Boston-Tribute To The Nicest Guy In Rock N' Roll - Boston, MA-19-08-2007

Brad Delp remembered with tears, cheers and music.

By Brett Milano/ Music ReviewMonday, August 20, 2007 - Updated: 07:03 PM EST

There were tears shed in Boston when singer Brad Delp committed suicide in March, and a few more were likely shed at the Bank of America Pavilion Sunday night. Despite some somber moments, the five-hour, seven-band show amounted to a party in Delp’s honor.
“The best way we can honor Brad is to have a really good time tonight,” the band Boston’s leader Tom Scholz announced at the start of its closing set. And the band’s first show since losing Delp stressed the more upbeat side of its catalog, opening with “Rock ’n’ Roll Band” and closing with “Party.” Stryper singer Michael Sweet did most of the vocals, but leads were also done by past band members, current bassist Kimberley Dahme and even a Boston fan, Tommy DeCarlo, who was invited up from North Carolina.

The night ended with Scholz taking the mike and introducing almost everybody who’d ever been a member of Boston. Original drummer Sib Hashian is still feuding with Scholz, so he was neither mentioned nor included in the “Don’t Look Back” encore, though he’d played with two bands (RTZ and Ernie & the Automatics) earlier in the show. Both bands also featured former Boston guitarist Barry Goudreau.

RTZ and Beatle Juice, both former bands of Delp’s, played with rotating singers. Beatle Juice had a surprise guest in the Fools’ frontman, Mike Girard. And longtime Boston friend and touring partner Charlie Farren did a workmanlike hard rock set with his band Farrenheit.

A surprise highlight was a new song about Delp, “Rock ’n’ Roll Man,” that kicked off Extreme’s reunion set. Fittingly it’s one of the most Beatles-like things Extreme has ever done, with Nuno Bettencourt playing piano and singer Gary Cherone leading a long, “Hey Jude”-style chant.

The rest of Extreme’s set was more familiar and included its two big singles, “More Than Words” and “Hole Hearted.”

Also surprising was Godsmack, which did a rare unplugged set.

Delp’s warm heart and mighty voice were praised by everyone onstage; and there were touching moments with his fiancee, his ex-wife and two children all doing intros. Daughter Jenna screened a short biographical film, with some vintage Boston footage to make fans miss Delp even more.


"Tribute To The Nicest Guy In Rock N' Roll"
Bank Of America Pavilion
Boston, MA August 19th 2007
Come TogetherA Tribute To Brad Delp
01. Intro.
02. Jam
03. Rock & Roll Band
*04. Peace Of Mind
*05. Jam
06. Cool The Engines
#07. Feelin' Satisfied
$08. Something About You
+09. More Than A Feeling
*10. Jam
11. Smokin' &
12. Walk On
$13. Party
&14. Band Introductions By Tom Scholz
15. Long TimeLead Vocals:

* Michael Sweet (Stryper)
# Curly Smith
$ Kimberley Dahme
+ Charlie Farren (Farrenheit)
& Tommy DeCarlo (Boston Fan)

http://www.megaupload.com/?d=AO2Q1EIK

Deep Purple - Jakarta On My Mind

By the time Deep Purple released Burn and Stormbringer (both 1974), Ian Gillan and Roger Glover had already left the band but some fans still considered Burn to be a worthy successor to the earlier albums. But in April 1975, Richie Blackmore too decided to move, leaving Jon Lord (organ, piano) and Ian Paice (drums) from the classic line up. If Blackmore wanted out, vocalist David Coverdale managed to get guitarist Tommy Bolin into the group and Come Taste The Band was released in November 1975.Deep Purple played two dates in Jakarta in December 1975 promoting Come Taste The Band. For the Mat Rockers there, it probably did not matter who was in the line up, it's Deep Purple all the same. But the Indonesian trip was marred by tragedy, as reported in the article, Indonesian Nightmare Strikes Deep Purple, by Peter Crescenti for Rolling Stone magazine (January 29, 1976), Crescenti wrote: "Tragedy and mayhem struck the Deep Purple tour December 4 in Jakarta, Indonesia, when one of the group's road crew, Patsy Collins, a well-loved celebrity of the British rock scene and guitarest Tommy Bolin'sbodyguard, was killed in a six-story fall down a service elevator shaft at the band�?hotel. Then at a Deep Purple concert the following night, Indonesian police armed with machine guns, truncheons and a pack of Doberman pinschers waded into the audience, seriously injuring over 200 people. "Deep Purple played to an estimated 150,000 Indonesians in two shows at the outdoor Senyan Sports Staduim as part of their first tour since adding Bolin to the band. The first concert, which saw about 20,000 people break down fences to join 35,000 ticket holders, was relatively free of police reaction. 'They let everybody be,' keyboard player Jon Lord said. 'There were machine-gun guards all over the place and they were pushing kids around, but there seemed to be no organized police thing.' "Back at the group’s hotel after the opening concert, Collins got into an argument with two other member of the road crew and left their room to go upstairs to his own. The elevators in the hotel were operating slowly, so the impatient Collins decided to walk up the fire escape stairs to the next floor, only to find the door on the next landing locked. Then, inside the stairwell on the sixth floor he found an unmarked, unlocked door. He opened it and hastily stepped in, plunging three-floors down the service elevator shaft, crashing through some hot water pipes?Hospitalized, he died early the next morning from internal injuries and burns. "Surprisingly, the Jakarta police arrested the two crew members Collins had argued with and, later, the band’s manager, Rob Cooksey. The three were held on suspicion of murder and isolated from the jails other prisoners for two days, said Cooksey, 'with a kind of threat hangin' over us. All the time we were under suspicion of murder, they were making us sign autographs and things. You just wouldn’t believe the mentality.' "The night following the accident, with three of their entourage in jail, Deep Purple played their second show. About 6,000 armed and helmeted policemen, backed by dogs, circulated throughout the stadium. Before the concert began, an announcement warned any Europeans in the audience to congregate near the side of the auditorium. "No sooner did the music begin, getting the rock-starved Indonesians to their feet dancing, then police waded into the crowd, savagely butting, clubbing, punching and kicking the boogieing audience. Then the Dobermans were let loose, joining the attack. Deep Purple keyboardist Jon Lord later said, 'Every time an effort to get up and boogie was made by any section, it was immediately pounded on.' He also recalled seeing one mammoth dog dragging a kid across the floor by his arm, its teeth sinking into the boys flesh. "The band played only half a set and left the stage frightened and sickened. 'They went crazy,' said Cooksey of the Indonesian police. 'It was like maneuvers for them. Just a nightmare'. To be honest, this mono audience recording from the first night is rather raw. Some might even call it muddy and it sounds as if the taper is standing somewhere towards the back. While the vocals, guitars and organ are fairly prominent, the drums are buried in the back and, overall, it's closer to a wall of sound with no distinctive soundstage. The band cannot be said to be at its best (there is a workmanlike feel to the performance until the end when the members let loose a little) though the band did try to be friendly by sprinkling in a couple of "Apa khabar?" (How are you?) and "Terima kasih" (thank you). Only Jon Lord, with his extended solos, seemed to be having fun. The set is built around the key songs from Come Taste The Band and if an old chestnut such as Georgia On My Mind is a throwback to the band's blues roots, fans would have preferred the more recognisable hits. Guess Smoke On The Water must have been hard (for this line up) to live up to and Soldier Of Fortune, Lazy and Burn are poor consolations, to say the least. But given the events that would happen later that night and the next day, this recording becomes a historical document to an unhappy and tragic tour that not many younger fans of the band know about. Thanks to zazafromjohor.

http://www.megaupload.com/?d=DEG08Q03

Pebbles Volume 3 - The Acid Gallery

The third entry in AIP Records' Pebbles series, which focuses on obscure mid 60s psychedelic rockers, is one of the most wonderfully "out there" albums ever. Don't worry- this isn't psychedelia of the whimsical "exploding purple butterfly" variety. This is full blown, mind-pulverizing, acid-drenched rock 'n' roll dementia. Each song sounds like some pimple-popping teenager's bad trip, a heady concoction of hallucinogenic imagery and the kind of manic energy that can only be delivered by 60s garage band. Fuzz guitars and pounding rhythms are mixed with bizarre lyrics, trippy production, instrumrntal freak-outs, and the occasional burst of random noise. The result is a collection of songs that combine the raw joy of standard 60s garage rock with the weirdness of Frank Zappa or the Velvet Underground. The best songs really are offbeat masterpieces: The Bees' "Voices Green and Purple" is an incredibly effective slice of nightmare-psych, with its ghostly three-note guitar riff, pulsating rhythms, and bloodcurdling screams. The same goes for The Monocles "Spider & The Fly," (NOT a cover of the Rolling Stones tune!) which features a deranged lyrical narration booming over an otherworldly production. There's also Lea Riders Group's "Dom Kellar os Mods," an obscure Swedish classic which builds from a taut, high-stung blues rocker into a full on freak out. The Calico Wall's "Flight Reaction" is a tense, weirdly funny journey into the mind of an acid-head with a terrible fear of flying. The song marries a ringing guitar line with an increasingly chaotic lead vocal and a catchy chorus. The Hogs' "Loose Lips Sync Ship" is gloriously inexplicaple, as are the Driving Stupid's astoudingly unhinged "Reality of Air-Fried Borsk" and "Horror Asparagus Stories." The Third Bardo's "I'm Five Years Ahead of My Time" is a tough, defiant psychedelic teenage anthem that really struts. William Penn Fyve's "Swami" is a hilarious sendup of hippie culture, with a great fuzz guitar-led melody thrown in for good measure. Teddy & The Patches' "Suzy Creamcheese" seriously rocks, with its pounding "Louie Louie" attitude and Zappa-inspired lyrics. And then there's the Race Marbles' indescribable Bob Dylan parody "Like a Dribbling Fram," which alone is worth the price of the CD. Higher Elevation's "The Diamond Mine" works purely becasue of kitsch value- it features some clueless D.J. reciting some "poetry," in which he stumbles helplessly from one psyhedelic cliche to the next, while a cheesy organ-driven noise-fest cranks along on the background. Grab this while you can.

Pebbles Vol. 3: The Acid Gallery
1. The Higher Elevation - The Diamond Mine
2. Teddy & The Patches - Suzy Creamcheese
3. Crystal Chandlier - Suicidal Flowers
4. William Penn V – Swami
5. The Jefferson Handkerchief - I'm Allergic To Flowers
6. uncredited - (bonus track)
7. The Calico Wall - Flight Reaction
8. The Hogs - Loose Lip Sync Ship
9. The Driving Stupid - Reality Of Air-Fried Borsk
10. The Third Bardo - I'm Five Years Ahead Of My Time
11. The Bees - Voices Green And Purple
12. Godfrey - Let's Take A Trip
13. The Monocles - Spider & The Fly
14. T.C. Atlantic – Faces
15. Lea Riders Group - Dom Kellar Oss Mods
16. The Race Marbles - Like A Dribbling Fram
17. The Driving Stupid - Horror Asparagus Stories
18. The Painted Faces - Anxious Color
19. Adjeef The Poet - Leek, I'm A Freak
20. Adjeef The Poet - Squafrech Lemon Comes Back
21. The Beautiful Daze - City Jungle, Pt. 1
22. Catfish Knight – Deathwise
23. The Oshun - Rattle Of Life

http://rapidshare.com/files/48458827/Pebbles_Vol._3.rar.html

Nuggets - Disc 1 - 1963-1968

Nuggets: Original Artyfacts from the First Psychedelic Era is a compilation album of American pop and rock songs from the mid- to late 1960s, assembled by Jac Holzman, founder of Elektra Records. Assisting him was Lenny Kaye, who later became the guitarist for the Patti Smith Group. Together, the two men assembled a 2-LP set. The album was originally released by Elektra Records in 1972, and reissued, with a new cover design, in 1976 by Sire Records. The liner notes, penned by Lenny Kaye and containing one of the first uses of the term "punk rock", gave a brief biography of each band.

The stripped-down music of groups like the 13th Floor Elevators, the Electric Prunes, the Blues Magoos and the Chocolate Watchband resonated with budding musicians of the 1970s. Many credit the influence of these groups on the punk movement that was to later explode in both the UK and the United States. Jon Savage, in his history of the UK punk movement England's Dreaming, cites Nuggets as a major influence, and includes it in his essential punk discography, alongside Iggy and The Stooges' Raw Power.
Nuggets gained credence with rock music critics and reached #196 on Rolling Stone's 500 Greatest Albums of All Time list. Infamously, unlike the other albums on this list, Nuggets took quite a while to appear on CD. Many labels marketed some of the songs on the original LP in compilation discs like Rhino Records' Nuggets series and the Pebbles series, but none of them ever compiled the original LP, with the exact same songs in the original sequence.

Pebbles Vol. 1 & 3 (I'll save for a later post) and Nuggets Vol. 1: The Hits (featured here) were the three albums that first got me into this music back in the mid 80's. A great escape from Duran Duran and the Thompson Twins.

01 Electric Prunes, The I Had Too Much To Dream (Last Night) (2:59)

02 Standells, The Dirty Water (2:48)

03 Strangeloves, The Night Time (2:32)

04 Knickerbockers, The Lies (2:44)

05 Vagrants, The Respect (2:15)

06 Mouse, A Public Execution (2:49)

07 Blues Project, The No Time Like The Right Time (2:47)

08 Shadows of Knight, The Oh Yeah (2:49)

09 The Seeds, Pushin' Too Hard (2:37)

10 Barbarians, The Moulty (2:34)

11 Remains, The Don't Look Back (2:43)

12 Magicians, The An Invitation To Cry (2:57)

13 Castaways, The Liar, Liar (1:54)

14 13th Floor Elevators You're Gonna Miss Me (2:29)

15 Count Five Psychotic Reaction (3:07)

16 Leaves, The Hey Joe (2:51)

17 Michael & The Messengers Romeo & Juliet (2:00)

18 Cryan Shames, The Sugar And Spice (2:30)

19 Amboy Dukes, The Baby Please Don't Go (5:39)

20 Blues Magoos Tobacco Road (4:42)

21 Chocolate Watch Band, Let's Talk About Girls (2:43)

22 Mojo Men, The Sit Down, I Think I Love You (2:23)

23 Third Rail, The Run, Run, Run (1:55)

24 Sagittarius, My World Fell Down (3:50)

25 Nazz Open My Eyes (2:45)

26 Premiers, The (4) Farmer John (2:27)

27 Magic Mushrooms, The It's-A-Happening (2:47)

http://www.megaupload.com/de/?d=LH9E4P68

A tip of the hat to freaky lady.

Phil and The Frantics

A top draw in their native Phoenix, Phil and the Frantics were basically unknown elsewhere until a 1966 side called "I Must Run" appeared on Pebbles Volume 2 a decade and a half later. Without question, the song is one of the greatest garage ballads ever made. Using the Zombies' "I Must Move" as its blueprint, "I Must Run" coalesces that band's minor-key drama with teenage naivete and a dreamy vocal-organ interplay that recalls the under-the-street-light aura of doo-wop (Trivia note: Waylon Jennings plays the 12-string guitar on this masterpiece). The good news for anyone who loves "I Must Run" is that Phil and the Frantics were the purveyors of several more evocative ballads.What set Phil & The Frantics appart from most of their Arizona contemporaries was their ability to pull off strong original material, as exemplified by excellent songs like "Pain", "Where Am I Running to" and "Till You get What You Want". With their penchant for minor keys, winsome vocal leads and organ-driven arrangements, the Frantics owe a heavy debt to the Zombies. No further proof of that is needed than "I Must Run", a shameless rewrite of that group's "I Must Move" - except the Frantics track actually surpasses the original in atmosphere and emotional hurt. Get this - you won't be disappointed.

All thanks to ^abracadabra^

http://rapidshare.com/files/43876591/Phil___The_Frantics.rar

Live On Blueberry Hill - Led Zeppelin - September 4th, 1970

Cobra Premium Series issue 15 tracks on 2 CDs @ 320 kbps. A- level soundboard.

Los Angeles, 1970: Led Zeppelin perform a powerful set of songs (prior to recording Zeppelin III) comprised of heavy blues numbers and a dense onslaught of rock & roll. While the sound clarity is adequate at times, at other moments the sound is faint and simply flat -- common flaws in bootleg recordings from this era. Still, the music on Blueberry Hill packs a punch.
The set is dominated by three outstanding folk/blues rock medleys: "From the Midnight Sun" (later titled "Immigrant Song") and "Heartbreaker"; "Communication Breakdown," "Good Times Bad Times," "For What it's Worth," and (not listed) "I Saw Her Standing There"; and Zeppelin's signature blues rock medley, comprised of "Whole Lotta Love," "Let that Boy Boogie Woogie," "I'm Movin' On," "Think it Over," and "Lemon Song." The bass and guitar transitions between the tunes on the "Communication Breakdown" medley are funky, and the explosive renditions of Stephen Stills ' "For What it's Worth" and Lennon/McCartney's "I Saw Her Standing There" are priceless in their inventive approach.
Live on Blueberry Hill also features fresh performances of "What Is and What Should Never Be" (with a pleasantly coarse Page guitar); an exhilarating, ultimately exhausting "Moby Dick"; and John Paul Jones ' freaky "Organ Improvisation." "Since I've Been Loving You" is the peak performance of the evening. In the course of eight minutes, Plant's wails and screams, Page's raw electric guitar, and Bonham's deep, thundering drums generate music that could accompany the damned to hell. The piece is representative of the evening, as their repertoire is comprised of music that's consistently dense, forceful, and epic in length. It's impressive and appealing.
A note to collectors: This original double LP bootleg pressing of Blueberry Hill is slightly different from Roundpin's CD release; the LP has more tracks overall but lacks a couple cuts contained on the CD. In addition, the Live On Blueberry Hill album is rather similar to the Mudside bootleg, both recorded around the same time.

Los Angeles Forum, September 4th, 1970
CD 1
1. Immigrant Song
2. Heartbreaker
3. Dazed And Confused
4. Bring It On Home
5. That's The Way
6. Bron-Yr-Ur
7. Since I've Been Loving You
8. Organ Solo
9. Thank You

CD 2
1. What Is and What Should Never Be
2. Moby Dick
3. Whole Lotta Love
includes: Boogie Woogie
Some Other Guy
I've Got a Girl
I'm Movin On
Think It Over
The Lemon Song
4. Communication Breakdown
includes: Good Times, Bad Times
For What It's Worth
I Saw Her Standing There
5. Out On The Tiles

http://rapidshare.com/files/33395462/hjguyrm.part1.rar
http://rapidshare.com/files/33395466/hjguyrm.part2.rar
http://rapidshare.com/files/33395524/hjguyrm.part3.rar
http://rapidshare.com/files/33395365/hjguyrm.part4.rar

Note - you must download each file then open Part 1 using winrar.
Then unpack all your songs from Part 1 (scans included.)

Grass and Wild Strawberries - The Collectors - 1969

The second album from the Collectors should have been a real peak of psychadelia as it is a full-blown ecological concept (albeit with hippy ideals that pervades from those magic years), but strangely so, the album is almost a step backwards in the songwriting – sounding more like the 60’s. Although there are many excellent moments on the record, I feel that this album is more drawn to the Moody Blues than their debut (which was more axed towards HP Lovecraft and Vanilla Fudge), some of the highlights are Things I Remember and the Spirit-like Teletype Click. However smoothly most of the album runs along the road, there are a few bumps, most notably the My Love Delights Me – which sounds like Hey Nonie Nonie (done by Sladfe a few years later) – a relatively deceptive Dream Of Desolation – which does not sound desolate enough to this writer – and an Early Morning – too pop-ish for an early morning. However, the finale is riveting and maybe the best moment of the album (bringing you back to the previous album) and a fitting ending to an ambitious project.Can one throw stones at an innovator or an adventurer? My guess is NO, (even if I am sometimes harsh towards some prog artistes), and these guys will do some more musical venturing under the Chilliwack name. But this is another story, and this album, although quite worthy has a hard time living up to its debut.
Many thanks to Sean and Routinier

Ripped @320, scans included. http://rapidshare.com/files/50946673/collectors.rar

Wishbone Ash - Pilgrimage - 1971

Wishbone Ash's sophomore release, Pilgrimage, unveiled their creative genius after a debut that merely presented them as a boogie- and blues-based rock outfit. The opening track, "Vas Dis," with its jazz bassline, slicing rhythm guitar, and gibberish vocals was their answer to "Hocus Pocus" by Focus (or vice versa as both were released in 1971). "No Water in the Well" is one of the great rock instrumentals of the early '70s as it accentuates the dual lead guitar acumen of Andy Powell and Ted Turner. "Jail Bait" has gone on to become a Wishbone Ash staple as well as possessing one of the more memorable guitar riffs of '70s rock & roll. A conscientious effort seemed to be in place for this band to write and perform material better suited to their gentler vocal tendencies. Where Wishbone Ash essentially went full tilt throughout, Pilgrimage is a moodier affair that includes beautiful, slower melodies like the brief instrumentals "Alone" and "Lullaby" along with the chilling "Valediction," which should have been an Ash classic but is rarely featured on live and hits collections. Even though this band toned it down a bit for this album, their impressive guitar playing was heightened due to the variance in their songwriting. Next to Argus this is the Wishbone Ash album to judge all other Ash albums by.

1. Vas Dis (4:41)

2. The Pilgrim (8:30)

3. Jail Bait (4:41)

4. Alone (2:20)

5. Lullaby (2:59)

6. Valediction (6:17)

7. Where Were You Tomorrow (10:23)

8. Jail Bait [Live] (4:54)

As always thanks to bLUZER for the cool up.

http://www.megaupload.com/?d=RG2KD8UC

Pass: http://sonidosdeverdad.blogspot.com

Wishbone Ash - Argus - 1972

If Wishbone Ash can be considered a group who dabbled in the main strains of early-'70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie band like Ten Years After?), the confusion compounded by their relative facelessness and the generic nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own. The album boasted extended compositions, some of them ("Time Was," "Sometime World") actually medleys of different tunes, played with assurance and developing into imaginative explorations of new musical territory and group interaction. The lyrics touched on medieval themes ("The King Will Come," "Warrior") always popular with British rock bands, adding a majestic tone to the music, but it was the arrangements, with their twin lead guitar parts and open spaces for jamming, that made the songs work so well. Argus was a bigger hit in the U.K., where it reached the Top Five, than in the U.S., where it set up the commercial breakthrough enjoyed by the band's next album, Wishbone Four, but over the years it came to be seen as the quintessential Wishbone Ash recording, the one that best realized the group's complex vision.


1. Time Was (9:42)
2. Sometime World (6:55)
3. Blowin’ Free (5:18)
4. The King Will Come (7:06)
5. Leaf and Stream (3:55)
6. Warrior (5:53)
7. Throw Down The Sword (5:55)
8. Jail Bait ***
9. The Pilgrim ***
10. Phoenix ***

Thanks to bLUZER for this rip.

Pass: http://sonidosdeverdad.blogspot.com




http://www.megaupload.com/?d=MQBA07ER

The Dog That Bit People - 1971 (UK Heavy Psych Prog-Rock)

Hincks and Lamb, left over from Locomotive after Norman Haines had left, formed this interesting outfit which is very much a progressive rock outfit playing short songs. The album opens mellowly with Goodbye Country, featuring a nice melody, but gets heavier on the somewhat prototypical The Monkey And The Sailor. This track has an unexpected middle eight, though. Lovely Lady sounds like The Honeybus and Sound Of Thunder again lives from an odd juxtaposition between verse and chorus, a recipe which is some kind of trademark on this album. Someone Somewhere should have been sung by Ringo and boasts a horrible guitar solo which should have been played by George. A Snapshop Of Rex sounds like Joe Cocker but suffers from the absence of Joe Cocker, while Mr. Sunshine clearly tries to be Traffic. Tin Soldier is not the Small Faces' song, but is an agreeable tune, albeit with embarrassing lyrics. The concluding Reptile Man has, predictably enough, doctored vocals above a repeated jungle riff and is the only truly black spot on the album, though hard progressive fans will argue otherwise. All in all a nice effort, very rare indeed, but not worth the pricetag of $325 and up that I have seen it listed for. The 45 has an undistinguished non-album 'B' side.
Personnel:
JOHN CASWELL vcls, gtr A
MICHAEL HINCKS vcls, bs A
BOB LAMB drms A
KEITH MILLAR vcls, gtr, keyb'ds A

ALBUM:1(A) DOG THAT BIT PEOPLE (Parlophone PCS 7125) 1971 R3
45:1 Lovely Lady/Merry-Go-Round (Parlophone R 5880) 1971

Kudos to Vernon Joynson and Andre


http://www.megaupload.com/?d=0PVYRJP9

Honolulu Convention Centre - April 18, 1970 - The Doors

The Doors' final performance in Hawaii soars like a wild two-hour amusement-park ride. Prior to the show, the Doors partake of the Hawaiian Islands' legendary Paka Lolo, a particularly potent variety of marijuana. As the band starts its introductory medley, Morrison pleads for the brilliant stage lights to be turned down. By the conclusion of "Roadhouse Blues," he is furious that the lights are still so bright, and accuses the lighting personnel of being "incompetent, immaterial, irrelevant and unnecessary" and insists the lights be readjusted to "something dark with gloom, and just leave it at that!" The stage goes dark to audience applause and the Doors burst into a jazzy, incendiary version of "Break on Through." Manzarek takes an extended solo before the climax and then draws it to a fiery conclusion in a vocal duet with Morrison that elicits thunderous applause. However, by the conclusion of "When the Music's Over," Morrison is becoming noticeably intoxicated and continues to become more so as the evening wears on. He begins eliciting requests from the audience, an activity that always seems to create pandemonium. The band brings the fast-tempoed "Peace Frog" to an abrupt ending and deftly shifts down into a beautiful version of "Crystal Ship." The "People Get Ready" jam is particularly vital tonight, as Densmore drives the band with a furious locomotive percussion into "Mystery Train," and then Manzarek graciously leads them out of it with a melodic solo that melts into a relaxed instrumental version of "Across the Sea." Instead of concluding the jam at the end of "Crossroads," they drift back into "People Get Ready" to bring the jam full circle. Another unusual twist this night is the insertion of "Baby, Please Don't Go" during "Love Me Two Times." Toward the end of "Rock Me," Morrison begins a hypnotic repetition of "All right! All right! All right!." until exploding into a raucous "Wake Up!" which introduces the concluding "Light My Fire" jam.The encore of "The End" presents a fitting conclusion to the show. Morrison seems to effortlessly insert select portions of poetry throughout the piece, bringing the evening's performance to a dramatic finale that provides something special for everyone in attendance.

Setlist:

Back Door Man / Love Hides

Five To One

Roadhouse Blues

Break On Through

When The Music's Over

Peace Frog

The Crystal Ship

Mystery Train

Love Me Two Times

Rock Me (cut)

Wake Up / Light My Fire

The End / "Ensenada" / "Coda Queen"

http://www.megaupload.com/?d=WH11DCWJ

Password: napusisemajmune.blogspot.com

An Electric Storm - White Noise - 1968

White Noise, the brainchild of Delia Derbyshire and David Vorhaus, was one of the first all-electronic groups ever, and contempories of the equally legendary Silver Apples. Their first and only true LP was one of the emerging Island Records early album releases and one of their first alternative signings. Whatever Island honcho Chris Blackwell saw in the demos of the sublime Firebird and symphonically psychedelic Love Without Sound (both used on the record) we shall never know, but he stumped up the cash for the pair to go back to their Kaleidophon Studio, situated opposite London psychedelic center The RoundHouse. Derbyshire had set the ante for purely electronic pop with her seminal recording of the original Doctor Who theme. But White Noise, and their strange blend of the Medieval and Futuristic music was to become one of Island's early best sellers and a student favorite for decades. This album has always had a sort of legendary status when I was a young teenager, including a rumour that it had been withdrawn for being too scary!Well, the stand out track has to be The Visitation. It still has the power to send shivers down the spine. That is some achievement in an age of aural bombardment.I have owned the vinyl album for over 30 years and it still gets a regular hearing. The mark of a true work of genius and love. The first time I heard the "White Noise," album I was duly impressed. The studio effects, for the time (1968) were amazing. There are some wild songs, with twists and turns during the more structured song like selections, that really helt my attention, and tickled my imagination, and freaked me even during my everyday conscousness. Apparently, the LP had been a labor of love, or some obsession like love, built up almost note by note, over the period of a year or more. Talk about ambient electronics....for that sound alone, you could mine this piece of art for years. As for early Pink Floyd, for comparison, it sounds far beyond what they were doing at the time. The legend behind the LP is interesting. Chris Blackwell, AKA Island Records, gave the electronic wizard behind this LP, about 3000 dollars, to make the album. After a YEAR, Blackwell wanted product, and when he had seen they only had 30 minutes of this mind labrynth recorded, he demanded a finished album, in a matter of days. So, that is what spawned the most frightening, scary, psychedelic, holographic, kaleidoscopic song of all time---Black Mass (Electric Storm in Hell). Unlike many of the other songs, after the invocation to something dark and obscure, the 7 minute track is just instrumental. (Altho you might experience it as lasting far far longer. You know how time dialates, as you approach the speed of light.) I can't describe what you hear, though much of it is percussion and freak out screaming, with electronic effects, layers up, and spinning between the speakers. What you REALLY hear, the title best sums up. Now, its not Black Sabbath freaky, or heavy metal kiddy music. The title Black Mass, is just part of the scare tactics. This is a song, that would give anyone the creeps, if you just LISTEN to it. But, if the planets are lined up just right, and the incense is just right, the setting just right, and the brain is vibrating in open mode, then you are going to be sent into total brain fry freak land. Somehow, its encoded into the music, and I find that incredible. Its just frightening, for some reason. Even with the sophistication of modern 48 channel digital mixing boards, computer controlled volumn sliders, preprogrammed multi-channel panning, 5.1 sound coming at you from all around, nothing Ive heard approaches the incredible sound found on this song. (and the whole album, really.) Sometimes, having everything available for you, at the touch of a button, provided you have this months computer, and this months program running in it, limits you more, than the creative push you get, from using limited technology, to produce something 20-30 years ahead of its time. After all, even with all the technology we have today, right now we dont have the technology to fly back to the moon, or produce another Sgt. Pepper. So, who would like this album? I would say, if you are into some of Pink Floyd, Frank Zappa, freaky Krautrock (Brainticket's 1st LP), Capt. Beefheart, early Velvet Underground, Lydia Lunchs 13.13, the best of Mercury Rev, or Camper Van Beethoven. So much of the way music works you over, is personal, and subjective. However, when you start to read, or hear, many of the same descriptions given to certain LPS, or people freak out to the same LPs, then you might want to investigate. If you can't take it, go pull out your ABBA Lps, and hug a stuffed animal. PS--HIGHLY PSYCHEDELIC. Mixing this music with other psychedelic substances can be dangerous, even deadly. Headphones may increase this effect dramatically. Do not listen while operating machinery, driving UFOs, or attempting to chew gum. ISLAND RECORDS not responsible for any mental meltdowns from listening to this album. Listen at your own risk. (RISK IT!)

A1 Love Without Sound 2:57

A2 My Game of Loving 3:38

A3 Here Come the Fleas 2:31

A4 Firebird 2:43

A5 Your Hidden Arms 4:25

B1 The Visitation 11:45

B2 The Black Mass-An Electric Storm in Hell 7:04

http://rapidshare.com/files/31713716/white_noise_-_an_electric_storm__1968_.rar

The Collectors - Debut album - 1968

Originally formed in 1964 as the Classics (adopting the name CFUN Classics when they gigged to promote local Vancouver, BC radio station CFUN-AM), the group was featured as the house band on Let's Go, a weekly TV show. In 1965, they released two singles as the Canadian Classics and then reinvented themselves as the Collectors in 1966. By 1967, in addition to lead singer Howie Vickers, the Collectors included Claire Lawrence (tenor sax, organ, recorder, flute), Bill Henderson (lead guitar), Glenn Miller (bass) and Ross Turney (drums) -- the band's "classic" line-up. Recordings from this period include their stunning debut LP titled “The Collectors” and followed with “Grass and Wild Strawberries.” Vickers' departure from the Collectors in 1969 necessitated Henderson's promotion to lead vocalist. Eventually, the band rechristened themselves Chilliwack.
Behind the superb Art Nouveau artwork on the sleeve of this their self titled debut (1968) is hiding one of the true, hidden and forgotten gems of Canada. To achieve this kind of perfection as a first try, back in the late 60’s is simply astounding (they only had a few singles beforehand) and unfortunately all too rare. Bill Henderson and Claire Lawrence (the main core of the group) made a fantastic songwriting partnership.When you put together a group of top-notch classically-trained, jazz and rock musicians, the result is likely to be extraordinary - and this album is unique. Every song on the A side is different, ranging from bouncy Tull-like folk-rock through acid/metal to a pessimistic anemia sounding like Jim Morrison on downers. The album was more a local and cult favourite than a major success; the only top-40 single was Lydia Purple (a bit like Eleanor Rigby with recorder obbligato) - and ironically the only song not written by the Collectors themselves. Side B is a single continuous piece on the theme "What is Love", innovative and remarkably successful, running the gamut from moody reflection through psychedelica to frenzied despair for almost 20 minutes
I first spotted this as an LP back when it was released some thirty-eight years ago. A friend had a copy and the cover intrigued me so I checked it out. It proved to be more than intriguing so I hunted down a scratchy copy of my own at a local thrift store and later replaced it with a by-then rare and expensive near mint LP. It has always been a favorite of mine. Yes side 2 (the last cut on the lp) is taken up by the indulgent "What Love (Suite)", however side one is a treasure from the opening ethereal to anthemic "What Is Love" to the brilliant psychedelic/pop of "She (Will-O-the-Wind)" and "Lydia Purple", filled with an abundance of tasty hooks and folk-rock harmonies that remind one of the equally esoteric finer moments of The Electric Prunes and Giles & Fripp. These two songs alone are worth the price of this album. Why they didn't cross over and become hits in North America is beyond me, but so goes the music industry. And then there's Howard Vicker's crooning on "One Act Play", which is powerful and yearning, so much so as to make Scott Walker envious. There's even the sci-fi rock ballad "Howard Christman's Older", which joins the ranks of great, little known gems along side Clearlight's "Mr. Blue", the latter certainly not to be confused with the Fleetwoods classic of the same name. I have played this LP to a number of friends over the years, people with varied and eclectic tastes, and all of them have marveled at this record. You will too. I hope many more people discover the unique flavour of this short-lived Canadian West-coast phenomenon. Need I say more?? Actually, yes!!! The record company says "New Vibrations From Canada" on the back sleeve, but when some almost 30 years later, you listen to this record, WOW!!! They are still brand new vibrations.

1 What Is Love (3:53)

2 She (Will-O-the-Wind) (3:53)

3 Howard Christman's Older (5:10)

4 Lyndia Purple (2:48)

5 One Act Play (3:43)

6 What Love (Suite) (19:05)

http://rapidshare.com/files/11602163/Collectors.rar

#1 Record / Radio City - Big Star

The merits of Big Star can hardly be overstated due to the band's lasting influence on soooo many artists - an ABRIDGED list might include Tom Petty, Cheap Trick, Replacements, R.E.M., Game Theory, Bangles, Teenage Fanclub, and Jimmy Eat World. Of course, with most of these bands becoming MUCH more well known than Big Star, the influence is diminished somewhat because the original is heard AFTER the followers. Regardless, Big Star's 1st 2 albums create an essential release made even sweeter by the 2-for-1 deal encapsulated here and the tunes still sound fresh listen after listen. Along with Badfinger, Big Star is the absolute touchstone for melancholy pop songs that should have been huge hits - forming the basis for every power pop pretender to the throne. Like almost everyone, I didn't hear of Big Star until long after their demise. In fact, I didn't hear the group until I had heard some of Alex Chilton's solo records, around about 1986. If you started out, as I did, knowing that Chilton was the singer at the helm of pop/soul hit machine The Box Tops, you cannot have been prepared for these two albums steeped in Zombies, the more melodic aspects of The (original) Small Faces and perhaps another obscure delight, Honeybus. This music is so unexpected for anything from Memphis, that it was probably buried for that reason alone.Since other folks seem to be more readily drawn to the first album with Chris Bell's pleasing work, I'll champion the edgy brilliance of Chilton's accomplishment with "Radio City." First off, there is the lengthy almost stream-of-consciousness rock n roll of "O My Soul." This performance is a fantastic showcase of Chilton's prowess on guitar and a very cool one-song lesson in how to take formerly familiar mid-60s British melodic hard rock and make it new simply by throwing it up in the air and playing it in the order that it falls back down. The entirety of "Radio City" has a great sloppy feel applied to straight-out terrific rock/pop songs. It is this odd sloppy/classic juxtaposition that so many groups have since imitated. This is no accident; the first album proves that the band could turn out perfectly polished gems if they were so inclined. Chilton must have had incredible self-confidence to release a record like this in 1973, the era of over-blown multitrack productions from the mainstream groups.Do you love the sound of classic rock guitar, both acoustic and electric? Then treat yourself to this fine release. It really doesn't get better.

http://www.megaupload.com/?d=PURLDTNG

Colours 1968

One of the best American psyche albums we've heard from the late 60s -- a near-perfect record that's head and shoulders above the rough experimentation of most other groups from the period! Colours spell their name with a definite British twist, and there's clearly a Beatles influence going on here -- a sound that's almost pre-Sgt Peppers, but which has wonderfully complicated time changes, vocal parts, and production techniques that must have cost a pretty penny to such a little-known group! Horns and strings are arranged by Dave Roberts, and handled with a sensitivity that almost matches The Zombies' best at times -- and the tunes themselves are a fresh variety of odd themes, including one number about robbing a liquor store. Titles include "Brother Lou's Love Colony", "Bad Day At Black Rock Baby", "Love Heals", "Rather Be Me", "I'm Leaving", "Cataleptic", "Don't You Realize", and "Lovin".

Colours were a west coast psychedelic pop act that came together in 1967 at the request of songwriters, Jack Dalton and Gary Montgomery. Essentially a studio project, Colours featured future Derek and the Dominoes bassist, Carl Radle, who had already made quite a name for himself as a session musician and touring performer. The album was assembled over several months in late 1967, and subsequently issued by Dot Records the following year. Dot, being primarily an easy listening and country label, had little experience dealing with a band like Colours and thusly the album failed to explode as a result of their poor marketing. Quickly, the album became a collector's item and its value has only increased over the years.

Much like the Lemon Pipers or Grapefruit did, Colours attempted to sustain themselves autonomously after their partnership with Dalton and Montgomery had expired. Releasing their followup, "Atmosphere" in 1969, the album was a glaringly inferior effort, eschewing much of the sunny pop leanings of the debut.
The album came and went with little fanfare and members began defecting to other musical opportunities. Colours ceased to exist in 1970. Members went on to work with Taj Mahal, Derek and the Dominoes, Eric Clapton, JJ Cale, Joe Cocker and Freddie King. Radle passed away in 1980 from a lethal combination of alcohol and narcotics. To call this an unsung gem is an understatement. "Colours" is a brilliant Beatlesque masterpiece that, while somewhat derivative, is rife with bouyant arrangements, strong melodic hooks and sophisticated soundscapes. From beginning to end, the album is tight and focused. Like a cross between Left Banke, The Beatles and Orange Bicycle, the band's slight psych temperment is perfectly balanced with their impeccable musicianship and pitch perfect harmonies. One listen to the opener, "Bad Day at Black Rock, Baby" and their mission is crystal clear. The band never relents and at its conclusion, "Colours" leaves you wanting more. Sadly, there wasn't much more left, but damn if this isn't satisfying. Though the album has been bootlegged in Korea on CD, this has never officially been reissued. While we wait (don't hold your breath), check out this clean vinyl rip and marvel...this is great stuff!

http://www.megaupload.com/?d=B9E74LHI

Bandit (USA) - 1975

Not to be confused with Australia's Bandit, this act sprang from the Pacific Northwest in late 1974 and featured Joey Newman on guitar and keyboards. Newman was quite a
figure on the scene, having been a member of Don & the Good Times, Blue Mountain Eagle, Touch and the infamous, Stepson. Bringing his own experience to the fold was drummer Dan Gorman, who had previously played with Los Angeles superstars, The Yellow Payges.
Rounding out the lineup were guitarist Davis Della Rosa, bassist Kevin Barnhill and vocalist Tommy Eaton. It's safe to assume that Newman's association with ABC Records during sessions for Stepson's sole release, is at least partly responsible for the formation of Bandit and their self-titled debut, which they issued in 1975.

Taking cues from Stepson, as well as other heavy soul influenced acts like Crow and Mother's Finest, the band's sound was a bit out of sync with much of what was popular in the mid 70's and ultimately this direction was their undoing. The band began imploding at the end of a short tour supporting numerous larger acts and by 1976, ABC chose to drop the band, signalling their death the same year. Little is known about the subsequent activities of the members, though Newman did work with the Osmonds and Shaun Cassidy in later years.

"Bandit" is an incredible slab of soul driven hard rock that effortlessly shifts from grit to subtlety. At times, the band goes straight for the Motown sound with total abandon, while at other times they can be heard at full steam, complete with Eddie Hazel inspired guitars and a smoking rhythm section. Eaton's smoldering vocals morph from Gaye smoothness to Cocker bravado all in the span of a single track. The soulful female backup singers provide the proverbial icing on the cake. Reminds me a lot of the early Doobie Brothers sound but with much more bravado and excitement. There's very little not to absolutely love about this well assembled album. Simply awesome. Need proof? Check out this flawless vinyl transfer and get the goods while they're hot...at 320 kbps! (Thanks to Ronnie aka J and mamedia)

http://www.megaupload.com/?d=ZVIUU8Q9

Today - The Beach Boys - stereo!

A precursor to the landmark Pet Sounds album, this album has criminally never been entirely issued in full dimensional stereo - until now! Used to be packaged in a mono twofer series with bonus tracks, expanded liner notes, etc, then reduced to a basic CD with no bonuses whatsoever, then deleted entirely. This music shows Brian Wilson's growing talent and mastery in the studio as his songs became less focused on the Southern California lifestyle and more introspective.
"Today"showcases Brian Wilson's rapidly expanding talents in the heady days just before the release of the landmark LP, Pet Sounds. The arrangements are lush and brilliant and many of the themes that were to find full expression in Pet Sounds were already forming here.
This is an extremely mature album from one of the greatest bands in the history of rock music. It's astonishing that it's never been issued in stereo.

Track Title
1. Do You Wanna Dance?
2. Good To My Baby
3. Don't Hurt My Little Sister
4. When I Grow Up
5. Help Me, Ronda
6. Dance, Dance, Dance
7. Please Let Me Wonder
8. I'm So Young
9. Kiss Me, Baby
10. She Knows Me Too Well
11. In The Back Of My Mind
12. Bull Session With The "Big Daddy"

http://www.mediafire.com/?9mx0mcbxg04

New England - Self Titled debut - 1979

"This quartet formed around Boston under the auspice of powerhouse manager Bill Aucoin, who ruled the '70s with Kiss. Guitarist and vocalist John Fannon proved to be the guiding light of the band, with Jimmy Waldo providing impressive keyboards and Gary Shea on bass while Hirsh Gardener worked the drums. Paul Stanley came over from the Kiss camp to produce New England's sterling debut (featuring the incomparable "P.U.N.K." and the incredible "Nothing to Fear"), an orchestrated, absorbing affair with the boys giving all. The lush "Don't Ever Wanna Lose Ya" nicked the Top 40 and proved to be New England's moment in the sun. Despite an opening stint supporting the falling but still high-profile Kiss, New England unfortunately slid between the cracks with Starz and Piper, two other talented Aucoin projects. The similar sophomore effort, Explorer Suite, garnered almost no notice, and Todd Rundgren's production on the innovative Walking Wild also didn't produce sales. New England dissolved, with Shea and Waldo ending up in Alcatrazz." --- AMG

"Produced by Paul Stanley of Kiss who was also represented by manager Bill Aucoin, this Boston band's debut still stands as their finest. "Hello, Hello, Hello," much like Alice Cooper's use of Rolf Kemp's "Hello Hooray," is a nice opener, but the lyrics are more like Stevie Nicks witchcraft and magic. Song two is the most classic statement made by writer John Fannon and his group New England. "Don't Ever Wanna Lose Ya" is perhaps the shortest poem/song on record by Fannon, but it is his most famous. There are swirling keyboards by Jimmy Waldo and the precision the band is known for in performance. Like another Boston-based group, Private Lightning on A&M with their local hit "Physical Speed," these groups were ahead of their time and exploring sounds that were not identified with the city that brought the world the Modern Lovers, Aerosmith, and the Jonzun Crew. But with three albums on a major label, and superb production, New England had a good shot at the brass ring and a tune with all the elements of "hit" in this track. "P.U.N.K." is also a song that generated attention. About a punk, and certainly not punk rock, although the band frequented (and played) the clubs like the Paradise and the Rat, which, no doubt, helped inspire this. "Shall I Run Away" has a great vocal from Fannon and is the best tune next to "Don't Ever Wanna Lose Ya" -- mellow with cosmic guitars, a unique sound removed from the Asia style producer Mike Stone and the band New England became known for, almost Roxy Music. And that is where the band could've really made its mark, by being more experimental and less like the arena rock bands of the day. "Alone Tonight" is a great song held back by the "overproduction," to quote the late Stones producer Jimmy Miller and his idea of the New England sound. The thick production on this music is incessant. "Nothing to Fear" has hooks a plenty and the voice more prominent; "Shoot" is like a progressive Black Sabbath riff sped up and gone pop. Fannons' great ideas and lyrics seem to get lost in some of the instrumentation of "Turn Out the Light." That stage life which Paul Stanley knows so well from the Kiss hit "Beth" is the theme of "The Last Show." "Encore" concludes the album with Fannon almost sounding like Roger Waters in delivery and idea. New England deserves recognition for years of hard work and the creation of a very important tune from the late '70s. The cover photo has Terminator-style lightning (so did Private Lightning's cover, of course) and the band being delivered from out the blue." --AMG

One of my fave records of all time. I was 16 when the hit "Dont Ever Wanna Lose Ya" hit the airwaves and just on the cusp of high school graduation. I thought I would share this one with those of you that might remember it , & yet have forgotten how good these guys were. This came from a pristine vinyl source declicked and denoised for optimum beauty. For fans of Journey , Boston , April Wine , Cheap Trick , etc.

New England - s/t debut - 1979 - Infinity - MCA records --

MP3 @ 256 - VBR

1- Hello, Hello, Hello

2 - Don't Ever Wanna Lose Ya

3 - P.U.N.K. (Puny Undernourished Kid)

4 - Shall I Run Away

5 - Alone Tonight

6 - Nothing to Fear

7 - Shoot

8 - Turn Out the Light

9 - The Last Show

10 - Encore

http://www.filesend.net/download.php?f=12994756d53066493cdf6f30fd696e6f

Hammersmith - Hammersmith 1975

Wow! This is one I have been looking for forever. These guys actually played live at one of my Grade 10 BDCHS school dances back in the day. They rocked then and continue to do so now. Hammersmith rose from the ashes of Canadian rockers, Painter, in late 1974. With principals Doran Beattie and Dan Lowe in the fold, the band's name power helped them to land a deal with Mercury Records and "Hammersmith" was issued in 1975. The band set out on a tour of Canada and through a number of high profile shows and moderately successful singles, the band were granted a healthy budget increase for their followup. That came in 1976 with "It's For You". Though the sound and production was noticeably slicker, the material was weaker and the album failed to ignite Canadian radio. As a result, the band (with a newly revamped lineup) began falling apart at the seams, prompting a full blown split in 1977. Beattie later turned up as a country solo artist, while other members went on to 451° and Moxy.
"Hammersmith" takes cues from The Guess Who in places, which is understandable considering their reverence in their homeland. The album is fairly consistent, with the band keeping a nice balance of hard and soft throughout. The guitar work is stellar and the harmonies are tight, particularly on album highlight "Feelin' Better". This album has earned quite a cult following over the years, but sadly has never been issued on CD. And now for your listening pleasure check out some cool Canadian rock...

http://www.megaupload.com/?d=SU0A2LN7

The Creme of The Hot Stuff - The Rolling Stones

MP3 320kbps

Artwork Included

TrackList

01 Gimme Shelter (different version with Keith on vocals)

02 Sympathy For The Devil (exquisite and rare Beggars Banquet outtake)

03 Brown Sugar (altered version with different Mick Taylor lead-guitar)

04 Shake Your Hips (Rehearsal Montreaux 1972)

05 Jive Sister Fanny (late 1969 acetate with Mick Taylor on guitar)

06 I'm Going Down #1 (lost Stones classic,1969 acetate with Mick Taylor on guitar)

07 Everything's Turning To Gold (Some Girls outtake)

08 I Go Wild (extended, complete and different version)

09 The Storm (Love Is Strong B-side, different mix)

10 Memo From Turner (early version in a voodoo mood)

11 Let's Go Steady (Emotional Rescue outtake)

12 I'm Going Down #2 (live 1991 with Keith & Bob Dylan on vocals)

13 Paint It, Black (live Hawaii 1966)

14 (I Can't Get No) Satisfaction (live Hawaii 1966)

15 Not Fade Away (Pollwinners concert NME)

16 I Can See It (Between The Buttons outtake)

17 Out Of Time (different outtake-version 3/66)

18 The Last Time (Outtake version 1964)

* 19 You Can't Always Get What You Want (alternate studio-version 1971)

* 20 Angie (different Promo-version 1973)

* Special Bonus Tracks

http://www.gigasize.com/get.php/3195069097/The_Creme_Of_The_Hot_Stuff.part1.rar

http://www.gigasize.com/get.php/-1099897972/The_Creme_Of_The_Hot_Stuff.part2.rar

Password: stonestocry.blogspot.com

Hudson Brothers - Ba Fa - 1975

Ba-Fa was the band's fourth album and the last truly worthy entry in their repertoire. Bearing shades of the Beach Boys and Beatles, the material does sometimes tend to come across schizophrenic. In spite of its identity crisis, "Ba-Fa" is generally regarded as one of the band's classic recordings. If you've never heard the album, then enjoy this clean vinyl transfer. Check it!

http://www.megaupload.com/?d=POSW8QT0

Hudson Brothers - Hollywood Situation - 1974

As promised, their 3rd LP "Hollywood Situation" from Casablanca Records in 1974. Having established some success on television, the band works in songs culled from their variety show as well as a pointless Chucky Margolis skit. The material is mostly strong, though there appears to be a lack of focus here. Nonetheless, fans should eat this one up. Enjoy! Ripped from the original vinyl and tweaked for excellent sound repro.

http://www.megaupload.com/?d=5Z81TJMP

Totally Out of Control - The Hudson Brothers

If ever there ever was a band who personified both teenage idol fluff AND true artistic merit, it is the Hudson Brothers. Long before David Cassidy, Leif Garrett, Bay City Rollers and other teen icons sprang upon the scene, the Hudsons were hard at work in the pacific northwest under the name, The New Yorkers. Several years on the scene finally landed them a label deal with Playboy Records and a name change. Their self-titled debut, "Hudson", was issued in 1972 but sales were slow and the album vanished quickly. Luckily, their new friend Elton John signed them to his Rocket Records label and Hudson mania quickly set in.
This album, entitled "Totally Out of Control", was their first under the direction of Elton John and partner Bernie Taupin. It's a brilliant power pop album oozing with hook filled melodies, soaring harmonies and loads of conviction. Another album and hit single later, they were bona fide rock stars. In 1974, Hudson mania reached its peak and the boys became the hosts of their own variety show, "The Hudson Brothers Razzle Dazzle Show". Gracing the covers of practically every teen magazine during this time period ensured their celebrity, but also stripped them of the respectability they eagerly sought.
Despite that they had 'sold out', their music was as solid as ever and there was no denying their writing and performing talents. Sadly, as with most 70's teen icons, their fame was brief and by 1977, the backslide into banality had begun. Two albums followed and by the early 80's, they were all but forgotten. Luckily, each of them have gracefully transitioned into other areas of showbiz and have maintained successful careers ever since. Mark, the mustachioed middle brother has toured in Ringo Starr's All-Stars Band for years and has written huge singles for Hanson, Aerosmith and Celine Dion. Brett and Bill have moved into film and television production.
Apart from a late 90's retrospective release, the Hudsons have never seen CD reissue. This classic album, along with "Hollywood Situation" and "Ba-Fa" have been circulating in file trading circles for a few years now. This trifecta of golden power pop will be featured here in the coming days, beginning now with "Totally Out of Control". Download this clean vinyl rip and enjoy the goodness of the Hudson Brothers!

http://www.megaupload.com/?d=EDHTN4ZE

Sparks - Introducing...

How can you accurately summarize a band like Sparks? Just when we thought they were an avant garde act they changed gears and became a new wave band instead. Years later they'd evolve into an electronica group and remain so for over a decade. Now it seems the Mael brothers are exploring new territories as their last two albums experiment with choral and orchestral themes. Somewhere in their evolution this bastard child known as "Introducing..." popped out...well, in 1977 to be precise. Most Sparks fans don't regard this as a masterwork simply because this is an album that plays it safe. Pop arrangements, session players running amok and even Russell's voice seems tempered. Now, that isn't to say this is a bad album. It's chock full of hooks and Ron's clever wordplay.
So what warrants its inclusion here? Well, this is the only Sparks album to have never been given the digital treatment. Columbia Records has ignored the fans and so it languishes in the vaults. In the interim, while Columbia figures out what to do with this record, take a listen and enjoy this often ignored piece of Sparks history. If it's Sparks, it definitely isn't bad.

http://www.megaupload.com/?d=RGR5TSJI

Genesis 3X3 ep - 1983

And now, an EP. This one has an interesting story that I'll share with you before heading out camping. Originally, this came out in the UK as an EP. The States got the tunes too, but they got 'em in the "Three Sides Live" compilation. As you might imagine, these studio tracks were on the fourth side (along with two extra tracks).The funny thing is, this was never released on CD in and of itself. The first time we saw them was on the original CD issue of "Three Sides Live." But when this set was remastered, the non-live tracks were omitted. Then, when the Genesis Archive #2 1976-1992 box set popped up, we got two out of three songs: "Paperlate" and "You Might Recall." The last song, "Me and Virgil," was missing in action.Later this month, we'll see the release of Genesis 1976-1982, a box set that collects all of the bands albums from that period (in addition to EPs and singles and b-sides), remixes and remasters them and places them in one expensive package.So, if you're willing to sacrifice a bit of sound quality for the sake of saving a few (hundreds of!) dollaroos, dig the original "3 x 3" EP:1. Paperlate2. You Might Recall3. Me and Virgil

http://www.megaupload.com/?d=JW46UYVL

The Yardbirds - Roger The Engineer - 1966

Once Jeff Beck joined the Yardbirds, the group began to explore uncharted territory, expanding their blues-rock into wild sonic permutations of psychedelia, Indian music, and avant-garde white noise. Each subsequent single displayed a new direction, one that expanded on the ideas of the previous single, so it would seem that Roger the Engineer -- Beck's first full album with the group and the band's first album of all-original material -- would have offered them the opportunity to fully explore their adventurous inclinations. Despite a handful of brilliant moments, Roger the Engineer falls short of expectations, partially because the band is reluctant to leave their blues roots behind and partially because they simply can't write a consistent set of songs. At their best on Roger, the Yardbirds strike a kinetic balance of blues-rock form and explosive psychedelia ("Lost Woman," "Over, Under Sideways, Down," "The Nazz Are Blue," "He's Always There," "Psycho Daisies"), but they can also bog down in silly Eastern drones (although "Happenings Ten Years Time Ago" is a classic piece of menacing psychedelia) or blues tradition ("Jeff's Boogie" is a pointless guitar workout that doesn't even showcase Beck at his most imaginative). The result is an unfocused record that careens between the great and the merely adequate, but the Yardbirds always had a problem with consistency -- none of their early albums had the impact of the singles, and Roger the Engineer suffers from the same problem. Nevertheless, it is the Yardbirds' best individual studio album, offering some of their very best psychedelia - one of their very best!

Also be sure to find a copy of Birdland (2003) their newest platter and a guitar tour de force!

http://rapidshare.com/files/45756722/The_Yardbirds_-_Roger_The_Engineer__1966_.rar

Hammersmith - review

Good 70s hard rock LP, whose band roots are traced back to Calgary Alberta Canada. The core members, Danny Lowe-Lead Guitar, Doran Beattie-Vocals, are from a 60s psych band called 'The 49th Parallel, also from Calgary. With The 49th Parellel's demise, the band then evolved into 'Painter', who released one album of early 70s hard rock in the style of BTO or April Wine, and played just as well. From the ashes of 'Painter', 'Hammersmith' evolved, and followed the same heavy rock formula. The band went through a few personnel changes, and as people came and went, Mike Reno joined the band for a spell after leaving 'Scruballoe Caine', and prior to his days in 'Moxy' or 'Loverboy'. Hammersmith made two albums, then split up. This LP is the better of the two. In 1982, Danny Lowe experienced what he called "an industrial accident" while placing 14 microphones in a sound studio. In playing back the recording made that day, he discovered he had inadvertently created an auditory illusion that he was surrounded by sound. The effect resembled how the human ear actually hears. Over the next eight years, he and electro-technician John Lees worked together to fine-tune the system. In 1986, the pair formed a partnership with Larry Ryckman, a former Calgary real estate developer, and formed Archer Communications Inc. QSound was patented in 1990, and the recording system was quickly embraced by music artists such as Sting, Madonna, INXS, Pink Floyd, Kate Bush, Paula Abdul, Julian Lennon, Wilson Phillips and Luther Vandross. Doran Beattie went on to have somewhat of a succesful country music career! There's a quick history lesson on some good 'ol local boys!