Drinkin' Do (Joplin) - 2:49 
02. I Bring the News  performed by Joplin / Catherine Curtain - 2:43 
03. Down on Me  performed by Big Brother & the Holding Company - 2:04 
04. I'm Somebody Important  performed by Catherine Curtain - 1:39 
05. Women Is Losers  performed by Big Brother & the Holding Company - 2:03 
06. Our First Record Is Finally Out  performed by Catherine Curtain - 1:11 
07. Piece of My Heart  performed by Big Brother & the Holding Company - 4:14 
08. I'm Sorry, Sorry  performed by Catherine Curtain - :51 
09. A Happening  performed by Catherine Curtain - 2:02 
10. Summertime (Gershwin/Gershwin/Heyward) - 3:58 
11. He's a Beatle, Mother  performed by Catherine Curtain - 1:35 
12. Ball and Chain  performed by Big Brother & the Holding Company - 9:26 
13. I May Just Be a Star Someday  performed by Catherine Curtain - 2:01 
14. A Woman Left Lonely  performed by Joplin, Janis & the Full Tilt Boogie... - 3:27 
15. Twenty-Five  performed by Catherine Curtain - 1:29 
16. Try (Just a Little Bit Harder)  performed by Joplin, Janis & Her Kozmic Blues Band - 3:55 
17. Did I Tell You About My Reviews?  performed by Catherine Curtain - 1:07 
18. Little Girl Blue  performed by Joplin, Janis & Her Kozmic Blues Band - 3:48 
19. Twenty-Seven (Hall/Hall/Joplin) - 2:18 
20. Me and Bobby McGee  performed by Joplin, Janis & the Full Tilt Boogie... - 4:29 
21. Mercedes Benz (Joplin/McClure/Neuwirth) - 2:12 
22. The Last Letter: Really Rushin' Through  performed by Catherine Curtain - 1:44 
23. Get It While You Can  performed by Joplin, Janis & the Full Tilt Boogie... - 3:23

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