Here's another of those 1976 Give Us A Wink Tour SBDs...This one was released, through the Sweet International Fan Club, I think(?)
Can't really remember - BUT I'm sure someone will fill us in... Anyway, you'll want this one IF you're a SWEET Fan... It sounds much better than most of the other '76 Boots from the "Give Us a Wink" Tour. Standard setlist OR in my Wife's Translation - "It's Got the Same Songs as That Other one you Got!"
Yes, Dear but there's different sound qualities, and the audience's were different, and... She quit listenin' at the "Yes" and didn't even hear the "Dear." The fact that she was right was ALL she needed to hear!
Anyway, download below @ 192 mp3 and Don't tell the Wife...
Arguably one of the last classic rock albums of the "Golden Era" (1955-1980), this was a reissue worth waiting for in spades!
The one official recording by Rockpile, Nick Lowe, Dave Edmunds, Billy Bremmer and Terry Williams, this 1980 release has been in my fave albums pile ever since it came out. Had this foursome not been bar and band mates for each other before "Seconds Of Pleasure," this platter would have been trumped as a supergroup. Edmunds and Williams had already been well established as far back as the sixties with hits, Lowe would be in the history books if only that he released Stiff Records' first single. That Lowe's albums ("Pure Pop For Now People," "Labour of Lust") and as well as Edmunds' solos ("Repeat When Necessary," "Trax On Wax 4") not already given them stature among the cognoscenti, their contributions to the sound of the period as individual producers would.
After all, between the two of them, they should be in the Rock and Roll Hall of Fame for their production library. Edmunds for Stray Cats, kd lang, Fabulous Thunderbirds and (fer crying out loud) Foghat; Lowe for Elvis Costello, Graham Parker, Pretenders, and John Hiatt all but sealing their rep as a pair of men that made a decade sound the way it did. Yet for all that star power, when it came time to record a proper album as a group, Rockpile made it sound like no sweat.
"Seconds Of Pleasure" took all things great about basic bar band rock and made it sound fresh. It was almost as if they came at you with the credo that anything that they couldn't make sound as simplistic as a Chuck Berry riff or Everly Brothers' harmony wasn't worth the tape it took. To that end, the band cribbed from the best, covering a pair of classics (Berry's "Oh What A Thrill" and Joe Tex's "If Sugar was as Sweet as You"), then surrounding them with originals that were every bit as perfect ("Teacher Teacher" and "When I Write The Book"). They were even so hot a band that Billy Bremmer got the lead vocal on what should have been a classic single, the bouncy "Heart."
Albums this effortless sounding are rare jewels. If you're an aficionado of this style of buoyant rock n roll / Brit Pub rock, "Seconds Of Pleasure" is absolutely indispensable. The addition of the original album's bonus EP, "Nick and Dave Sing The Everly Brothers," two unreleased live cuts and "Crawling From The Wreckage" from the "Concerts of Kampuchea" make this platter even better.
"Seconds of Pleasure" now translates into hours of pure listening pleasure! Gitit!
Teacher Teacher If Sugar Was As Sweet As You Heart Now And Always A Knife And A Fork Play That Fast Thing(One More Time) Wrong Again(Let's Face It) Pet You And Hold You Oh What A Thrill When I Write The Book Fool Too Long You Ain't Nothin' But Fine Take A Message To Mary Crying In The Rain Poor Jenny When Will I Be Loved Back To School Days(live) They Called It Rock(live) Crawling From The Wreckage(live)
Good morning boys and girls. Well, I just got myself the new remastered and expanded version of Led Zeppelin's "The Song Remains The Same", ran home with it, popped it in the stereo full of anticipation. It was the biggest deception since I got the real story about Santa!
As soon as it started I knew we were in for trouble...Rock & Roll started...It was the film version, not the old soundtrack album version, but we soldiered on thru it, No Quarter is again the film version (butchered to death, guitar solo sliced and diced...that wonderful crescendo gone!..full 2 minutes shorter!!!) ditto for Dazed And Confused...And people what happened to the whistle in Stairway To Heaven... I grew up with this album... that whistle is part of my youth!!! And by the way... what the fraq is that flanger on Moby Dick?
Plus points... Over The Hills And Far Away, Heartbreaker and The Ocean...That's ear candy, and then again why did they stick The Ocean at the end of disc one instead of leaving it where it belongs as an encore... I guess this new remastered edition will be great if you are new to Led Zeppelin, and by all means it sounds great!, but if you grew up with the original vinyl version and you can air guitar that No Quarter solo note by note, no let me rephrase that... If you can air guitar that whole original album note by note (and even worse if you are an anal retentive collector of Zeppelin live recordings like I am) then the new remastered and expanded The Song Remains The Same will be a painful affair. One last piece of advise... do not throw that old version away!
Now that I'm done beeing an grumpy old man, here are for you the 3 nites at the Gardes... And if you want to do some interesting reading regarding how these 3 nites ended up as the original soundtrack of The Song Remains The Same, go here: http://www.thegardentapes.co.uk/
Led Zeppelin 1973-07-27 Madison Square Garden New York NY
Volume 1 - Discs 1 and 2
01. The Rain Song 02. Dazed And Confused 03. Stairway To Heaven 04. Moby Dick 05. Heartbreaker 06. Whole Lotta Love (medley) 07. The Ocean
Led Zeppelin1973-07-28 Madison Square Garden New York NY
Volume 2 - Discs 1, 2 and 3.
01. Rock And Roll 02. Celebration Day 03. Black Dog 04. Over The Hills And Far Away 05. Misty Mountain Hop 06. Since I've Been Loving You 07. No Quarter 08. The Song Remains the Same 09. The Rain Song 10. Dazed And Confused 11. Stairway To Heaven 12. Moby Dick 13. Heartbreaker 14. Whole Lotta Love (medley) 15. The Ocean
Led Zeppelin 1973-07-29 Madison Square Garden New York NY
Volume 3 - Discs 1, 2 and 3.
01. Rock And Roll 02. Celebration Day 03. Black Dog 04. Over The Hills And Far Away 05. Misty Mountain Hop 06. Since I've Been Loving You 07. No Quarter 08. The Song Remains the Same 09. The Rain Song 10. Dazed And Confused 11. Stairway To Heaven 12. Moby Dick 13. Heartbreaker 14. Whole Lotta Love (medley) 15. The Ocean 16. Thank You
This version of The Pretty Things from 1974 Includes the guitarist who toured with Marc Bolan & T. Rex, too! He didn't record any Studio Tracks with either band - I Think (?).
Jack Green (born 12 March 1951, Glasgow, Scotland) is a Scottish musician.Green played with T. Rex between 1973 and 1974, then with The Pretty Things between 1974 and 1976. He launched a solo career with the album, Humanesque in 1980, followed by Reverse Logic in 1981, Mystique in 1983 and Latest Game in 1986.
Green is now living in Ryde, Isle of Wight, where he teaches guitar, and has his own small film production company.
This is Classic Rock with a touch of 60s Garage Rock thrown in! A very different band than the one that recorded the S.F. Sorrow Record... This is them performing for the BBC in London... It's called London Live Torpedo, because they were touring in support of their "Silk Torpedo" LP at the time...which I altered the artwork to create these new covers! Again thanx to Rocket. Get it now at 192 mp3.
"Didn't Wanna See No JohnWayne/Kung Fu Movie, Anyway!"
One of my Favorite Bands from the 70s - STARZ! Classic Hard Rock at its Best! This is a Live Compilation Put together by Metal Blade Records years ago, and is Now Seriously Out-Of-Print...
Too many Great Songs to Talk About... "Cherry Baby" has got to be one of the Most Perfect Pop Songs Ever! IF you liked the Raspberries, you'll probably get into Starz, too! They're a little heavier sounding, but they mix pop & hard rock very well!
"Cool One" is a Hilarious song about a hot & heavy date at the movies...(She reached over and squeezed on my rocks, I lost it all in the Popcorn Box...) "Subway Terror" is a mean & grimy look at the possible dangers of subway rides... "Pull The Plug" is a timely & controversial look at ending Life Support... Anyway, It's Great Rockin' Music with Interesting Lyrics - NOT Your Average Band! Get It Below @ 192 kbps mp3.
One of the most underrated rockers of the 1960s, Johnny Rivers was a guy who served up the big beat strong and simple — on most of his best records, he set up at the Whisky A Go-Go in L.A. with a crack rhythm section and rolled tape as he let rip on a set of classic R&B tunes and pop hits, with his sturdy but passionate voice and no-nonsense guitar work doing the talking. And I Know You Wanna Dance was Rivers' fourth live album, and if it sometimes sounds like the work of a bar band, in this context that's a compliment — Rivers was a guy who played to rock the party, and if he's playing what the audience wants to hear on this disc, he also did it very well indeed, and his covers of "Uptight (Everything's Alright)," "Every Day I Have to Cry," "Respect," and "You've Lost That Lovin' Feelin'" are potent blue-eyed soul with lots of feeling and no unnecessary fuss. Rivers could also dig deeper into the blues bag when he felt like it, and while "The Snake" and "Foolkiller" are uptempo rockers, their tough roots shine through bright and clear. Rivers' sharp, efficient lead guitar is on point throughout the album, and his bandmembers — including Mickey Jones on drums and Larry Knechtel on keys — are tight and tasty without getting in the way. Johnny Rivers may not have been the hippest guy on the charts, but he played real-deal rock & roll the way it was meant to sound, and And I Know You Wanna Dance is a lot more fun to listen to than a lot of other albums with much higher hipster cred. Dig this cool vinyl rip and sway to the sweet sounds. Play loud.
01-The Snake 02-I Can't Help Myself (Sugar Pie Honey Bunch) 03-You Must Believe 04-Uptight (Everything's Alright) 05-Respect 06-In The Midnight Hour 07-Secret Agent Man (From the CBS TV Show 'Secret Agent') 08-Every Day I Have To Cry 09-You've Lost That Lovin' Feelin' 10-Foolkiller 11-Run For Your Life 12-You Dig
Mothership-- a collection of 24 of Led Zeppelin's "greatest hits," remastered and selected by the band's three remaining members (Page, as well as Robert Plant and John Paul Jones)-- might be conceptually flawed, but it's hard to argue against songs as indisputably great as these. Mothership is not the first time Page has participated in the distillation of his own work: In 1990, a decade after John Bonham downed his last shot of vodka, Page curated an eponymous boxset (known, in fan parlance, as Crop Circles) which saw their eight-album discography distilled to four perfect CDs. And in 2002, Atlantic released Early Days and Latter Days: Volumes 1 and 2 (each previously available as a single purchase, in 1999 and 2000, respectively), a Page-condoned collection of 23 tracks which awesomely featured all four members of Led Zeppelin on the cover, dressed in giant American space suits and perched casually in front of an illustrated moonscape. Early Days and Latter Days has a tracklist similar to Mothership (the latter adds "D'yer Mak'er", "Over the Hills and Far Away", "Heartbreaker", and "Ramble On", but loses "Ten Years Gone", "What Is and What Should Never Be", and "The Battle of Evermore") so, clearly, the idea of Led Zeppelin's greatest hits is contentious even for the band itself.
Fans will probably argue over Led Zeppelin's selections-- omitting "What Is and What Should Never Be" feels unforgivable-- and it seems obvious that Page, Plant, and Jones were striving hard to represent every last phase of their career: Some work from the band's crucial 1969-1975 era is sacrificed for late-career tokens like the comparably-mediocre "In The Evening" (itself a curious selection, given the relative popularity of In Through the Out Door's "Fool in the Rain", which was the band's last release to make the pop single charts). Still, content-critiquing aside, the remastering on Mothership is no small achievement, and it sounds revelatory on even the shittiest stereos. Check Bonham's pitter-pattering in the verses of "Ramble On", or the still-intact fuzz at the top of "Immigrant Song", or the tiny percussive "fwwpts" on "D'yer Mak'er", or the restored outro to "Over the Hills and Far Away". Twist your volume knob heavenward and embrace Plant's inescapable geekiness, yelping about Gollum and Mordor; chug booze and air-drum with John Bonham: Led Zeppelin sound as tremendous in 2007 as they did in 1972.Mothership offers no bonus content or previously unreleased material. It serves, mainly, as an introduction for those (presumably out of classic rock radio range) still unfamiliar with the band. Longtime fans will find little of use here, although anyone who spends a couple hours with Mothership will find themselves duly reminded that Led Zeppelin are quite possibly the finest rock band of all time.
DISC 1: 01. Good Times Bad Times 02. Communication Breakdown 03. Dazed And Confused 04. Babe I'm Gonna Leave You 05. Whole Lotta Love 06. Ramble On 07. Heartbreaker 08. Immigrant Song 09. Since I've Been Loving You 10. Rock And Roll 11. Black Dog 12. When The Levee Breaks 13. Stairway To Heaven
DISC 2: 01. Song Remains The Same 02. Over The Hills And Far Away 03. D'Yer Maker 04. No Quarter 05. Trampled Under Foot 06. Houses Of The Holy 07. Kashmir 08. Nobody's Fault But Mine 09. Achilles Last Stand 10. In The Evening 11. All My Love
A masterpiece in psychedelic soul from The Temptations -- perhaps the most perfectly realized album from their years working with Norman Whitfield! The set's awash in that bottom-heavy, rumbling funk mode that Whitfield brought to the group at the end of the 60s -- served up in bold tracks that push the group's vocals to a whole new level, and which bring in a more righteous sound than anyone might have expected previously from Motown! The centerpiece here is the amazing "Runaway Child" -- a really extended number that has all the political soul of a Curtis Mayfield tune -- and other titles include "Cloud Nine", "Don't Let Him Take Your Love From Me", "Love Is A Hurtin Thing", "I Gotta Find A Way", "I Need Your Lovin", and "I Heard It Through the Grapevine". An all time classic from one of the best black groups ever!
Tracks A1 Cloud Nine
A2 I Heard it Through the Grapevine
A3 Runaway Child, Running Wild
B1 Love Is a Hurtin' Thing
B2 Hey Girl (I Like Your Style)
B3 Why Did She Have to Leave Me (Why Did She Have to Go)
B4 I Need Your Lovin'
B5 Don't Let Him Take Your Love From Me
B6 I Gotta Find a Way (To Get You Back)
B7 Gonna Keep on Tryin' Till I Win Your Love
Reviews:
#1
In Febuary of 1969 the Temptations released Cloud Nine and many people thought what happened to the old Tempts. Well after seeing Sly Stone & the Family Stone having so much success Norman Whitfield in his third album at the helm of the producers chair fo the Tempts decided it was time for change. The first half on the original vinyl version consist of only 3 song which basically carries the whole album. The title track is one of the funkiest songs ever laid to wax with it's wah-wah guitars and the Tempts voices flowing through the sons, but the best song here is the 9 plus minute version of "Runaway Child Running Wild". The song will by far blow you away with new lead singer Dennis Edwards dynamic vocal performance. The rythm arrangement of this song is brilliant and Funk Brothers really get down and dirty on this one. Definitely the funkiest song of the 60's. Side two on the original vinyl is back to business as usual with the Tempts apparently not ready to completly give total control to Whitfields newly refined production style. Overall great album for the first 3 songs on the album which also consist of putting a different twist on a cover version of "I Heard It Through The Grapevine" which was also done by Gladys Knight & the Pips and Marvin Gaye respectively. Although the second side is mostly ballads there's still stong vocal performances by Eddie Kendricks and Paul Williams, with most of the leads going to Dennis. A must have for soul music lovers and Temptations fans alike.
Reviews
#2
Best known for their silky soul vocals and smooth-stepping routines, the Temptations were firmly entrenched as the undisputed kings of Barry Gordy's Motown stable when cutting-edge producer Norman Whitfield walked into the studio and announced that it was time to shake things up. The resulting freakout became the first half of the stellar Cloud Nine, an album that would become one of the defining early funk sets, with songs that not only took Motown in a new direction, but helped to shape a genre as well. On one side and across three jams, Whitfield and the Temptations would give '70s-era funk musicians a broad palette from which to draw inspiration. The title track, with its funky soul bordering on psychedelic frenzy, was an audacious album opener, and surely gave older fans a moment's pause. Only two more songs rounded out side one: an incredibly fresh take on "I Heard It Through the Grapevine," which jazzed up the vocals, brought compelling percussion to the fore, and relegated the piano well into the wings, and "Run Away Child, Running Wild," an extravagant nine-minute groove where the sonics easily surpassed the vocals. After shaking up the record-buying public with these three masterpieces, the Temptations brought things back to form for side two. Here, their gorgeous vocals dominated slick arrangements across seven tracks which included "Hey Girl" and the masterful "I Need Your Lovin'." Funk continued to percolate — albeit subtly — but compared to side one, it was Temptations business as usual. It was this return to the classic sound, however, which ultimately gave Cloud Nine its odd dynamic. The dichotomy of form between old and new between sides doesn't allow for a continuous gel. But the brash experimentation away from traditional Motown on the three seminal tracks which open the disc shattered the doorway between past and present as surely as the decade itself imploded and smooth soul gave way to blistering funk.
Q (10/99, p.161) - Included in Q Magazine's Best Motown Records Of All Time - "...socially concerned, aggressive and bordering on psychedelic. CLOUD NINE was deemed 'too progressive'....The result still sounds fresh and immediate 30-odd years on."
CLOUD NINE is a document of American soul music in transition. Thank you to Nikos!!
Along with the Shirelles and the Ronettes, the Shangri-Las were among the greatest girl groups; if judged solely on the basis of attitude, they were the greatest of them all. They combined an innocent adolescent charm with more than a hint of darkness, singing about dead bikers, teenage runaways, and doomed love affairs as well as ebullient high-school crushes. These could be delivered with either infectious, handclapping harmonies or melodramatic, almost operatic recitatives that were contrived but utterly effective. Tying it all together in the studio was George 'Shadow' Morton, a mad genius of a producer who may have been second in eccentric imagination only to Phil Spector in the mid-'60s. The quality of Morton's work with the Shangri-Las on Jerry Leiber and Mike Stoller's Red Bird label (with assistance from Jeff Barry and Artie Butler) was remarkable considering that he had virtually no prior experience in the music business. With his 'Remember (Walkin' in the Sand)' the Shangri-Las made the Top Five in late 1964. The group's material, so over-the-top emotionally that it sometimes bordered on camp, was lightened by the first-class production, which embroidered the tracks with punchy brass, weeping strings, and plenty of imaginative sound effects. Nowhere was this more apparent than on 'Leader of the Pack,' with its periodic motorcycle roars and crescendo of crashing glass. The death-rock classic became the Shangri-Las' signature tune, reaching number one. This is the tracklisting for the 2006 compilation which has since gone out of print. Sob.
Remember (Walkin' In The Sand) [stereo] (1964 US#5) It's Easier To Cry Leader Of The Pack [stereo] (1964 US#1) What Is Love Give Him A Great Big Kiss [stereo] (1965 US#18) Out In The Streets (1965 US#53) The Boy Give Us Your Blessings Heaven Only Knows [stereo] Right Now And Not Later (1965 US#99) The Train From Kansas City [stereo] Never Again I'm Blue What's A Girl Supposed To Do The Dum Dum Ditty You Cheated, You Lied I Can Never Go Home Anymore [stereo] (1965 US#6) Bull Dog Long Live Our Love (1966 US#33) Sophisticated Boom Boom He Cried (1966 US#65) Dressed In Black Past, Present And Future (1966 US#59) Love You More Than Yesterday Paradise Give Him A Great Big Kiss (alt. version) [stereo] Simon Says Simon Speaks Radio spot #1 Revlon: How pretty can you get? Radio spot #2 Revlon: Natural wonder Radio spot #3 Good taste tip: Gift receiving Radio spot #4 Good taste tip: Dating courtesy http://rapidshare.com/files/53623004/0709SHANGRILAS.zip
United was the first of Marvin Gaye and Tammi Terrell's three LPs, and quite possibly the best of the lot. Harvey Fuqua and Johnny Bristol handled the productions and gave the photogenic duo a slightly harder edge than subsequent productions by Valerie Simpson and Nicholas Ashford. Three blockbusters "Ain't No Mountain High Enough," "If I Could Build My World Around You," and "Your Precious Love" propelled the album to #29 on the pop charts, the highest rating of any of the duo's LPs. Plus, you had treats like "Little Ole Boy, Little Ole Girl," a remake of Loe and Joe's little-known release on Fuqua's Harvey Records in 1962. "Two Can Have a Party" grooves from start to finish and could have been the fourth hit, but Motown thought otherwise. I like the duo's rendition of "Hold Me Oh My Darling," a song Tammi first recorded on her solo album; the stuttering chorus and bass backing voice makes it unique. You won't find two better ballads than "Give a Little Love" or the often-recorded "If This World Were Mine"; written by Marvin Gaye, the starry-eyed proclamation has become an R&B standard, and rightfully so.
Marvin Gaye & Tammi Terrell - You're All I Need (1968)
You're All I Need equals the debut of Marvin Gaye & Tammi Terrell in every way except chart position and newness. It reached #60 Pop. a good showing but 31 rungs lower than United, their debut. It includes arguably their finest recording, "You're All I Need to Get By," a testament to their singing skills and the writing/producing talents of Nicholas Ashford & Valerie Simpson and "Ain't Nothing Like the Real Thing" is no slouch either. The urgent "Keep on Lovin' Me Honey" is the lesser of three single releases, but a quality cut just the same, thanks in part to the twang in Tammi's voice on the uptempo pleader. Johnny (Bristol) and Jackie (Beaver's) "Baby Dontcha Worry" gets an update; Johnny & Jackie first recorded the chugger on Harvey Fuqua's Tri Phi label in 1962. As on all three releases, Marvin and Tammi perform one of Tammi's solo cuts; in this case, "Come On and See Me" takes a back seat to the original. "Memory Chest," an overlooked number, is one of their most charming ballads.
01 Ain't Nothing But The Real Thing 02 Keep On Lovin' Me Honey 03 You're All I Need To Get By 04 Baby Don't Cha Worry 05 You Ain't Livin' Till You're Lovin' 06 Give In, You Just Can't Win 07 When Love Comes Knocking At My Heart 08 Come On And See Me 09 I Can't Help But Love You 10 That's How It Is (Since You've Been Gone) 11 I'll Never Stop Loving You Baby 12 Memory Chest
Tammi Terrell was born Thomasina Montgomery in Philadelphia on April 29, 1945, after winning a number of local talent contests, by the age of 13 she was regularly opening club dates for acts including Gary "U.S." Bonds and Patti LaBelle And the Blue Belles.
In 1961 she was discovered by producer Luther Dixon and signed to Specter/Wand Records at the age of 15 and was credited as Tammy Montgomery, she made her debut with "If You See Bill". After James Brown caught a live act, she was signed to his Try Me label, issuing "I Cried" in 1963 also touring with his live revue; "If I Would Marry You" appeared on Checker a year later, during which time she also studied Pre-Med at the University of Pennsylvania.While performing with Jerry Butler in Detroit in 1965, Tammi was spotted by Harvey Fuqua and was introduced to Berry Gordy Jr. making her label debut with "I Can't Believe You Love Me" and other songs followed with "This Old Heart of Mine" and "Come On and See Me". In 1967 Tammi Terrel was paired with Marvin Gaye who previously recorded with Mary Wells and Kim Weston. His chemistry with Tammi was immediate, and in 1967 they enterted the pop charts with the magnificent songs "Ain't No Mountain High Enough", and "Your Precious Love." Later in 1967, Tammi Terrell begin to have severe migraine headaches and she collapsed in Gaye's arms while in concert at Virginia's Hampton-Sydney University, she was rushed to the hospital and was diagnosed with a brain tumor.
Although the tumor forced Tammi to retire from performing live, she continued to record with Marvin Gaye and her own album "Irresistible" in 1968. In 1969, Tammi’s health was begining to decline and she was unable to finish with the third duet album, Valerie Simpson sang on most of the recordings on the "Easy" album. In all, Tammi endured eight operations, ultimately resulting in loss of memory and partial paralysis, she passed away on March 16, 1970. Her burial service attracted thousands of mourners and many of her Motown Colleagues attended.
Premise: when I bought Rolling Stones records and tapes in the 1980s, as an adolescent, I only rarely happened to stumble upon Bootlegs. Most of their quality was poor, and it was very expensive to procure even a few of them. Now I see many things have changed. I have been able to download more than 20 Bootlegs in a few days (mid Dec. 2006) and I must say some of them are impressive.
Few will disagree on that the faithful core of RS music was 1968-1974, the period in which they had dismissed the nearly ridiculous habit of early sixties music style (I do find early RS more outdated and less original than early Beatles) and they hadn't yet run out of the qualitative, blues and crossover freshenss of that time, lost later in more commercial (pop-dance) contaminations which spoiled at least some songs in the next years LPs...
There are GREAT unofficial recordings available for the period 1969-74, and with this I mean that both the music quality and the recording quality is at standard if not better levels than on contemporary CDs. There are very good LIVES (the famous "Brussels Affair"/"The Lost Brussels", Oct. 17, 1973 is probably the best, if we also want to consider recording quality), but I mean to focus on Studio Outtakes here...
Try to procure (easy in mp3) these recordings: "Itchy Fingers", "Sticky Fingers. The Alternate Album", "Tricky Fingers and Slicky Ringers", with some different versions of great songs like Brown Sugar, Wild Horses... (some mono and badly recorded, other perfect, different mixes with different solos, without lead guitars or wit h lead gtr instead of voice...).
"Main Street Revisited" has also some jewels, and rec. is very good with enlarged sound dynamic range, while "It's Only Rock n Roll Outtakes", "Acetates" (1970.1974) and the splendid "It's Only Goat's Head Soup..." have unreleased tracks, different mixes, longer versions of 1972-1974 songs. The latter is a monumental album, sounds much better than the original G.H.S. and has the following tracks
IT's ONLY GOAT'S HEAD SOUP ... BUT WE LIKE IT
01.It's Only Rock 'n' Roll (rough mix)
02.Ain't Too Proud To Beg (alternate mix)
03.Winter (alt. mix)
04.Silver Train (alt. mix)
05.Drift Away (unreleased song)
06.Time Waits For No One (long version)
07.Criss-Cross Man )unreleased song)
08.Through The Lonely Nights (1974 b-side only)
09.Living In The Heart Of Love (unreleased song)
10.Too Many Cooks (unreleased Mick Jagger solo-single)
11.Angie (rough mix without reverb & 2nd keyboard overdub)
12.Dance Little Sister (alt. mix)
13.Till The Next Goodbye (alt. mix)
14.If You Can't Rock Me (alt. mix)
15.Fingerprint File (alt.longer mix)
This 'bootleg' comprehends studio sessions of both It's Only Rock n Roll and Goat's Head Soup. I don't know who made these mixes but after a few listens they sound great (no overdub. or repetitions), and in many cases the songs frankly quite overshadow the official versions!
Without magic, there is no art. Without art, there is no idealism. Without idealism, there is no integrity. Without integrity, there is nothing but production.
Posting:
Peace, love and good music. Period.
Beefheart
Disclaimer:
All links are up for a limited time and are for sampling purposes only , you must legally delete all tracks after 24 hours . And if you like the music buy it . Please support the artist and buy their work.
