The Purple Chick Series - 2007

Just last night a friend and I were talking about the awesome Purple Chick bootleg sets that have been coming out over the last few months. For those of you who don’t know, or aren’t into the bootleg scene, these are deluxe editions of the Beatles albums in both stereo and mono format (where available) and also includes a disc of the most complete session/studio takes from those albums. These sets are among the most impressive that I have seen come out… period.
They have been releasing these deluxe albums sets chronologically, and they have forced me to go back and relisten to these early albums, which I often overlook. I have been able to reexamine them, and hear them again for the very first time. It has been a great, much to my delight. I have almost forgotten how great these early pop/love songs are. These sets had led my friend and I to a discussion about the inevitable–our favorite Beatle albums. Can you pick a favorite album? I’m not sure that I can…

Graham Gouldman Songbook

Graham Gouldman was one of the most successful British songwriters of the 1960’s and went on to even greater fame in the 1970’s as a member of 10cc. This is a homemade compilation featuring his biggest hits by the Yardbirds, Herman’s Hermits, the Hollies, rare singles from his “Manchester Beat” band days with the Mockingbirds, tracks from the late ‘60’s Kasenetz-Katz bubblegum factory, his ‘70’s art-pop classics with 10cc, and a handful of obscure solo recordings and productions.

This compilation while no means complete does attempt tp present a good cross section of work (the hits and the misses) by a wide variety of musicians who were fortunate enough to work with Graham Gouldman in one capacity or another.

When gathering all of these vinyl records from my collection I was amazed by the breadth and scope of Graham Gouldman's contributions. This set is ripped from the best vinyl sources in my collection declicked and denoised. I hope you are as pleasantly surprised as I was after hearing all of this music in one collection. Some interesting mixes in here as well. Enjoy.

1. Pawnbroker – Graham Gouldman

2. It’s Nice To Be Out In The Morning – Herman’s Hermits

3. Bus Stop – The Hollies

4. Pamela Pamela – Wayne Fontana

5. You Stole My Love – The Mockingbirds

6. Dreadlock Holiday – 10cc

7. For Your Love – The Yardbirds

8. No Milk Today – Herman’s Hermits

9. Sausalito (Is The Place To Go) – The Ohio Express

10. Schoolgirl – The Mindbenders

11. Channel Swimmer – 10cc

12. I Can Feel We’re Parting – The Mockingbirds

13. Evil Hearted You – The Yardbirds

14. Listen People – Herman’s Hermits

15. The Impossible Years – Wayne Fontana

16. Stop! Stop! Stop! (Or Honey I’ll Be Gone) – Graham Gouldman

17. I’m Not In Love – 10cc

18. Look Through Any Window – The Hollies

19. People Passing By - High Society

20. I Never Should Have Kissed You – The Mockingbirds

21. The Things We Do For Love – 10cc

22. Uncle Joe The Ice Cream Man – The Mindbenders

23. Upstairs Downstairs – Graham Gouldman

24. East West – Herman’s Hermits

25. Heart Full Of Soul – The Yardbirds

26. The Wall Street Shuffle – 10cc

27. That’s How It’s Gonna Stay – The Mockingbirds

28. Susan’s Tuba – Freddie & The Dreamers

29. Lemon & Lime – Herman’s Hermits

http://rapidshare.com/files/30089443/tggs.rar.html

Kula Shaker - Two Live Concerts

By reviving the swirling, guitar-heavy sounds of late-'60s psychedelia and infusing it with George Harrison's Indian mysticism and spirituality, Kula Shaker became one of the most popular British bands of the immediate post-Britpop era. More musically adept and experimental than Cast, Kula Shaker nevertheless worked the same vaguely spiritual lyrical territory, but musically they brought the overpowering rush of Oasis to psychedelia, a genre that the Mancunians had previously avoided. The band's classicist approach to rock & roll earned them both critical praise and derision, as they quickly rocketed to the top of the British charts.

Led by vocalist/guitarist Crispian Mills ( the son of '60s actress Hayley Mills and film director Roy Boulting), Kula Shaker was initially a psychedelic quartet called the Kays, which formed in 1993. In addition to Mills, the Kays featured his teenage friend Alonza Bevan. The two had previously played together in a band named Objects of Desire; during that time they also ran a psychedelic nightclub in the back of an ice rink. Following the dissolution of Objects of Desire, Mills made a spiritual pilgrimage to India, and upon returning he formed the Kays with bassist Bevan, drummer Paul Winter-Hart, and vocalist Saul Dimont. Within a year, Dimont had left and organistist Jay Darlington had joined the band; prior to joining the group, Darlington had played in several mod revival bands. After spending two years touring and recording, releasing two EPs on Gut Reaction Records, the group had not made any headway. According to Mills, the band changed their name and direction in the spring of 1995, when he had an epiphany that the group should be called Kula Shaker after a ninth century emperor and pursue a more spiritual direction. For the next three months, they performed as Kula Shaker, and they quickly received a record contract with Columbia, which was eager to sign another band that had the multi-platinum, crossover appeal of Oasis.

"Grateful When You're Dead," Kula Shaker's debut single, was released in the spring of 1996 to moderate success, but it was the follow-up single, "Tattva," that established the band. Peaking at number four on the charts, "Tattva" had a chorus that was adapted from an ancient Sanskrit text and a colorful organ and guitar riff, which essentially encapsulated the band's sound. The single also set the stage for the band's debut, K, which appeared in September of 1996. Upon its release, K entered the charts at number one, becoming the fastest-selling British debut album since Oasis' Definitely Maybe. The album received reviews that ranged from enthusiastic to derisive, but the band continued to gain momentum, which eventually translated to a strong word of mouth in America. Kula Shaker wasn't able to replicate their British success in America, but "Tattva" became a Top Ten modern rock hit in late 1996, and the group received uniformly positive reviews. With the band members going their separate ways in 1999, Mills formed the power pop trio The Jeevas only to reunite the Kula Shaker in 2004. They have just released their "comeback" album, Strangefolk" to positive reviews. A welcome return boys!

Here are two of my favorite concerts by the band back in their hey day. Turn on the light show and play loud.

Kula Shaker Live in A Smokin' Paradise @ 160
I don't have a date on this one.
01- hey dude
02- hurry on sundown
03- 303
04- great hosannah
05- mystical machine gun
06- s.o.s.
07- greatful when you're dead - jerry was there
08- into the deep
09- i'm still here
10- tattva
11- shower your love
12- dance in your shadow
13- smart dogs
14- hush
15- sound of drums
16- time worm
17- last farewell
18- govinda

http://rapidshare.com/files/51538692/KulaShakerLive_in_A_Smokin__Paradise.rar

Kula Shaker 01/27/97 Live at Aston Villa Leisure center Birmingham @ 192


Baby You're a Rich Man
Knight on the Town
303
Grateful when you're DeadJerry Was Here
Ragi One (waiting for tomorrow)
For This Love
Drop In the Sea
Tattva
Smart Dogs
Start All Over
Hey Dude
Hush
Hollow Man (parts 1 & 2)
Into The Deep
Govinda

http://rapidshare.com/files/51537031/KulaShaker01_27_97_Live_at_Aston_Villa_Leisure_cen.rar



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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

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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

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