Bob Seger - Early Singles - By Request!

By special request - here is a treasure trove of early Bob Seger not to be found anywhere else. For some weird reason, Bob won't release his early stuff. Its a crime!!!!

And how about that drum kit!

Seger began his musical career in 1961 in Detroit as a member of The Decibels, where he first met his future manager and record producer, Punch Andrews. Seger returned to Ann Arbor where he played with The Town Cryers and then Doug Brown and the Omens. With them, he released his first single in 1965 for the local Hideout Records label. In 1966 Seger sang on Doug Brown and the Omens' parody of Barry Sadler's song "Ballad of the Green Berets" which was re-titled "Ballad of the Yellow Beret" and mocked draft dodgers. Soon after its release Sadler and his record label threatened Brown and his band with a lawsuit and the recording was withdrawn from the market.

In 1966 Seger left Brown's group but retained him as a producer. As Bob Seger and the Last Heard, Seger had his first big Detroit hit with "East Side Story", which sold 50,000 copies, mostly in the Detroit area and led to a contract with Cameo-Parkway Records. Another of Seger's biggest early hit singles locally was "Heavy Music" in 1967, which sold even more copies and had potential to break out nationally when Cameo-Parkway went out of business . Nevertheless, "Heavy Music" would stay in his live act for many years to come.

During these early Detroit years, Seger also acted as producer for the local band The Mushrooms. He became (and remained) friendly with the band's leader Glenn Frey, who would later become one of the founding members of the Eagles.

In 1968, Bob Seger signed with major label Capitol Records and formed The Bob Seger System. This group was essentially a Michigan proto-punk band not unlike the SRC or The Frost. Their first single was the anti-war message song "2+2=?", which reflected a marked change in Seger's political attitudes from "The Ballad of the Yellow Beret". The single was again a hit in Detroit but went unnoticed almost everywhere else.

The second single from The Bob Seger System was "Ramblin' Gamblin' Man". Predictably it was a smash hit in Detroit, but it also became Seger's first nationally charted hit, peaking at #17. The song's success led to the release of an album in 1969, and the Ramblin' Gamblin' Man album reached #62 on the Billboard pop albums chart.


Bo Diddley
East Side Story
Persecution Smith
Heavy Music 1
Ramblin Gamblin Man
2+2=?
Lucifer
Highway Chile
Lookin Back
Chain Smokin
Heavy Music 2
Sock it to me Santa
Florida Time
East Side Sound
Very Few
Vagrant Winter
Ballad of the Yellow Beret
Death Row
Noah
Mongrel
Tales of Lucy Blue
Ivory

http://rapidshare.com/files/169043353/bobsegerearlysingles.rar

Play loud and Enjoy!

Presenting The Fabulous Ronettes - 1964.

Presenting the Fabulous Ronettes Featuring Veronica

Studio album by The Ronettes
Released 1964
Recorded 1963-1964
Label Philles 4006
Producer Phil Spector

Presenting the Fabulous Ronettes Featuring Veronica is an album by the girl group The Ronettes, produced by Phil Spector, Philles 4006, released in 1964. It peaked at #96 on the Top Pop Albums chart.

The debut album by the group, it includes the hit singles "Be My Baby" (US #2), "Walking in the Rain" (US #23), "Baby, I Love You" (US #24), "Do I Love You?" (US #34), and "The Best Part of Breakin' Up" (US #39). The track "So Young" had been released as a single credited to Veronica, a.k.a. Ronnie Bennett, although the other Ronettes, Estelle Bennett and Nedra Talley, appear on the record.

Nine of the tracks appear on the Spector box set, the omissions being "How Does It Feel?," "Chapel of Love," and the Ray Charles cover. The album is long out of print, as of June of 2007 never having been issued on compact disc. Original vinyl copies change hands for hundreds of dollars.

There has been, however, a re-issue on vinyl in 1975 on the Phil Spector International label (Super 2307 003). Featuring no bonus-tracks and extensive liner notes by New Musical Express author Roy Carr, it was Vol. 1 of the six volume "Phil Spector Wall Of Sound" re-issue series.

The song "Walking In The Rain" is ranked #266 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time.


Track listing

Side One
"(Walking) In The Rain" (Cynthia Weil, Barry Mann, Phil Spector) - 3:16
"Do I Love You?" (Vini Poncia, Pete Andreoli, Phil Spector) - 2:50
"So Young" (William Tyus) - 2:36
"(The Best Part Of) Breakin' Up" (Vini Poncia, Pete Andreoli, Phil Spector) - 3:02
"I Wonder" (Ellie Greenwich, Jeff Barry, Phil Spector) - 2:51
"What'd I Say?" (Ray Charles) - 4:40

Side Two
"Be My Baby" (Ellie Greenwich, Jeff Barry, Phil Spector) - 2:40
"You, Baby" (Cynthia Weil, Barry Mann, Phil Spector) - 2:56
"Baby, I Love You" (Ellie Greenwich, Jeff Barry, Phil Spector) - 2:50
"How Does It Feel?" (Vini Poncia, Pete Andreoli, Phil Spector) - 2:40
"When I Saw You" (Phil Spector) - 2:43
"Chapel Of Love" (Ellie Greenwich, Jeff Barry, Phil Spector)

http://www.mediafire.com/?1cfydyyxyyx

Being Thankful.

A success poem to remind us how being thankful for even the not so good things has tremendous value.

BE THANKFUL
By Author Unknown

Be thankful that you don't already have everything you desire.
If you did, what would there be to look forward to?
Be thankful when you don't know something,
for it gives you the opportunity to learn.

Be thankful for the difficult times.
During those times you grow.
Be thankful for your limitations,
because they give you opportunities for improvement.
Be thankful for each new challenge,
because it will build your strength and character.

Be thankful for your mistakes. They will teach you valuable lessons.
Be thankful when you're tired and weary,
because it means you've made a difference.

It's easy to be thankful for the good things.
A life of rich fulfillment comes to those who are also thankful for the setbacks.
Gratitude can turn a negative into a positive.
Find a way to be thankful for your troubles,
and they can become your blessings.

Garrett Lund - Almost Grown - 1975.

Little known US acid psych killer from 1975 that's somewhere between Kak, Quicksilver and Bob Smith. Fantastic guitar work that swoops and rings like the best Gary Yoder or John Cipploina and a breathtaking production that utilizes orchestration to add to the atmospherics. "First reissue (from the mastertape) of this lost Westcoast monster rarity with the blend of those early S.F. bands like Tripsicord Music Box, Quicksilver Messenger Service, Kak, etc.

There is a fantastic songwriting with a cosmic timeless feeling. Garrett's falsetto voice and singing is beyond words and the guitar leaves you crying on the right or wrong day. Cover artwork is one of the best artistic statements ever made for a record -- an angel mother breastfeeding a baby in cosmic space, the losing milk drops from her breast are forming a milky way. CD release contains 5 bonustracks and bio of Garrett." Highly recommended. Thanks Chris!!

01. The Only Turnaround
02. Serene
03. Silver Sails
04. One More Reason
05. Think Of The Children
06. Country Livin´
07. Stop The World
08. (It´s All Over Now) Baby Blue
09. Serene (Bonus - Alt. Version)
10. Never Gonna Take It Slow (Bonus)
11. Over And Under (Bonus)
12. Reflections On Earth (Bonus)
13. Bonny (Bonus)

http://rapidshare.com/files/167483225/Garrett_Lund.rar

Led Zeppelin - Dragon Snake - Houston 1977. SBD @ 320kbps!

This soundboard is from The Summit, in Houston Texas 5-21-77. Zep's performance is a scorcher and the sound quality is fantastic. According to the booklet, "some think this might have been from a video feed rather than the mixing desk but either way it's great quality". They got that right. All I know is that this one hasn't strayed far from my stereo since I got it. I hope you enjoy it as well.

All artwork is included and all tracks are ripped at 320kbs.

Track list:

Disc 1

01 - The Song Remains The Same
02 - Sick Again
03 - Nobody's Fault But Mine
04 - In My Time of Dying
05 - Since I've Been Loving You
06 - No Quarter

Disc 2

01 - Ten Years Gone
02 - The Battle of Evermore
03 - Going to California
04 - Black Country Women
05 - Bron-Y-Aur Stomp
06 - White Summer-Black Mountain Side
07 - Kashmir

Disc 3

01 - Out On The Tiles-Moby Dick
02 - Guitar Solo
03 - Achilles Last Stand
04 - Stairway to Heaven
05 - Rock and Roll
06 - Trampled Under Foot

http://rapidshare.com/files/89198630/dino546.part1.rar
http://rapidshare.com/files/89227493/dino546.part2.rar
http://rapidshare.com/files/89232638/dino546.part3.rar
http://rapidshare.com/files/89239611/dino546.part4.rar
http://rapidshare.com/files/89241824/dino546.part5.rar

p/w: sparkyibew

Thanks to Dino's Tunz

Best Zeppelin Boots Ever?

TEXAS POP 69 great audience
01-11-69 SAN FRAN Fillmore west awesome ("Listen to this Luis")
WEST ALLIS Wisconsin state fair 69 great audience("Stroll On")
TIVOLI GARDENS 70 SB/ AUD
PARIS 71 SB ("1st April, A Paris Affair")
CHARLOTTE 6-9-72 great audience
Mobile, Alabama 73 - SB ("GOING MOBILE ")
NEW ORLEANS 73 SB
BATON ROUGE 73 SB
Chicago 73 SB ("Tribute to Johnny Kidd")
Earl's Court 5-24-75 SB
NY 2-12-75 ("Flying Circus")
San Diego 3-14-75 ("Conspiracy Theory")
L.A. 6-23-77 great audience ("FOR BADGEHOLDERS ONLY")***** freaking awesome!!!!
DALLAS 3-4 and 3-5-75 SB
Cleveland 77 - SB ("Destroyer")
LANDOVER 5-26-77 SB
Houston 77 ("Dragon Snake")
Europe 1980 Tour Compilation SB ("TOUR OVER EUROPE 80")

The 10 Best Clash Shows EVER!

see also Chris Knowles Essential Clash Boootlkeg Guide for a similar review...

On my neverending quest to make the ultimate Clash live set mixed cdr, I've decided to make a list of their greatest shows based off of pure listening experience, not historical relevance (eg 9/76 Roundhouse for example is omitted). This is from the seventy or so shows that I've listened to over the last years or so and there aren't really too many surprises for those familiar with black market clash.

1. 5/24/80 Scandinavium- Thrilling, energetic, and funny from start to finish. Joe ad libs on pretty much every song, the tempos are accelerated, and the performances are top notch all around. There is even a once performed special treat of an embryonic Charlie Don’t Surf which sounds completely different from anything The Clash ever did, live or studio. The first ten seconds of Clash City Rockers says it all.
2. 2/13/79 Cleveland- One of the few great performances caught and preserved on soundboard and it’s a doozy. The special treat for me are the encores which captures the band at its most furious (which says a lot). Oh and Joe’s intro to Police and Thieves is pretty much the greatest thing ever.


3. 5/21/81 Milan- An uncharacteristically energetic show from this very Sandinista show. Joe is in manic mode throughout, pushing Clampdown to unprecedented heights. Bonus points for being one of the best sounding audience recordings of those times.


4. 6/1/80 Bologna- Skip the first eight or so songs when Topper is MIA and a rich man’s Terry is filling in (excuse the ubiquitous Terry pot shot). This is a lesser version of the Scandinavium show which means it’s a freaking great show. It starts off safe and unsure and by the end it has devolved (evolved?) to a sloppy manic, incredible frenzy with Joe singing and Mick playing with little sense of “right and wrong” notes. There is almost a sense of that if they slow down, they’d die. Or at least get caught. Highlights are Joe and Mick alternately shouting “Murder!” at the end of Somebody (something they inexplicably never did on any other version I’ve heard) and a frightening, atonal beautiful mess of an Armagideon Time.

5. 1/24/82 Shibuya Kohkaido- With an overwhelmingly exuberant crowd, The Clash were clearly enjoying themselves on this one. The energy that they were able to leach from the crowd is quite evident in the 1-2-3 punch of Somebody, Clampdown, and the loosest structured Radio Clash known to man. Also props for containing an Ivan that I can not only listen to, but enjoy.


6. 6/17/80 Hammersmith Palais- The grand finale of their greatest tour. Mikey Dread may have tamed the Armagideon Time nightmare a touch, but his input on Jumping Master is essential and makes this show special. Although Mickey Gallagher’s keys nearly ruin the psychotic London’s Burning, his flourishes on the newer material add a pleasant 4th dimension. Add some rarities and you get a great, entirely unique show.


7. 1/3/79 Lyceum – This is a tamer version of the Cleveland show that would happen a month later. Nevertheless, the band is firing on all cylinders and the playing is tight and intense. Joe yells until his voice is gone and then he keeps yelling for the remaining half of the show. Bonus points for being a dandy soundboard with some hot footage for Rude Boy


8. 5/8/77 Manchester- 1977 in a bottle (or cd). The sound quality is subpar, but the performance smokes with the band playing at 110% fury. Cardiff may have great sound quality, but lord it doesn’t have White Riot or Janie Jones. Speaking of, I challenge anyone to find a faster White Riot.


9. 5/19/83 Wichita Falls- This show earns the award for the most unique setlist and comes in a very clear audience recording to boot. Don’t mind the guy near the mic that has no sense of rhythm in his clapping. Instead, focus on wunderkind Pete Howard and obscure tracks performed brilliantly like “Sound of Sinners”, “Death or Glory” and a great “Lost in the Supermarket” and a Joe in good spirits. Not to mention the only (okay not really) live version of “Crooked Beat”.


10. 2/18/80 Lewisham- I was reluctant to include this show, but all six soundboard tracks (and two videos) to emerge are stellar with a well mixed Mickey on the funky organ. The audience tape is harsh, but listenable on headphones in a quiet room although the organ is a bit more in your face than on the pro mix.

Led Zeppelin - 1970-03-07 - Montreux

Led Zeppelin
1970-03-07
Montreux Casino
Montreux
Switzerland

"Intimidator"
Montreux Casino, Montreux, Switzerland
Empress Valley Supreme Disc (EVSD 72/73/74)

Source: AUD + SBD (to fill gaps)
discs 1,2 - combination of aud/sbd
disc 3 - sbd

101. We're Gonna Groove
102. I Can't Quit You Baby
103. Dazed and Confused
104. Heartbreaker
105. White Summer / Black Mountain Side
106. Since I've Been Loving You

201. Organ Solo
202. Thank You
203. What Is and What Should Never Be
204. Moby Dick
205. How Many More Times
206. Whole Lotta Love (cut after 3 minutes)

301. We're Gonna Groove
302. I Can't Quit You Baby
303. Dazed and Confused
304. White Summer
305. How Many More Times
306. Whole Lotta Love


This set comes packaged in Empress Valley's unique "long box" design case. The outer sleeve is open-ended on both sides and a heavy cardboard "tray" slides in/out. The tray has an opening carved out of the middle that the 3 discs rest in. Each disc is housed in a cream-colored paper sleeve with the Empress Valley logo printed in gold in the lower right corner. The first two discs of this three CD set contains the complete show taken from an excellent audience source. The last disc contains fragments from the soundboard. Disc one starts out at the end of the band introductions. A quick sound check follows and the boys plow right into We're Gonna Groove. The audience tape perfectly captures the atmosphere of the event and displays a stunning feeling of depth. The instruments and vocals are very well balanced with Bonzo perhaps a teenie bit low in the overall. There's a 4 second gap in the tape during We're Gonna Groove that Empress Valley plugged in with an inferior quality tape. The next tape swap is during the final minutes of White Summer. About 80 seconds of the alternate tape is used to plug the hole. When the tape swaps to the alternate source, the depth and atmosphere of the main source becomes painfully obvious. Empress Valley's way of moving from one disc to the other is as follows - Disc one fades out during the intro to the organ solo. Disc two starts off replaying several seconds of the end of disc one. I know some guys don't care for this, but I don't mind. If someone wanted to transfer the set to, say, DAT, a seamless link from disc one to disc two could be achieved. The twenty five minute version of How Many More Times is fabulous. At around the 9 minute mark as see the first appearance of the soundboard tape. It's damn near seamlessly spliced into the audience tape. The board tape is excellent quality, but pales in comparison to the audience tape as it lacks the atmosphere and feeling of depth that the audience tape has. I'm not complaining though as it fills in the remainder of the otherwise incomplete How Many More Times. This is crucial as the medley section of HMMT is fantastic! Whole Lotta Love is just a three minute fragment from the soundboard. The last disc is from the soundboard and, as previously noted, pales in comparison to the stunning audience tape. It is overpowered at times, has dropouts, muddied audio and so on. A rather pitiful soundboard tape. Either Empress Valley wanted to milk every last dime out of their customers or they simply wanted to present all available material in one package. It's not my call. This is an essential addition to any collection and I can't recommend it enough!


I added the "complete" Whole Lotta Love at the end of Disc 2 as extra track, as provided by dadgad. It clocks in at 5:29 while on Intimidator it cuts at 3:05. Replace Disc 2 track 6 with this track and you get it as complete as it's available at the moment.

http://rapidshare.com/files/164683830/19700307.part1.rar.html
http://rapidshare.com/files/164687950/19700307.part2.rar.html
http://rapidshare.com/files/164692817/19700307.part3.rar.html
http://rapidshare.com/files/164697473/19700307.part4.rar.html
http://rapidshare.com/files/164701509/19700307.part5.rar.html

Led Zeppelin - Royal Albert Hall - 1970.

Led Zeppelin
1970-01-09
Royal Albert Hall
London, England

Multitrack Recording

01. We're Gonna Groove
02. I Can't Quit You Baby
03. Dazed and Confused
04. Heartbreaker (tape runs out)
03. White Summer
05. What Is and What Should Never Be
06. Moby Dick
07. How Many More Times
08. Whole Lotta Love
09. Communication Breakdown
10. C'mon Everybody
11. Something Else
12. Bring It On Home
13. Long Tall Sally

These are the initial working tracks done by Kevin Shirley. A couple of the tracks are longer than the official release, but notable here is the near complete version of "Heartbreaker" (until the multitrack tape runs out and thus why the track was not a part of the official set) and the inclusion of some of Plant's banter. "How Many More Times" is also in its post-edited state and not as inclusive as the BBC Session-era mix from 1997, as found on EV's Lost Mixes Vol 7.

http://rapidshare.com/files/164673249/19700109.part1.rar.html
http://rapidshare.com/files/164676821/19700109.part2.rar.html
http://rapidshare.com/files/164680714/19700109.part3.rar.html

Thanks to liboriofriki!

Clark Hutchinson - Retribution - 1970.

Clark-Hutchinson's debut album had been devoted entirely to long, tiresome psychedelic guitar instrumentals with Indian and blues-rock influences. On their second record, although some of that approach was retained, they at least branched out to some degree, adding some vocals and somewhat more deranged blues-rock tangents. And guess what? It's still indulgent psychedelic hard rock, often annoyingly so, all but one of the five tracks falling into the seven- to ten-minute range. It's some of the most lunkheaded stoner rock you'll come across, and if that seems like a churlishly unfair label, it's one they bring onto themselves with the first cut, "Free to Be Stoned."

For it's here they fly their inept freak flag high, a from-the-gutter, hysterical vocal declaring against a crude blues-rock backing, "I don't wanna be good, but I don't care if I'm bad, I don't want to feel happy, but I don't care if I feel sad...I just wanna be...STONED! STONED! STONED! STONED! For the rest of my natural life!" Just the kind of guy you want to hang out with for next half-hour, huh? The attitude-over-songwriting ethos continues to rule over most of the other tracks, including a tepid ten-minute cocktail jazz instrumental, a ten-minute standard blues-rocker featuring (like "Free to Be Stoned") some of the most disagreeably half-shouted British blues-rock vocals ever laid down, and a finale ("Death, the Lover") that comes off like a particularly bad Arthur Brown imitation in its high-pitched vocal and lyrical mania. You've been warned.

01. Free to Be Stoned
02. After Hours
03. In Another Way
04. Best Suit
05. Death, the Lover

http://rapidshare.com/files/164704438/Clark_Hutchinson.rar

Thanks to Chris.

The Ramones - 1979-10-31 - Evanston (SBD)

The Ramones
1979-10-31
Cahn Auditorium
Northwestern University
Evanston, IL

Soundboard

01 Intro
02 Blitzkrieg Bob
03 Teenage Labotomy
04 Rockaway Beach
05 I Don't Want You
06 Go Mental
07 Gimme Gimme Shock Treatment
08 Rock 'N Roll High School
09 I Wanne be Sedated
10 Just Want To Have Something To You
11 She's The One
12 I'm Against It
13 Sheena Is A Punk Rocker
14 Havana Affair
15 Commando
16 Needles & Pins
17 I'm Affected
18 I Want You Around
19 Surfin' Bird
20 Cretin Hop
21 All The Way
22 California Sun
23 I Don't Want To Walk Around With You
24 Today your Love,Tomorow The World
25 Pinhead
26 Do You Wanna dance
27 Suzy Is A Headbanger
28 Let's Dance
29 Chinese Rocks
30 Judy Is A Punk
31 We're A Happy Family

I've had The Ramones on the brain this week, maybe because I've been making my way through the excellent live DVD, It's Alive: 1974-1996, that was released earlier this year. It features some classic footage of Da Brudders in their punk-pioneering heyday, including a few old TV appearances I'd only had in bootleg quality until now, and is highly recommended.

So -- and speaking of The Ramones in their heyday -- here's one of their most popular boots, a stereo soundboard recording from their show at Cahn Auditorium at Northwestern University in Evanston, Illinois on Halloween night 1979. The setlist hits the high points of their first four classic records, and even includes one song from End Of The Century, their album produced by the now-infamous Phil Spector, which at the time was about a couple of months from being released (and is still my favorite Ramones record).

And, for those of you who weren't around back in the day, these guys didn't mess around, especially on stage. 31 songs in 66 minutes. Do the math. Gabba gabba hey.

http://rapidshare.com/files/163692454/R19791031E.part1.rar.html
http://rapidshare.com/files/163692890/R19791031E.part2.rar.html

Thanks to liboriofriki!

THE DOORS DIAL IN AT THE MATRIX

Live At The Matrix is a two-Disc Collection which includes unreleased recordings of the Band playing a small club in San Francisco just weeks before "Light My Fire" made them stars.

Available November 18 from Bright Midnight Archives and Rhino. I'm looking forward to this one!

“It was early 1967, and The Doors were about to enter the consciousness of the nation. And this is the way it sounded!”
- Ray Manzarek, from the set's liner notes

Just weeks before their second single, “Light My Fire,” began its ascent to the top of the charts, The Doors played a two-night stand at The Matrix, a small San Francisco nightclub owned by the Jefferson Airplane's Marty Balin. The place was nearly empty both nights, so Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek took a rare opportunity to improvise and experiment. The 2-CD set LIVE AT THE MATRIX, the latest in the acclaimed series of previously unreleased Doors concerts from Rhino and Bright Midnight Archives, presents over two hours of music from these fabled performances, recorded on March 7 and 10, 1967,

While recent live Doors titles from Rhino and Bright Midnight have spotlighted the band's final tour before Morrison's death, LIVE AT THE MATRIX reaches back to their earliest days - and to shows that have been widely bootlegged but never officially issued. The new collection - featuring cover art by legendary San Francisco artist Stanley Mouse - was restored and meticulously mastered from first-generation tapes acquired by Elektra Records and The Doors 40 years ago. “This is probably the closest we've come to a true document of The Doors without constraints,” says Bruce Botnick, the album's producer and the band's longtime co-producer and engineer.

On Disc One, the band performs much of its self-titled 1967 debut LP, released only two months prior to the Matrix shows. Highlights include expanded versions of “The End” and “Back Door Man,” “Alabama Song (Whisky Bar),” “Break On Through (To The Other Side)” and Allen Toussaint's “Get Out Of My Life, Woman,” which has never appeared on any previous Doors albums. Disc Two offers a glimpse of the band mapping out its future, working out early versions of several songs from upcoming albums: "Crawling King Snake" (LA Woman); "Summer's Almost Gone" (Waiting For The Sun); and nearly half of the songs from The Doors' second album, Strange Days.

Rhino and Bright Midnight Archives present The Doors' LIVE AT THE MATRIX 1967, the latest installment in the band's acclaimed series of archival concert releases. This two-disc addition to the band's live canon contains two club shows witnessed by few but bootlegged by many. Restored and carefully mastered from first-generation tapes acquired by Elektra Records and The Doors 40 years ago, these historic shows never sounded better. The collection, featuring cover art by legendary San Francisco artist Stanley Mouse, will be available November 18 at all retail outlets

Where the previous three Bright Midnight Archives releases documented The Doors' final tour in 1970, LIVE AT THE MATRIX 1967 rewinds to the band's early days for a pair of shows at a San Francisco club in March 1967. Only a handful of people showed up, so Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek played for each other, exploring song arrangements and jamming on a few blues favorites. Ironically, only a few weeks after the Matrix shows, the band's second single, "Light My Fire," would make them famous, selling a million copies on its way to topping the chart during The Summer of Love. "It was early 1967 and The Doors were about to enter the consciousness of the nation. And this is the way it sounded," Manzarek writes in the album's liner notes.

In spite of the empty room, the band is fully engaged, using the time to give "The End" and "Back Door Man" extra lyrics and extended sections. "This is probably the closest we've come to a true document of The Doors without constraints," says Bruce Botnick, the album's producer and the band's longtime co-producer and engineer.

The band performs much of its self-titled debut on the first disc, including "Soul Kitchen," "Alabama Song (Whisky Bar)," and the first single, "Break On Through (To The Other Side)." Along with those early originals, the band indulges its love of the blues with Bo Diddley's "Who Do You Love," Muddy Waters' "I'm A King Bee," and Allen Toussaint's "Get Out Of My Life, Woman," which has never appeared on any previous Doors albums. The second disc offers a glimpse of the band mapping out its future, working out early versions of several songs from upcoming albums: "Crawling King Snake" (LA Woman); "Summer's Almost Gone" (Waiting For The Sun); and nearly half of the songs from The Doors' second album, Strange Days.

THE DOORS
LIVE AT THE MATRIX 1967
Track Listing

Disc One
1. "Break On Through (To The Other Side)"
2. "Soul Kitchen"
3. "Money"
4. "The Crystal Ship"
5. "Twentieth Century Fox"
6. "I'm A King Bee"
7. "Alabama Song (Whisky Bar)"
8. "Summer's Almost Gone"
9. "Light My Fire"
10. "Get Out Of My Life Woman"
11. "Back Door Man"
12. "Who Do You Love"
13. "The End"

Disc Two
1. "Unhappy Girl"
2. "Moonlight Drive"
3. "Woman Is A Devil/Rock Me"
4. "People Are Strange"
5. "Close To You"
6. "My Eyes Have Seen You"
7. "Crawling King Snake"
8. "I Can't See Your Face In My Mind"
9. "Summertime"
10. "When The Music's Over"
11. "Gloria"

Please buy this one and support the artists.

The Doors: In The Studio - Sunset Sound (Now the Complete recording) FLAC

February 25th (Tuesday), 1969
Hollywood, CA
This version has two tapes mixed into one to provide a high quality (where possible) and complete recording.
Info on the two tapes:
CD1
Version no, 1
2nd gen. cass.
all have been slightly EQ'd
all have corrected speed

CD2
Version no. 3 (RK/BB tape)
1st gen. "with Edits"

NO noise removal had been done!
(only slight EQ)

------------------------------
Track Listing Run time:71:19 (without B07-B09)
------------------------------

01. Love Me Tender => Save the whole world
02. Rock Is Dead P1
03. Woman Is A Devil
04. No impablimations...let's roll!
05. Boogie All Night Long => rap
06. No impablimations
07. Rock and Roll Woman
08. Queen of the Magazines & Madison Fragment
09. Wipe out (Ventures song)(also known as Pipeline)
10. Naked Woman (jim talking)
11. Naked Woman (jam) =>
12. Rock Me
13. Mystery train train jam (with JM Harp) => big black train
14. A little piece
15. I could not help my self
16. Rock and Roll is dead P2
17. We had some good times, but there gone!
18. The Death of Rock conclusion (JM harp)
19. final words

EXTRAS
20. Roadhouse blues vocal vamp fragment
21. seminary school (playback over bit of track)
22. talk
23. seminary school/whisky mystics...(full take)
24. Whiskey, Mystics and Men (with "petition..." intro)
(same as track before but diffrent mix)

DIFFRENT MIXES (B takes)(They are diffrent in the way they are mixed/edited. They can be used inplace of the other tracks with out creating SBEs)
25. Boogie All Night Long (not listed as a b take because it's not the same length and will create SBEs)
(same as 05 but cut out talking at the end, more 1gen pieces added and unfixed organ solo)
B 07. Rock and Roll Woman
(same as track 07 but the 2gen source was mixed to mono and put to the right and the left side of the 1gen was used for the left)
B 08. Queen of the Magazines & Madison Fragment
(same as track 08 but the 2gen source was mixed to mono and put to the right and the left side of the 1gen was used for the left)
B 09.Wipe out (Ventures song)(also known as Pipeline)
(same as track 09 but the 2gen source was mixed to mono and put to the right and the left side of the 1gen was used for the left)

All in all, this took quite a long time (about a year or so) with many an occasion of me giving up and getting p*****d off, but I am finally done with it.
I wouldn't say that this is the definitive version but I sure prefer it to what's out there, and I hope you do to.
I hope this will tide us over until (if at all) they release the full tapes.

rapidshare.com:
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http://lix.in/-396595
http://lix.in/-3aec36
http://lix.in/-2d3097

Credit to Quality Boots.

Led Zeppelin: July 24, 1977 (Last Gig Ever in the US - 2 boots combined to make 1 full show)

Oakland-Alameda County Coliseum
July 24, 1977
Sourced from two audience recordings
FLAC (original recordings)->WAV->FLAC
This is my crack at compiling a complete version of this show, which to my knowledge has yet to be done...but don't quote me on that.
Source 1 is the more familiar recording from this date, which is pretty clear and well-balanced, but plagued with cuts in at least six songs and between many numbers; source 2 is more complete, but not as clear--therefore I opted to use source 2 only to patch the missing pieces of source 1. Both recordings varied in pitch throughout, so a true "matrix" would've been extremely difficult and more of an undertaking than I was willing to tackle. The only thing of note that's really missing are the first few seconds (5-6 seconds at most) of 'The Battle of Evermore', which was missed by both tapers.
Here's a breakdown of what I did to create this version of the show:
*Pitch-corrected source 1
*Patched missing pieces of source 1 with source 2 (after matching the pitch)
*Restored the correct running order, with 'Trampled Under Foot' coming between 'Bron-Y-Aur Stomp' and 'White Summer/Black Mountain Side'--source 1 mistakenly had it after 'Kashmir'
*Evened out volume in each channel where necessary (not in too many places)
*Removed approximately one zillion semi-faint digital clicks, mostly in the right channel of source 1

DISC 1 (60:14)
1. The Song Remains the Same
2. The Rover/Sick Again
3. Nobody's Fault But Mine
4. Over the Hills and Far Away
5. Since I've Been Loving You
6. No Quarter

DISC 2 (58:17)
1. Ten Years Gone
2. The Battle of Evermore (fades in after 5-6 seconds)
3. Going to California
4. Mystery Train
5. Black Country Woman
6. Bron-Y-Aur Stomp
7. Trampled Under Foot
8. White Summer/Black Mountain Side
9. Kashmir

DISC 3 (36:09)
1. Guitar Solo
2. Achilles Last Stand
3. Stairway to Heaven
4. Whole Lotta Love
5. Rock and Roll

rapidshare.com:
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http://lix.in/-3aec18
http://lix.in/-2d3079
http://lix.in/-383084
http://lix.in/-39b725

Credit to Quality Boot.

She Talks To Rainbows EP - Ronnie Spector - 1999

This is an EP by the former lead singer of the Ronettes. It was produced by Joey Ramone and Daniel Rey and includes covers of two Ramones songs, a Beach Boys song and a Johnny Thunders song, as well as a live version of the old Ronettes song "I Wish I Never Saw the Sunshine". Ronnie can still sing, and this is a fun, albeit short, CD. Joey Ramone duets with Ronnie on "Bye Bye Baby" and contributes harmony vocals to the end of "You Can't Put Your Arms Around a Memory". Ronnie Spector fans, or Joey Ramone fans for that matter, should enjoy this CD.

Trax:
01 She Talks To Rainbows
02 Don't Worry Baby
03 You Can't Put Your Arms Around A Memory
04 Bye Bye Baby
05 I Wish I Never Saw The Sunshine
...served by Tiger Tiger...

http://www.mediafire.com/download.php?mjddqymoord

Back in 1978 when The Ramones and The Sex Pistols were all the rage, there was another punk rock group that dented the charts. Tuff Darts! Headed up by lead guitarist Jeff Salen, this cult favorite made only one album, featuring hard driving punk/pop songs. Fans have been screamin' for this one!I first became aware of this band when I was in Junior High School. It was the late 70's, folks were mainly into Disco. After seeing the Sex Pistols on Good Morning America, I was drawn into the world of Punk Rock, never to return! Now, as I near the age of 50, I'm reminded of one of my all time favorite records! Tuff Darts was a major inspiration for me in my youth (says something about me, eh?). I can still remember all the lyrics to "your love is like nuclear waste" and "rats". I got my vinyl from, believe it or not, the Columbia Record Club! Got it with Never Mind the Bollucks! Amazing! Still have it somewhere!

Tuff Darts:
Tuff Tommy Frenzy: vox / Tuff Jeff Salen: guitar / Tuff Bobby Butani: guitar / Tuff John De Salvo: bass / Tuff Johnny “Bullet” Morelli: drums

traxfromwax:
1. Rats 2. Who's Been Sleeping Here? 3. Here Comes Trouble 4. She's Dead 5. Phone Booth Man (P.B.M.) 6. (Your Love Is Like) Nuclear Waste 7. My Guitar Lies Bleeding In My Arms 8. Love & Trouble 9. Head Over Heels 10. Slash 11. Fun City 12. All For The Love Of Rock & Roll

http://rapidshare.com/files/155537818/tu81-ff08.rar
gitit! pw: rideyourpony

Bo Diddley - Selftitled (1st Album US 1958)

Size: 61.9 MB
Bitrate: 256 mp3
Artwork Included
Japan SHM-CD Remaster

For anyone who wants to play rock & roll, real rock & roll, this is one of the few records that you really need. Along with Chuck Berry, Elvis, Little Richard, Jerry Lee Lewis, Muddy Waters, B.B. King, and a few select others, Bo Diddley was one of the founders of the form — and he did it like no other. Diddley had only one real style, that being the Bo Diddley beat: a syncopated, rhythmic drive, loaded with tremolo.

There are 12 examples of it on this record, and that is about all you need. It's one of those records that, after listening to just a few cuts, will find you tapping the beats on every available surface. Diddley's guitar and vocals have a gruff feeling that recalls bluesmen such as Waters, yet he has his own style. Buttressed by drums, funky piano, and usually maracas, it's absolutely infectious.

This is one of the greatest rock sounds that you're likely to hear, and it's all on this one record, too.

01."Bo Diddley" – 2:30
02."I'm a Man" – 2:41
03."Bring It to Jerome" – 2:37
04."Before You Accuse Me" – 2:40
05."Hey! Bo Diddley" – 2:17
06."Dearest Darling" – 2:32
07."Hush Your Mouth" – 2:36
08."Say Boss Man" – 2:18
09."Diddley Daddy" (Ellas McDaniel, Harvey Fuqua) – 2:11
10."Diddy Wah Diddy" (Willie Dixon) – 2:51
11."Who Do You Love" – 2:18
12."Pretty Thing" (Ellas McDaniel, Willie Dixon) – 2:48

1. http://sharebee.com/88ba69be
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Bo Diddley - Have a Guitar, Will Travel (US 1960)

Size: 65.8 MB
Bitrate: 256 mp3
Artwork Included
Japan SHM-CD Remaster

Amazingly, Bo Diddley's third album — containing classics such as "Cops and Robbers," "Run Diddley Daddy," and "Mona (I Need You Baby)" — has only been reissued on vinyl, and even that's out of print. More than one British Invasion band learned what they needed to know about American rock & roll from the songs on this record (the Stones cut "Cops and Robbers" at their earliest recording session, and later released a killer version of "Mona," though the most interesting British version of the latter was done by an all-girl band with an attitude called the Liverbirds).

This record is every bit as raunchy as Diddley's first two albums (the guitars may even be crunchier, and the singing shows more range), and has more than enough to recommend it to collectors and fans. This is the album that began the funny cover photos on Diddley's records.

01."She's Alright"
02."Cops and Robbers" (K. Harris)
03."Run Diddley Daddy"
04."Mumblin' Guitar"
05."Mona (I Need You Baby)"
06."Say Man, Back Again"
07."Nursery Rhyme"
08."I Love You So"
09."Spanish Guitar"
10."Dancing Girl"
11."Come On Baby"

1. http://sharebee.com/87591062

Bo Diddley - Bo Diddley Is a Lover (US 1961)

Size: 60.3 MB
Bitrate: 256 mp3
Artwork Included
Japan 24-Bit remaster

There's not a bad song on this long-forgotten album; in fact, it's all good, and so little of it has been reissued that it's a crime. There are a lot of familiar moments here: Diddley slips most effectively into his "Say Man" groove on "Bo's Vacation"; plays some serious Chicago blues on "Call Me (Bo's Blues)" and makes it count; invades Chuck Berry territory by way of Howlin' Wolf on the window-rattling "Hong Kong Mississippi" (a track so riveting and funny, and so rippling in superb guitar work, it makes this album worthwhile on its own); bounces back to his signature beat on the title song, the hysterically funny autobiographical "Bo Diddley Is Loose," "Quick Draw," "Back Home," and "Not Guilty" (a song that deserves enshrinement as one of Diddley's best); and slips into a romantic groove on "You're Looking Good." Find it, buy it, and savor it.

01.Not Guilty
02.Hong Kong, Mississippi
03.You're Looking Good
04.Bo's Vacation
05.Congo
06.Bp's Blues
07.Bo Diddley Is A Lover
08.Aztec
09.Back Home
10.Bo Diddley Is Loose
11.Love Is A Secret
12.Quick Draw

1. http://sharebee.com/3781e3ce
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Bo Diddley - Bo Diddley & Company (US 1962)

Size: 62.1 MB
Bitrate: 256 mp3
Artwork Included
Japan 24-Bit Remaster

This album is almost worth owning just for the cover photo of Bo Diddley and the Duchess, aka Norma-Jean Wofford, each with their axe. What makes it really cool, though, is the music, which is among the best of Diddley's 1960s output. "Bo's a Lumberjack" is one of the most ferociously sexual and funny signature songs Diddley ever cut, "(Extra, Read All About It) Ben" is a sort of sideways version of "Say Man," with a rollicking beat and very effective use of piano in the backing band, with a grim subject matter handled in a humorous manner, and "Help Out" is one of Diddley's better guitar workouts, with the man getting lots of help from the Duchess. It was records like this that helped keep Diddley's reputation alive in England when Americans stopped buying his stuff.

"Met You on a Saturday" is an unusual slow, romantic number for Diddley, very much in a late-'50s style that was probably a few years late to capture anyone's imagination. Other material, like "Diana" (a reworking of "Hey Bo Diddley") and "Little Girl" are less compelling but still solid rock & roll, as are "Gimme Gimme," "Same Old Thing," "Met You on a Saturday," "Put the Shoes on Willie" (written by Earl Hooker), and "Pretty Girl." The latter has a great chorus, and turned up in the repertories of several British Invasion bands.

01. "Ben"
02. Help Out
03. Diana
04. Bo's A Lumber Jack
05. Lazy Woman
06. Mama Mia
07. Gimme Gimme
08. Put The Shoes on Willie
09. Pretty Girl
10. Same Old Thing
11. Met You On Saturday
12. Little Girl

1. http://sharebee.com/bced19c8
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Thanks to Chris

Lightnin' Hopkins - Sings the Blues (Rare Album US 1961)

Size: 83.7 MB
Bitrate: 256 mp3
Artwork Included
Japan 24-Bit Remaster

Sam "Lightnin'" Hopkins was born on March 15, 1912 in Centerville, Texas. In 1920, Hopkins met and -- at age 8 -- played with the legendary Blind Lemon Jefferson. For a short time, he later became Jefferson's guide. Hopkins' cousin, the great Texas bluesman Texas Alexander, was another influence as Hopkins played with Alexander. That partnership was broken up by Hopkins' time in Houston's County Prison Farm during the 30s.

When Hopkins made his way to Houston's Third Ward in 1946, he was introduced to Lola Anne Cullum, a talent scout who had pieced together deals with companies such as Alladin Records out of Los Angeles. She paired up Hopkins with a piano player by the name of Wilson "Thunder" Smith and came up with the name "Lightnin'" as an obvious match. It stuck.

Hopkins had no little success with Katie May, cut on November 9, 1946. After that came a series on the Alladin label -- Shotgun Blues, Short Haired Woman, Abilene and Big Mama Jump. The blues floodgate had opened. What followed was thirty plus years of albums on everything from small, obscure labels to big ones. The list includes Modern/RPM, Gold Star, Mercury, Jax, Decca and Herald. During this period he cut some of the most ferocious blues guitar mixed with what he told me were "air songs," meaning those where he'd just pull the lyrics right out of the air on the spot.

Hopkins' career faded until a folklorist by the name of Mack McCormick rediscovered Hopkins and presented him under the growing label of "folk artist." It made no different to Lightnin' what they called him, he played as he always had, working with Sam Charters on Folkway Records in 1959. The groundbreaking solo album was recorded by Charters in Hopkins' apartment on a borrowed guitar. Again, Hopkins' career was off and running "like a turkey through the corn."

More albums than can be counted followed, including those on labels such as Candid, Arhoolie, Prestige, Verve, Jewel, World Pacific, Bluesville, Fire and Vee-Jay. For an upfront fee, the whiskey or gin flavored albums were often recorded by tiny, obscure one-person labels. Since Hopkins had the gift of the air song, he had no shortage of material. The songs would range from intense, deep tissue blues to some of the more surrealistic ever recorded as he reached for rhymes.

The archetypal story of Hopkins as a performer supposedly involved Billy Gibbons of ZZ Top, then a young kid in a band around the corner from my band's garage -- The Moving Sidewalks. Supposedly, Gibbons heard Hopkins play at a coffeehouse and muttered, "He doesn't even know when to change chords." Hopkins was standing behind Gibbons, according to the story, and leaned forward and surprised the teenager with, "Lightnin' change when Lightnin' want to."

Indeed, Hopkins had a bag of licks and patterns that fit largely into two divisions -- slow E and Fast E (with an occasional venture into A). His rhythm and the chord changes go with his feelings at that moment in time and, as such, made it difficult for other musicians to follow. With a few exceptions, his solo recordings later in his life have that quirky sense to them and work well as opposed to hired bands that became hopelessly entangled, to quote a Hopkins song, "like a ball of twine."

Hopkins didn't do much of in the way of recording after 1974, his health fragile. I saw him one night at the Jewish Community Center in Houston where he performed a concert for a small, polite group in theater style seating. He played well, but the audience was polite and reserved. A half hour into the concert, in came a relative of Hopkins' -- I believe it was an elderly (even compared to Lightnin) uncle. The old man sat down on the front row and, with that, Hopkins seemed to come alive. The audience seemed to wake up as well and it moved into a rollicking evening.

Shortly later, Hopkins died in Houston on January 30, 1982.

[All tracks was recorded in Houston 1949-1950]

01. Jake Head Boogie
02. Lonesome Dog Blues
03. Tell Me Pretty Mama
04. Last Affair
05. Don't Keep My Baby Long (Original Master Take)
06. Santa Fe
07. Give Me Back That Wig
08. Beggin' You To Stay (Someday Baby)
09. Bad Luck & Trouble
10. Ticket Agent
11. War News Blues
12. Everyday I Have The Blues
13. Needed Time
14. One Kind Favor
15. Black Cat
16. Some Day Baby

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Thanks to Chris.

Led Zeppelin - 1973-01-22 The Great Lost Album (3CD)

Size: 477 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included

Live At The Old Refectory, Southampton University, Southampton,1973.01.22
Deluxe Edition: "The Great Lost Live Album"

Led Zeppelin’s January 22nd, 1973 at the Student Union building at Southampton University follows their show at the Gaumont Theater, also in Southampton, the previous evening. It seems Jimmy Page thought it might be a good idea to play in a smaller venue and record it for a live album. For reasons that are unknown, the album was never released and sat in the archives for thirty years. When Page and producer Kevin Shirley were working on the DVD and How The West Was Won projects in 2002, this tape was considered for possible use. Although it wasn’t used on that project, through some means the working multi-track tapes circulated and have been with the labels in Japan for some time. A couple months ago the tape was posted online in anticipation of the silver releases that were scheduled to come out. The Great Lost Live Album is the first of what will surely be many silver releases that will see the light of day over the coming months. Compared to the internet version, Nasty Music sounds much brighter with the emphasis on the higher frequencies, whereas the internet version has a much deeper bass. Nasty Music has as similar timbre to the KBFH tapes and not as constricted as the online version, which might not be to everyone’s taste. Many Zeppelin collectors like to hear an emphasis on the bottom end, but there times, like the beginning of “Dancing Days,” where the bass is too loud in the mix and that particular passage isn’t a concern on this. Early word on The Great Lost Live Album claims to have gaps between the songs. After listening to the three discs, there are none so that isn’t a concern.

Nasty Music is also more complete than what was posted online. For example three Plantations, before “Black Dog,” “Dancing Days,” and “How Many More Times” are present on this release but missing from the internet version as is Robert Plant’s dedication of “Dazed & Confused” to the manager of the Gaumont Theater. “Thank You,” which is missing the very end, is complete on the silver. The actual performance itself has come under some criticism with many collectors which is unfair. Any concert will have its highlights and cringe-worthy moments, and this is not an exception. What is fascinating to hear is Plant’s interaction with a crowd that is estimated to be about four hundred. “Rock And Roll” sounds a bit sluggish, but the following song “Over The Hills And Far Away” is very good with an animated solo by Page in the middle. Before “Black Dog” Plant says, “And it’s a good evening. I believe we came here before. I don’t know if it was as warm then. We’re going to have a good time tonight. This is about a Labrador who became rather - rather dodgy with lumbago. The only thing he could do was boogie. He was a black dog. Black Dog!” The “Misty Mountain Hop” and “Since I’ve Been Loving You” pairing follows immediately afterwards. Before “Dancing Days” Plant explains, “This is a bastard actually. This is a track from the new album. It’s a track that was written in the height of last year’s summer on July 6th. It’s a song about school days and little boys that never grow up. It’s called ‘Dancing Days’.” This is usually a great live piece but this version sounds tired with Page playing a bland solo at the song’s conclusion.

“Bron-Yr-Aur Stomp,” which normally follows “Dancing Days,” is dropped: “we don’t know it to be honest,” Plant explains. “Besides we can’t maneuver about.” The band play another new song, “The Song Remains The Same” instead. The right channel of the stereo flickers at eleven seconds into the track and becomes a bit weak at twenty-two seconds, but improves soon afterwards with another flicker at 2:51. at the end of “The Rain Song” Plant says, “That was John Paul Jones, ably assisted by the Haleigh Orchestra which we managed to press into this small 3 X 26 box.” A power surge can be heard on the tape and there is a short delay while the roadies work on wiring onstage. Page plays a bit of the Tarantella while Plant caution “you can get a shock you know, Cerano.” Plant jokes with the audience about the show the previous evening at the Gaumont Theater before the band play a twenty-eight minute version of “Dazed And Confused.” The recording preserves the dynamics of the piece and the song is very enjoyable in this show. Plant is out of tempo during the “San Francisco” section and Page takes his time finding his violin bow. Bonham plays the cymbals under Plant’s moans in the interim before the violin bow section begins. The sounds are soft, reminiscent of the Liverpool tape, but also very creepy. “Whole Lotta Love” lasts for a half hour and the medley is typical for this tour with no surprises. There is a small cut on the tape at 19:47. They play the longest set of encores of the tour. “Heartbreaker” is first followed by the John Paul Jones mellotron arrangement of “Thank You,” This is an experiment he first introduced in Nagoya the previous October and played it several times since, but this is the best recording we have of this unusual piece.

At the song’s end Page plays some pretty figures on the guitar before Plant introduces the next number. “This is one of our early tunes and God knows if we can remember it.” They play an eight minute version of “How Many More Times” for the first time in two year and this segues directly with the final encore of the night “Communication Breakdown.” The third disc is a limited edition bonus with various material. The first tape is the short rehearsal fragment from the Southampton University gig. This has been released numerous times and is in excellent quality. The second is the soundboard fragment from the January 18th Bradford gig several nights before, containing “Dazed And Confused,” “Whole Lotta Love,” and the final encore “Immigrant Song.” Heart Attack (Condor 1997) and Elvis Presley Has Just Left The Building (LZ6897-281) are two very early releases containing both “Dazed & Confused” and “Whole Lotta Love.” “Immigrant Song” appeared on two earlier releases, April Fool’s Day (LZ 05) and Tight But Loose (Saka ZLCD 385). Falling In Love With The Fallen Angel (Led Note LCD 1507) is the first release to put them all together on the same release in 1999 and it hasn’t been released since. So for those who don’t have the Led Note the bonus isn’t as pointless as it seems. The quality is excellent as well and the performance is very good as well. “Whole Lotta Love” is particularly brutal and this is the final time Led Zeppelin ever performed “Immigrant Song” in concert. The Great Lost Live Album is packaged in a fatboy jewel case with simple but effective artwork with rare photos of the gig. It will be interesting to see how Nasty Music stands up against Empress Valley and other future releases, but this is a very nice release. (GS)

Addendum: The download version of the Southampton 73 SBD from Presence (and now on every download site in the World!) has those missing Plantations you refer to in the review. That version has numerous glitches and feedback blips which I spent last night removing in Adobe audition. Regards, and keep up the great work, Jules McTrainspotter

Disc 1
01. Rock And Roll
02. Over The Hills And Far Away
03. Black Dog
04. Misty Mountain Hop
05. Since I've Been Loving You
06. Dancing Days
07. The Song Remains The Same
08. The Rain Song
09. Dazed And Confused

Disc 2
01. Stairway To Heaven
02. Whole Lotta Love
I Everybody Needs Somebody To Love
II Can't Quit You Baby
IIILet's Have A Party
03. Heartbreaker
04. Thank You
05. How Many More Times
06. Communication Breakdown

Disc 3 (Rehearsal)
01. Drum/Mellotron Tuning
02. Love Me
0.3 Frankfurst Special
04. King Creole
05. Love Me

Bonus Track (1973.01.18 Bradford)
06. Dazed And Confused
07. Whole Lotta Love
08. Immigrant Song

Part 1: http://sharebee.com/0d25cbab
Part 2: http://sharebee.com/6d2b87ab
Part 3: http://sharebee.com/64a8f65e
Part 4: http://sharebee.com/6dd19422
Part 5: http://sharebee.com/6a87d545
Part 6: http://sharebee.com/fb6a9b01

Thanx to Chris!