One of the best guitar player in the world
Enjoy, ChrisGoesRock
Saturday, May 09, 2020
Friday, May 08, 2020
What Makes John Bonham Such a Good Drummer?
Listen to the greatest drummer i the world
"John Bonham - Led Zeppelin"
Agree (?)
Saturday, May 02, 2020
Ted Nugent's Amboy Dukes - Tooth, Fang and Claw (US 1974)
Size: 97.3 MB
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Ripped by: ChrisGoesRock
Artwork Included
Tooth, Fang & Claw is the seventh and final album by Ted Nugent and The Amboy Dukes. It is the second offering on the DiscReet label. Re-issued in 1977 by Warner Bros as part of "Two Originals of... Ted Nugent".
The band consists of Nugent, Rob Grange on bass and drummer Vic Mastrianni. The album has the feel of the outdoors (esp. "Hibernation") and Nugent's love for hunting and rock and roll; the backsleeve pictures him playing hard in front of an amplifier stack, next to a wild boar trophy.
Like on the Amboy Dukes' previous three albums, the credits are followed by a short tongue-in-cheek statement. This time, "Fear not the crusted warblers, but be wary of the Mad Cheese Grater for he shall slaw the features from your face. Beware the public carnivores as they inevitably edibly have a soft nosed hollow point magnum behind every bush."
"Great White Buffalo" is one of the mainstays of Nugent's catalog and was generated on this album. In an interview with Classic Rock Revisited he discusses how he and Grange developed the song idea: "This was yet another magical moment like the original musical burst of so many of my songs. This amazing lick/song erupted spontaneously during a recording session around 1972-73," Nugent says. "As I was tuning up my Blonde Byrdland, that pattern leaped forth with a force to reckon with. Killer bass player, Rob Grange, stopped me and asked what the hell that was, and I said "I don't know, just jackin’ around, tuning up." He told me to play it again, but I failed to play the lick the same as I had just done moments before and he kept badgering me to re-discover the lick. I didn't. But after recording some other songs, I again went to tune up my Gibson and the lick burst forth again. Rob Grange yelled 'That's it! That's it!' So I played it a few times, showed the guys where I wanted to stop and start it up again, turned on the tape machine and recorded it in one fell swoop, making up the lyrics as I went along, articulating to the best of my ability my take on the great Indian legend of the spiritual beast of yore. Rob Grange came up with that wonderful fluid bass melody at the end, Vic the thundering double bass drum assault, and history was made. To this day it is one of my and the audiences' and band's all time favorites."
Also featured, a frantic and happily deranged version of "Maybellene", a 1955 classic of Chuck Berry (often quoted by Nugent in the late 70s as a major influence on his playing). Ted Nugent is credited for a one-finger guitar solo under the moniker "Rev Atrocious Theodosius".
The album includes one of very few "calm" Nugent songs of this era, "Sasha", which Nugent dedicated to his newly born daughter.
Due to Warner Bros distributing the album worldwide, Ted Nugent's music eventually began to reach overseas markets, but his royalties were not up to his expectations - DiscReet's manager & owner Frank Zappa reported mediocre sales. In late October 1974, rhythm guitarist Derek St. Holmes joined the band at least for one of the Amboy Dukes' final shows at Northeastern Illinois University in Chicago.
By 1975, Nugent abandoned the troubled DiscReet label and signed with Epic Records. He teamed with producer Tom Werman and Aerosmith’s managers, Leber-Krebs, who organized his live tours into commercially successful operations. The only Amboy Dukes member who continued with Nugent in his solo career is bassist Rob Grange. Nugent's band also included Derek St. Holmes on vocals and guitar, and drummer Clifford Davies; Ted Nugent moved forward to national and worldwide success.
In the 1993 film Dazed and Confused, the character Wooderson, played by Matthew McConaughey, wears a t-shirt featuring the Tooth Fang & Claw album cover.
In 1995, "Tooth, Fang & Claw" was a song on the album Spirit of the Wild, which marked Ted Nugent's return to an outdoor lifestyle and his original sound of hard rock.
Personnel
♦ Ted Nugent – Guitar, vocals, percussion
♦ Rob Grange – Bass, vocals, arrangements, composer
♦ Vic Mastrianni – Drums, percussion
♦ Andy Jezowski (and the Crusted Warblers) – Backing vocals
01. "Lady Luck" - 5:57
02. "Living in the Woods" - 3:54
03. "Hibernation" - 9:19
04. "Free Flight" - 4:03
05. "Maybellene" - (Chuck Berry, Russ Fratto, Alan Freed) - 3:28
06. "The Great White Buffalo" - 4:57
07. "Sasha" - 3:06
08. "No Holds Barred" - 4:48
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Thursday, April 30, 2020
Asomvel - World Shaker (Fast Lemmy-Rock, Retro) (UK 2019)
Size: 88.7 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Some Artwork Included
ASOMVEL released their well-respected debut LP, Kamikaze, in 2009. Barely a year later, the band was shaken to its core when front-man, Jay-Jay Winter, was killed in a road accident.
Although a devastating tragedy, co-founding guitarist, Lenny, knew that the band had to continue in tribute to the determined spirit of their founder.
A Dream to Some...A Nightmare to Others.
These guys calmly walk on, bludgeon your senses with a baseball bat and then retire to the bar, leaving you with what's left of your mind in a pool in your pants.
"The best heavy metal has plenty of dirt under its fingernails: this lot must never be allowed to work in a food preparation area."
- Dom Lawson, The Guardian
Although a devastating tragedy, co-founding guitarist, Lenny, knew that the band had to continue in tribute to the determined spirit of their founder.
Since releasing their 2013 album, Knuckle Duster, with Bad Omen Records to much critical acclaim, and recruiting Jay-Jay’s Nephew, Ralph, the band has spent the last couple of years playing around the world; including a tour of Brazil, dates in Japan, Slovenia, Germany, Spain, France, Ireland - these dates included many respected festivals such as Hammerfest, Party San Open Air, Siege of Limerick, and MetalDays.
It doesn’t take much more than passing glance at bassist/vocalist Ralph Robinson to see where UK classic metallers Asomvel are coming from. The Motörhead homage is palpable throughout “True Believer,” their latest single and the second track from their upcoming third long-player, World Shaker. It’s newly announced that Heavy Psych Sounds will release the album on May 3 with preorders up now, so if you’re feeling like you might indeed be a believer, you’ve got a chance to prove it. The band was founded in 1993 by guitarist Lenny Robinson — who also did a stint in Solstice — and lost original bassist/vocalist Jay-Jay Winter after the release of their 2009 debut. Ralph is his nephew, so only fitting he should carry the torch forward with this new album.
May 3rd 2019 will see the band release their third album titled World Shaker, followed by a heavy touring cycle all over the globe. Says vocalist & bassist Ralph: “We’ll be releasing World Shaker in May, through Heavy Psych Sounds. We’ve got 11 tracks ready to go; the best you’ve heard in a son-of-a-bitch long time!”
World Shaker is dedicated to the founding ASOMVEL member, Jay-Jay Winter. Carrying with it Jay’s attitude, grit, and determination this album is the first to feature the new line-up; Finnish drummer, Jani Pasanen, and Jay-Jay’s nephew, Ralph Robinson. Produced by James ‘Atko’ Atkinson, World Shaker was recorded in September 2018 at The Stationhouse, and comes with a blistering master by Jaime Gomez Arellano at Orgone Studios. Sticking to the traditions of the very best in rock ‘n’ roll, while remaining utterly relevant, World Shaker is eleven heavy metal songs to live your life by; this is the album Moses would have brought down from Mount Sinai.
♦ Ralph - Bass/Vocals
♦ Lenny Robinson - Guitar
♦ Jani Pasanen - Drums
01. World Shaker 02:29
02. True Believer 02:31
03. Payback's A Bitch 03:41
04. Runnin' The Gauntlet 03:16
05. Reap The Whirlwind 04:00
06. The Law is the Law 04:30
07. Steamroller 03:03
08. Every Dog Has It's Day 03:01
09. Railroaded 02:33
10. Smokescreen 03:51
11. The Nightmare Ain't Over 02:55
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Monday, April 27, 2020
West Coast Natural Gas - Two's A Pair (US Psych Rock 1966-68)
Birate: 320
mp3
Found in DC++ World
Artwork Included
Killer West Coast psychedelic monster that took many years to be completed!!! West Coast Natural Gas began life in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz.
Katz was the original manager for Jefferson Airplane, Moby Grape and later It’s a Beautiful Day. He talked West Coast Natural Gas into signing a contract with him but they didn’t realize at the time, being young and stupid. That basically they signed over everything to him. They went to the studio and recorded some original tunes: A Favor, Go Run and Play, The Jumping Frog, Hashish, Water or Wine, Beyond This Place, and Two’s A Pair.
In early 1968 the band broke up and went back to Seattle. Katz released a single – Go Run and Play / A Favor on his S.F. Sound label under the name West Coast Natural Gas. Later he released a compilation album - the first San Francisco Sound sampler - called “Fifth Pipe Dream”. The four songs mentioned before, Water or Wine, Hashish, Beyond This Place and Two’s A Pair were the ones recorded by WCNG and relabeled by Katz as Indian Puddin’ and Pipe.
An album full of VINTAGE 1966-1968 Music by the band that brought you the incredible 'HASHISH' on the legendary San Franciso Sampler 'Fifth Pipe Dream'. First ever release of this killer Westcoast psychedelic monster that took many years to complete!!! West Coast Natural Gas started in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz.
This superb release includes all the above mentioned songs, plus others from acetates. As a big surprise we found another four never before heard songs. All recorded 1966 in a local Seattle Recording Studio before they even went to San Francisco, all of which are included in this great release.
West Coast Natural Gas
■ Pat Craig - Vocals, Piano, Organ, Autoharp, Guitar
■ Kris Larsen - Vocals, Guitar
■ Steve Mack - Vocals, Lead Guitar
■ Dave Burke - Bass
■ Jeff Labrache- Drums, Vocals
01 Go Run and Play 02:34
02 A Favor 03:41
03 A Favor (version 2) 03:45
04 The Jumping Frog 03:34
05 Two's a Pair 04:16
06 Beyond This Place 02:33
07 Hashish 03:03
08 Water or Wine 03:40
09 The West Coast Natural Gas White Levis Commercial "Never Break" 00:46
10 Radio Promo From The Galaxy Club ca. 1968 00:38
11 Mr. You're a Better Man Than I 02:56
12 Younger Girl 02:12
13 You Make Me Feel So Good 02:13
14 He Was a Friend of Mine 02:39
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Saturday, April 18, 2020
Tea and Symphony - Jo Sago (Rare 2nd Album UK 1970)
Bitrate: 320
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Ripped by: ChrisGoesRock
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Formed in Birmingham, England, this adventurous ensemble was part of the city’s Big Bear management stable. Although Tea And Symphony originally comprised James Langston (vocals, guitar), Jeff Daw (guitar) and Nigel Phillips (drums, ‘exotic’ instruments), they were often augmented by musicians from the agency including Bob Lamb and Mick Hincks from the group Locomotive. Tea And Symphony’s debut An Asylum For The Musically Insane, was an enchanting, if self-indulgent collection, but its period-piece madness was sadly jettisoned for the more formal follow-up, Jo Sago. Guitarists Bob Wilson and Dave Carroll were now part of the group’s fluid line-up, but the ensemble broke up in 1971 when both of these artists, and drummer Bob Lamb, joined the Idle Race. The three individuals remained with their new-found outlet when it became known as the Steve Gibbons Band.
Tea and Symphony was a British musical group of the late 1960s and early 1970s whose style may be described as "progressive folk". From Birmingham, they recorded two albums for Harvest Records, had one track, "Maybe My Mind (With Egg)", included on the Harvest sampler Picnic - A Breath of Fresh Air, toured Britain with Bakerloo (Blues Line) and were guests on John Peel's BBC radio programme.
The group was generally a trio, though sometimes supplemented by extra musicians. Members included Jeff Daw (lead guitar, backing vocals, flute), James Langston (lead vocals, rhythm guitar), Nigel Phillips (drums, backing vocals, keyboards, recorder, left 1969), Jonathan Benyon (mime, joined 1968 left 1969), Dave Carroll (guitar, backing vocals, bass, violin, joined 1970, left 1971), Bob Wilson (guitar, keyboards, joined 1969, left 1971), Peter 'Chatters' Chatfield (drums, joined 1970, left 1972), Tom Bennison (bass, French horn, joined & left 1970), Mick Barker (drums, joined 1971), and Stewart Johnson (guitars, vocal, joined 1971). Steve Eaves is another former alumnus. They were one of the earliest bands to have their own dedicated light show, one of which was Ephemera Lights (Steve Hayes)
Tea & Symphony formed in Birmingham (UK) in 1968 and were originally heavily influenced by folk music, their repertoire consisting largely of their own arrangements of other people’s songs, with a strong proclivity for those of Bob Dylan.
Their instrumentation at the time was an amalgam of electric instruments (bass and guitar) and acoustic ones (guitars, cello, harmonica, hand drums, flute, recorder, etc).
They became part of Jim Simpson’s Birmingham-based Big Bear Management stable of artists who also included Black Sabbath.
Debut album An Asylum For The Musically Insane was an enchanting if self-indulgent collection. By the time of the Jo Sago album, the group were joined by Bob Wilson on Keyboards, Guitar and Bass and had moved further into the area of Prog Rock.
Produced by Tony Cox at Sound Techniques studios, Jo Sago was a conceptual work that touched on subjects such as race relations in 1970s Britain and more.
The album is now regarded as a classic of the era, with original Harvest vinyl copies changing hands for significant sums.
The band broke up in 1971.
★ James Langston - lead vocals, acoustic & 12-string guitars, percussion
★ Jef Daw - acoustic, electric & 12-string guitars, bass guitar, percussion, flute, backing vocals
★ Bob Wilson - piano, organ, harpsichord, acoustic, electric & 12-string guitars, bass guitar, percussion, backing vocals
★ Nigel Phillips - drums
★ Mick Hincks - guitar.
01 Jo Sago - A Play On Music (Jeff Daw) including;
a. "Miniature" - 2:01
b. "Nyada" - 4:06
c. "Journey" - 1:19
d. "Brother" - 3:51
e. "Africa Paprika" - 3:29
f. "Fairground Suite" - 2:25
g. "Desperate Oil" - 5:53
h. "Umbilical Bill" - 0:51
i. "Goodnight" - 3:33
02 "Try Your Luck" (Nigel Phillips) - 3:18
03 "Yourself" (James Langston) - 3:28
04 "Green Fingered" - Redhanded (Jeff Daw) - 0:54
05 "Seasons Turn To One" (Jeff Daw) - 3:04
06 "View To The Sky" (James Langston) - 2:41
07 "The Nortihorticulturalist" (Nigel Phillips) - 3:26
08 "Dangling" (Bob Wilson) - 0:59
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Saturday, March 28, 2020
Great Electric Quest - Live at Freak Valley (Good Heavy US 2020)
Bitrate: 320
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Ripped by: ChrisGoesRock
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With "Live At Freak Valley," GREAT ELECTRIC QUEST establish their mighty reign over the heavy rock underground for good. If headbanging to their first two albums "Chapter I" and "Chapter II" wasn't enough, you are about to experience the exhilarating force of their live shows through this absolutely must-have live record.
Clocking in at a full hour, the band delivers with maestria those epic vocals, high-flying solos, proto-metal grooves and jam-laden turnarounds they're known for, electricity filling the air while the crowd jubilates... You've just been thunderstruck by the sheer awesomeness of Rock'n'Roll's saviours GREAT ELECTRIC QUEST.
The mighty rock’n’roll crusaders have returned! After touring extensively in North America and Europe, San Diego’s one and only GREAT ELECTRIC QUEST return with their blazing hot “Live From Freak Valley” album this March 27th on Ripple Music. Listen to a first excerpt now!
With “Live At Freak Valley”, GREAT ELECTRIC QUEST are about to establish their mighty reign over the heavy rock underground for good. If headbanging to their first two albums “Chapter I” and “Chapter II” wasn’t enough, you are about to experience the exhilarating force of their live shows through this absolutely must-have live record. Clocking in at one full hour, the band delivers with maestria those epic vocals, high-flying solos, proto-metal grooves and jam-laden turnarounds they are known for: electricity instantly fills the air while the crowd jubilates… You’ve just been thunderstruck by the sheer awesomeness of Rock’n’Roll’s saviours GREAT ELECTRIC QUEST.
Guitarist Buddy Donner comments: “Ahhhhhhhh yeah! Freak Valley Festival 2019 was the absolute highlight of our three-month “Beer Wars Tour”. Journeying from the west coast of North America to Canada and all over Europe, nothing topped the vibe at Freak Valley Festival in Netphen, Germany. A sold-out gathering of 2500 people, but it felt like everyone knew each other. One massive Rock’n’Roll Family. It was an honor to share the stage with Corrosion of Conformity, Wolfmother, Brant Bjork, Dead Lord, DeWolff and so many more. We are quite excited to release a live version of our performance at this event, and most honored to be releasing this with the mighty Ripple Music! It’s been a long time coming!“
Sonic story tellers GREAT ELECTRIC QUEST are true merchants of Rock and Roll and Heavy Metal, taking listeners on a journey into an ever expanding world of captivating characters and allegories. Their sophomore album “Chapter II” brought their journey to flat out gargantuan proportions. High-flying solos, rhythms, and lyrics along with the production of Jeff Henson (Duel) and Tony Reed (Mos Generator) combine to bring a bigness and fullness of color that elevates this album into upper echelons. “Chapter II” was released in 2018, following which the band took over international stages with thunderous and dripping-hot performances at SXSW, Desertfest, Ripplefest, Freak Valley Festival and many more!
Great Electric Quest is
★ T-Sweat” Dingvell – Vocals
★ Buddy Donner – Guitar
★ Daniel “MuchoDrums” Velasco – Drums
★ Bliss – Bass
01. In the Flesh 01:28
02. Seeker of the Flame 04:40
03. Of Earth Part I 07:54
04. Of Earth Part II 06:05
05. Of Earth Part III 02:57
06. Victim of Changes 08:22
07. The Madness 03:44
08. Heart of the Son 05:44
09. Wicked Hands 03:45
10. Highway Star 07:05
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Monday, March 16, 2020
Sir Lord Baltimore - Kingdom Come (Raw Hardrock US 1970)
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster
Kingdom Come is the debut studio album by American heavy metal band Sir Lord Baltimore, released on Mercury Records in 1970.
All of the songs on Kingdom Come were co-written and arranged by Mike Appel, who would later become Bruce Springsteen's manager. Co-produced by Appel and Jim Cretecos, the album was recorded at Vantone Studios in West Orange, New Jersey, before being mixed by Eddie Kramer and Kim King at Electric Lady Studios in New York, New York. Kramer is well known for his work with Jimi Hendrix, the Beatles, the Rolling Stones, Kiss, Led Zeppelin, David Bowie and Curtis Mayfield.
This album is notable for the fact that its 1971 review in Creem contains an early documented use of the term "heavy metal" to refer to a style of music. It features distorted guitar, enhanced by extensive use of multi-tracking, and has been compared to Deep Purple, Blue Cheer, Van Halen (?), Kiss and the Stooges.
Kingdom Come is also considered to be a pioneer of stoner rock.
When Sir Lord Baltimore released Kingdom Come in 1970, heavy metal was just a twinkle in Black Sabbath's eyes (the Birmingham legends' first album had only just hit record stores), and the term itself was years away from widespread acceptance as the definition of an entire category of rock music. So much so, that present-day listeners might find this album's songs as comparable to those of so-called "early punks" The Stooges or MC5, as they are to other proto-metal outfits like Blue Cheer, Led Zeppelin, and certainly Sabbath themselves. As was the case with every one of these acts, Sir Lord Baltimore's music was fundamentally rooted in unbridled aggression, deafening distortion, and raw power: like Nuggets, the next generation. In other words, there was little finesse to be found in savage album cuts like "Helium Head," "Hard Rain Fallin'," and "Pumped Up" -- just bludgeoning hard rock seemingly ever on the verge of spontaneous self-combustion under the command of vocalist John Garner's wild-eyed, howling, vocal acrobatics.
Clues of the group's influence by the classic '60s power trios (Cream, the Jimi Hendrix Experience, etc.) were evident on bluesier, but still reliably tee-total numbers like "I Got a Woman" "Hell Hound," and "Lady of Fire"; while "Master Heartache" was jump-started by a monstrous bassline foreshadowing of Motörhead, and the leaden title track somehow managed to echo both the dying psychedelic movement and emerging doom.
Finally, there was album wildcard "Lake Isle of Innersfree": a shockingly sedate and civilized, Baroque combination of harpsichord and 12-string guitars topped by suitably psychedelic lyrics which, not surprisingly, was crafted with the help of the band's managers (namely future Bruce Springsteen Svengali Mike Appel, trivia fans). As well as a true anomaly, the latter hinted at Sir Lord Baltimore's growing stylistic broadening which would both diversify and dilute their second and final album, leaving Kingdom Come to stand the test of time as the band's authoritative work.
And, even though it was generally dismissed by critics and misunderstood by listeners of the day (as were Sabbath and the Stooges, of course), the album gradually grew in stature to become one of early heavy metal's best-loved documents, and most consistently sought-out cult items.
Brooklyn, NY's Sir Lord Baltimore were arguably America's first bona fide heavy metal band, and the funny thing is, they didn't even know it, since the style had yet to establish itself when the band first burst onto the scene. And because SLB's precocious, raw talent was offset by their immaturity and utter lack of business acumen, their budding career was summarily derailed after just two generally underrated albums. Thus, they were cursed to endure decades of obscurity until their music was rediscovered, vindicated, and often covered or flat-out copied by many stoner rock bands of the 1990s and beyond.
If anything makes sense in the ill-fated Sir Lord Baltimore story, it's the fact that the commercial success attained during their existence was as modest as the band's inner-city roots. Vocalist/drummer John Garner, guitarist Louis Dambra, and bassist Gary Justin were recently graduated from high school and had only been rehearsing for a few months when they auditioned for talent scout Mike Appel, who would later help launch the career of one Bruce Springsteen. Impressed by the band's undeniable power and chemistry, and assured by Dambra (who had just recorded an album with another group named the Koala) that the ferocious riffs he was playing were in fact not copped from Jimmy Page, Appel decided to take the inexperienced young trio under his wing.
So, after fine-tuning and rearranging their raw materials into a strong batch of songs, Sir Lord Baltimore began recording their debut album, Kingdom Come, in West Orange, NJ, where they reportedly impressed a visiting Pink Floyd and attracted the attention of high-powered artist manager Dee Anthony, who wasted little time pushing out Appel and taking over the group's day-to-day operation.
Anthony then commissioned Jimi Hendrix engineer Eddie Kramer to mix the finished Kingdom Come at the legendary guitarist's own Electric Ladyland studios in Manhattan, before securing a deal with Mercury Records for its release in mid-1970. Unfortunately, mainstream critics and consumers of the time didn't seem to know what to make of Sir Lord Baltimore's thundering hard rock (or, for that matter, those of any other similar band, like the Stooges or the MC5, unless they originated in the U.K.), which presciently yielded the first documented use of the term "heavy metal" to describe this kind of music in a contemporary review by Creem magazine.
Nevertheless, Anthony's contacts in high places were strong enough to secure SLB opening slots on tours with Black Sabbath (including two nights at the Fillmore East) and Humble Pie, but perhaps a tad prematurely, as it was on-stage that Sir Lord Baltimore's lack of experience and underdeveloped showmanship were revealed for all to see, sending them back to Brooklyn with tails between legs and egos in check to ponder their next move.
This would eventually entail the addition of Louis' brother Joey Dambra on second guitar, leading up to the recording of their second, eponymous album, in 1971, where a concerted effort was made to both rein in the band's wild energy and broaden its sound into more progressive realms, with some success but nowhere near as much spontaneous combustion captured within the grooves. And when these "improvements" also fell short of commercial expectations, Sir Lord Baltimore were unceremoniously dropped by Mercury and left to their own devices shortly thereafter by their fickle Svengali.
The bandmembers still began working on new music with hopes of finding another interested label, but finally gave up the fight in 1976 after a new contract for a rumored third album failed to materialize, resigning themselves to a life outside rock & roll as their records collected dust in cutout bins.
But the eventual rise of hard rock and heavy metal and, in particular, its mid-'90s offshoot, stoner rock, finally sparked a retroactive reevaluation of Sir Lord Baltimore's work, and vindicated the now middle-aged fans and music collectors who had always championed their cause. It also jolted John Garner and Louis Dambra (now a pastor ministering to homeless families in Los Angeles) out of their musical retirement in 2006, with the goal of recording the material intended for that never-made third album.
Bassist Gary Justin hadn't picked up his instrument in years and declined to take part, but a few session players, including journeyman Tony Franklin, were drafted to help finish Sir Lord Baltimore III Raw, which was made available for sale through Sir Lord Baltimore's official website, all of 30 years after their breakup. Garner has since fielded several offers to perform select reunion shows in the U.S. and abroad, but has yet to come to terms that would bring Sir Lord Baltimore back to the live stage.
Personnel:
★ John Garner - lead vocals, drums
★ Louis Dambra - guitar
★ Gary Justin - bass
01. "Master Heartache" 04:37
02. "Hard Rain Fallin'" 02:56
03. "Lady of Fire" 02:53
04. "Lake Isle of Innersfree" 04:03
05. "Pumped Up" 04:07
06. "Kingdom Come" 06:35
07. "I Got a Woman" (writers: Ray Charles, Renald Richard) 03:03
08. "Hell Hound" 03:20
09. "Helium Head (I Got a Love)" 04:02
10. "Ain't Got Hung on You" 02:24
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Anno Domini - On This New Day (Folkrock UK 1971)
Bitrate: 320
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Ripped by: ChrisGoesRock
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Source: 24-Bit Limited Remaster Edition
"Rare and sought-after UK psych-folk album from 1971. Formed in Ireland by Tiger Taylor (Ex Eire Apparent), their album makes one think of how The Byrds would have sounded had they been British.
Mostly original songs, although they do a brilliant cover of 'So You Want To Be A Rock'n'Roll Star,' the record combines melodic folk tunes with other guitar-drenched rockers; great voices and delicious original songs. If you like The Byrds but are a fan of British psychedelia, this is for you. Limited edition of 500 copies with original artwork."
01. So You Want to Be a Rock'n Roll Star 05:10
02. On This New Day 01:59
03. Bad Lands of Ardguth 03:18
04. Regency Days 02:55
05. Hitchcock Railway 05:15
06. The Good Life I Have Known 03:15
07. The Trapper 02:30
08. Daddy Rowlin 04:17
09. Five O' Clock in the Morning 03:09
10. June Tremayne 03:24
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Mike Vernon - Bring it Back Home (Blue Horizon UK 1971)
Bitrate: 320
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Ripped by: ChrisGoesRock
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Source: Japan 24-Bit Remaster
Mike Vernon produced some of the greatest blues records of all time. A full decade after retiring, he's back in the studio with some of the British blues scene's brightest lights.
Mention the name Mike Vernon to any self‑respecting blues fan, and you can guarantee that it won't be long before said fan is reeling off the names of classic records he made as a producer during the late‑'60s British blues boom. As well as manning the helm for many of John Mayall's recordings — including the groundbreaking 1966 album Bluesbreakers With Eric Clapton — Vernon produced numerous other Brit blues artists including Chicken Shack, Peter Green, Fleetwood Mac and Ten Years After, and US blues stars including Otis Spann, Champion Jack Dupree and Eddie Boyd also recorded albums with Mike, for his legendary Blue Horizon label.
Michael William Hugh "Mike" Vernon (born 20 November 1944) is an English music executive studio owner, and record producer from Harrow, Middlesex. He produced albums for British blues artists and groups in the 1960s, working with the Bluesbreakers, David Bowie, Duster Bennett, Savoy Brown, Chicken Shack, Climax Blues Band, Eric Clapton, Fleetwood Mac, Peter Green, Danny Kirwan, John Mayall, Christine McVie and Ten Years After amongst others.
Vernon is best known as founder of the blues record label, Blue Horizon. He worked at Decca Records starting in 1963. He served as producer for the Mayall-Clapton collaboration Blues Breakers with Eric Clapton (1966).
In 1973 Sire Records,(SAS 7410) Vernon released a solo album, Moment of Madness. He was also a member of Olympic Runners (1974–1979) and acted as producer for them. He was a producer and member of Rocky Sharpe and the Replays (1979–1983). With the Replays he sang bass under the psudonym of Eric Rondo. He founded the Indigo and Code Blue record labels in the 1990s.
Vernon came out of retirement to produce Dani Wilde's album Shine, and the second album by the British blues prodigy, Oli Brown. Brown's album entitled Heads I Win, Tails You Lose was released in March 2010.
In October 2013, Vernon was rewarded with a BASCA Gold Badge Award, in recognition of his unique contribution to music.
On 7 September 2018, Vernon's first album on Manhaton Records, Beyond The Blues Horizon, was released. It featured twelve tracks, including nine new self-penned originals, and three covers from the catalogues of Brook Benton, Mose Allison and Clarence "Frogman" Henry. The release was supported by a European tour under the billing of 'Mike Vernon & The Mighty Combo'. Vernon's band, The Mighty Combo, consisted of Kid Carlos (guitar), Ian Jennings (upright bass), Matt Little (keyboards), Paul Tasker (saxophone) and Mike Hellier (drums).
Blue Horizon Records was a British blues independent record label, founded by Mike Vernon and Neil Slaven in 1965, as an adjunct to their fanzine, R&B Monthly, and was the foremost label at the time of the British blues boom in the mid to late 1960s.
Blue Horizon's first release was a 45 rpm single by Hubert Sumlin, then working as Howlin' Wolf's guitarist. Other releases soon followed on the Outasite and Purdah labels, the latter of which released just four 7" singles; including "Flapjacks" by Stone's Masonry (featuring Martin Stone, later to join Savoy Brown and Mighty Baby); and another by John Mayall and Eric Clapton "Bernard Jenkins", and "Lonely Years". Only 99 copies of each are thought to have been pressed - limited originally to avoid purchase tax - although it has also been said that the number was as high as 1000.
45 rpm releases continued on the Blue Horizon label, generally reissues of rare and hard-to-find singles from a handful of American blues musicians, although two releases — one by guitarist J.B. Lenoir, and another, by Champion Jack Dupree and British guitarist Tony "T.S" McPhee — presented new material. Blue Horizon's first LP was by one-man band Doctor Ross, recorded in a London hotel room while he was on tour with the 1965 American Folk Blues Festival.
A world-wide licensing and distribution deal with CBS, reached late in 1967, heralded the glory years of the label. Starting with two 7" singles with combined CBS/Blue Horizon stamps featuring Peter Green's Fleetwood Mac and Aynsley Dunbar 's Retaliation, there followed a string of singles and albums by both British and American blues artists, both licensed and newly recorded. Some releases featured Mike Vernon produced recordings of US artists such as Otis Spann and Champion Jack Dupree, backed by British blues players including Peter Green, Rory Gallagher, Paul Kossoff, Stan Webb and Pete Wingfield. Other UK artists signed to the label included Chicken Shack, Duster Bennett, Key Largo, Gordon Smith, Jellybread and Christine Perfect (later to be Christine McVie).
In 2010, it was reported that the label would be reactivated by Seymour Stein and Richard Gottehrer, whom with Mike and Richard Vernon were the US and UK directors of Blue Horizon Records, although it would not have access to the original catalogue - in 2012 Tank Full Of Blues by Dion was issued.
On 12 June 2012, BBC Radio 4 broadcast Cerys Matthews' Blue Horizon a documentary about Blue Horizon Records.
The label was lampooned by The Liverpool Scene with their song "I've Got These Fleetwood Mac, Chicken Shack, John Mayall Can't Fail Blues".
Blue Horizon Records was also an independent label set up by Josie Wilson in Seattle, Washington in 1959-60 to promote The Ventures first recordings, and later some instrumental recordings by The Marksmen.
Where It All Started:
Mike Vernon fell in love with music at a very early age and was soon "sponging up” all the rhythm & blues, rock & roll and blues tracks he could find. He began working for Decca Records in 1962 while he was still in his teens.
"I didn't really have [a job description] in those days,” says Mike. "I suppose it was what you'd now call a gofer — 'Make the tea, go for this, go for that, take this up to the studio' — and that was about as far as it went. It was a stuffy old place, full of stuffy old people, and I just felt that it needed an injection. I was far too young to ever say such a thing, but I just felt that there would come a time where Decca would become part of the real world, and I'd like to think, actually, that I did have some major part in that, along with my immediate boss, Hugh Mendl, who gave me enough rope to hang myself 10 times — put it that way!”
It was Mike Vernon's obsession with the budding London blues scene that helped him develop into one of Decca's youngest record producers.
Beano:
Mike Vernon tells us about the challenges he had while recording John Mayall's classic 1966 Bluesbreakers With Eric Clapton LP, fondly known as the 'Beano album', due to the fact that Eric Clapton was snapped reading a copy of the famed kids' comic on the sleeve.
"The whole plan was to make that record as live‑sounding as we possibly could, and in those days that was not easy, because there were so many restrictions in terms of the way people used to do things,” says Mike. "Everything was always, 'Well, you must do it this way, you must do it that way, you must always have the microphone only so far from the actual cone of the amplifier and the amplifier must only be turned up to three or four for the optimum sound reproduction!'
"Clapton had said, 'This is going to be your biggest challenge, recording my sound!' We didn't realise how big a challenge it was going to be but, thank God, we had a young engineer who became a very famous producer, Gus Dudgeon, who was ready for any challenge whatsoever. Sadly, he's no longer with us [Dudgeon died in a road accident in 2002], but I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all! But he dealt with it in inimitable style, and after an enormous amount of fiddling around and moving amps around, we got a sound that worked. I think all the solos, with the possible exception of 'Stepping Out', were done live. You can actually tell they were, because the drums suffer as a result of it. There was an enormous amount of guitar on the drums. The studio wasn't very big — it was big enough, but nobody had had to deal with a band making that kind of noise.”
In 1968, just two years after the great success of the 'Beano' record, Mike Vernon left Decca and went independent. The move was largely a result of the fact that Vernon's cult Blue Horizon label — upon which he'd been releasing small‑run blues recordings since the mid‑'60s — had gained such a great reputation on the British blues scene.
The rest, as they say, is history, and Mike Vernon spent the next few years as an independent producer, pioneering one classic blues record after another. After the blues-boom bubble burst at the beginning of the '70s, Vernon started a recording studio in Chipping Norton with his brother, Richard, which continued to be a successful enterprise through to its closure in the late '90s, just a few years prior to Mike's initial retirement.
Band members on the Album:
★ Paul Butler - Guitar
★ Rory Gallagher - Guitar
★ Laurence Garman - Harmonica
★ Richie Hayward - Guitar
★ Paul Kossoff - Guitar
★ Kenny Lamb - Drums
★ Dick Parry - Saxophone
★ Jimmy Reed - Composer
★ Mike Vernon - Harmonica, Percussion, Primary Artist, Vocals
★ Pete Wingfield - Keyboards
01.Let`s Try It Again 04:26
02.Move Away 04:16
03.Mississippi Joe 03:58
04.Brown Alligator 11:46
05.Come Back Baby 02:05
06.War Pains 03:46
07.Dark Road Blues 03:25
08.(She Said) She Didn`t Have Time 05:56
09.Ain`t That Lovin` You Baby 03:11
10.My Say Blues 05:56
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