Never Before - The Byrds - Compilation.

The Byrds' early demos recorded at World Pacific Studios by Jim Dickson in 1964 were (I think) first released on "Preflyte" (1969), revealing wonderful things like `You Showed Me' that should have been re-recorded for the first or second albums.

But "Never Before" was the first album to open Columbia's vaults and offered a tantalizing hint of the treasures to be found there. Subsequently these treasures were richly explored on the Boxed Set, and additional gems have come to light on the Expanded Edition reissues of the original albums.

I still have fond memories of "Never Before," and if it were available today at a reasonable price would probably pick it up. However, all or nearly all of its contents are now available elsewhere -- with improved mixes at that -- so you would have to be a pretty dedicated collector to pay top dollar for this.

Though I no longer own "Never Before," the following is to the best of my recollection what is here. Where I am unsure of something I've said so -- and will update this if I can nail a questionable track down.(All references to the Boxed Set are the first [1990] box)

(1) 'Mr. Tambourine Man'
This is a stereo mix of the original monaural single version, which runs 2:16 compared to the 2:29 album mix. (I think both versions are from the same take.) This "Never Before" track is on the Boxed Set; see the Boxed Set reviews if interested in my take on it.

(2) 'I Knew I'd Want You'
The "Never Before" contents list describes this as a "new stereo remix," which implies it is a remix of the Columbia release and not one of World Pacific Studios demos. This song was the flip of the `Tambourine Man' single, so I suspect this stereo remix is also from that single, made at the same time as the `Tambourine Man' stereo remix above.

I can find nothing matching this track's description on the Expanded "Tambourine Man" album or anywhere else. Whatever this is, it appears to remain unique to "Never Before"

(3) 'She Has A Way'
Available on the Boxed Set and Expanded "Tambourine Man".
Boxed Set booklet: "Although this track was first recorded by Jim Dickson as an acoustic demo, this superior second version, using the electric 12-string for the instrumental hook, was recorded during the "Mr. Tambourine Man" LP session, but remained unreleased until its appearance on "Never Before"."

(4) 'It's All Over Now, Baby Blue'
This 1965 unreleased single is available in monaural on the Boxed Set and in stereo on the Expanded "Turn!" album.

(5) 'Never Before'
Available as `The Day Walk' on both the Boxed Set and Expanded "Turn!" album.
Boxed Set booklet: "`The Day Walk' was the original working title of the track later renamed `Never Before' by Gene Clark for the Murray Hill release. This version [Boxed Set] is from the original eight-track master and is presented here for the first time ever in beautiful wide stereo."

(6) 'Eight Miles High' [alternate]
This "previously unreleased" alternate version is probably the same RCA alternate as the bonus track on Expanded "5D" album.

(7) 'Why' [alternate take]
This "previously unreleased" alternate take is a bonus cut on the Expanded "5D" album.

(8) 'Triad'
On the Boxed Set and Expanded "Notorious Byrd Brothers" album. Boxed Set booklet: "This cut, surviving from the Notorious sessions, was the last Byrds recording made with David Crosby's involvement before his departure from the original group."

(9) 'It Happens Each Day'
On the Boxed Set and Expanded "Younger Than Yesterday".
Boxed Set booklet: "org. release "Never Before". Remixed from the original eight-track master, this track is presented here [Boxed Set] for the first time in beautiful wide stereo."
(Too bad this great track was bumped for `Mind Gardens' on "Younger Than Yesterday.")

(10) 'Lady Friend'
This version is apparently still unique to "Never Before" -- though that is not necessarily a good thing.
"All Music Guide To Rock" says of this: "...'Lady Friend,' one of Crosby's best compositions, is ruined by a ham-fisted drum track overdubbed in the 1980s (it was restored to its original version on the Boxed Set)".

Boxed Set booklet: "Remixed from the original eight-track master, this [Boxed Set version] is `Lady Friend's' first appearance in wide true stereo with no additional overdubs."

I think the Boxed Set mix is also used on Expanded "Younger Than Yesterday" and "Essential Byrds". For those who are interested, the original monaural single seems to be on the import album, "The Byrds: Definitive Collection".

(11) 'I Know My Rider'
On the Boxed Set and Expanded "5D". Boxed Set booklet: "Remixed from the original eight-track master for its inclusion here [Boxed Set] in wide true stereo. `Rider' was an out-take from the "5D" Lp sessions."

(12) 'Why' [single version/ stereo mix]
There is a different stereo mix of the 'Why' single on Expanded "5D"; unlike this one, it is faithful to the monaurel mix and is by far the one I prefer.
This "Never Before" mix is on the Boxed Set, where the booklet describes it as "45 version" and "Remixed true stereo version from "Never Before"." (See Boxed Set reviews for a description of this mix and why I do not prefer it.)

(13) 'She Don't Care About Time' [Unreleased Single version]
This version of 'Time' was the flip side of the unreleasd 1965 single 'Baby Blue'. This track is monaural with opening countdown on the Boxed Set, and in stereo without countdown on Expanded "Turn!".

(14) 'Flight 713' [instrumental]
My memory of this track fails me so I can't confirm this but... I suspect this is the instrumental listed as `John Riley - instrumental version 1' on Expanded "5D".
"All Music Guide To Rock" describes the "Never Before" track as "a taut, almost jazzy piece."

[CORRECTION 5/11/06: Johnny Rogan's book "Timeless Flight Revisited" says 'Flight 713' "was discovered at the end of the studio tape for 'Get To You'." This places it in the "Notorious Byrd Brothers" sessions, making it a different work entirely from "5D's" 'John Riley' instrumental. Since 'Flight 713' is not a bonus cut on the Expanded "Notorious" CD, it is apparently still unique to "Never Before". Rogan calls it: "An effective instrumental that might have been developed into a strong song ... a welcome glimpse into McGuinn and Hillman's post-Crosby studio tinkering." Rogan also explains why I don't remember this track: I owned the original vinyl album, and this is among the bonus cuts later added to the CD version.]

(15) 'Psychodrama City'
Available on Boxed Set and Expanded "5D".
Boxed Set booklet: "Remixed from the original eight-track master [for the Boxed Set], this version, actually in demo form, contains the full guitar intro which was deleted from the "Never Before" release. It is also presented for the first time in wide stereo."

(16) 'Don't Make Waves' [Single Version/Stereo Mix]
Title song for movie of same name, this was the flip of the single 'Have You Seen Her Face'. It is a bonus track on Expanded "Younger Than Yesterday."

(17) 'Moog Raga'
Available on Expanded "Notorious Byrd Brothers."

http://sharebee.com/5d4122d2

Released - Jade Warrior - 1971.

It isn't easy to define the music of Jade Warrior. At times they sound like Jethro Tull, but they often venture into jazz-fusion, & then again into an ethnic influence involving primitive percussion sounds,& just to totally confuse matters they sometimes drift into an oriental love ballard.The sheer diversity of their music & the fact that they arose from 1970,[& being well ahead of their time], made them somewhat unique & they remain so even to this day.
Those familiar with an early style called acid rock will enjoy the way-out electric guitar style of the late Tony Duhig especially on the track "Minnamoto's Dream". The Jethro Tull likeness can be heard from the beginning on "Three-Horned Dragon King" the opening track,& again on "Eyes on You",-but there the similarity with other bands ends-,while the beautiful "Bride of Summer" & "Yellow Eyes" have a tranquil far eastern air. The light rock song "Reason to Believe" provides a not so serious interlude before the 14 minute long "Barazinbar" which has an exotic African sounding rhythm that becomes totally hypnotic until it dissipates into a free jazz-like jam, & to round the album off with a bizzare twist "Minnamoto's Dream" reoccurs with a lightly different ending.
It would be fair to say that about half of this album rocks,in the style of the early seventies,and I mean IT ROCKS, the rest of the music is a unique blend of jazz & ethnic influences as well as some oriental themes & a touch of psychadelic. This amazingly diverse & musically rich combination was produced largely by the band's three main members during their early years,Jon Field's flute & percussion,& Glyn Havard's vocal's & bass, together with Duhig's guitar made Jade Warrior a group apart from most other bands at a time when many musical barriers were being broken.
I recommend "Released" as an introduction to Jade Warrior & to anyone wanting to hear a fine example of the band's earlier work.

Track Listings

1. Three horned Dragon King (6:09)
2. Eyes on you (3:05)
3. Bride of Summer (3:19)
4. Water curtain cave (6:28)
5. Minnamoto's dream (5:30)
6. We have reason to believe (3:50)
7. Barazinbar (15:00)
8. Yellow eyes (2:51)
9. Minnamoto's Dream (???)

Total Time: 46:12
Line-up/Musicians

- Tony Duhig / guitar
- Jon Field / flute, congas, percussion
- Glyn Havard / vocals, bass
- Dave Conners / alto & tenor saxes, flute
- Allan Price / drums

http://sharebee.com/a47d9e9e

For Girls Who Grow Plump In The Night - Caravan - 1975.

Caravan welcomed back original keyboardist David Sinclair after his short stint with Matching Mole. Bassist Richard Sinclair left at this time, though, dissatisfied that the rest of the band did not want to continue in the jazz-rock vein of Waterloo Lily. Sinclair was replaced by John Perry (Spreadeagle). Thus, the path was cleared for Caravan to return (for an album, at least) to the basic sound that they had patented with In the Land of Grey and Pink. According to the liner notes, Caravan fans in the early 1970s were a particular lot (even the innocuous newcomer, violist Peter Geoffrey, was greeted by the fans with a mixture of suspicion and hostility); they knew what they wanted and it wasn't jazz fusion. I'm partial to the direction the band took on Waterloo Lily, but I do think that For Girls Who Grow Plump in the Night is another very good Caravan album. It was the last record, though, of the group's most creative period (though far from the last to feature a lame pun).
In fact, For Girls Who Grow Plump in the Night may well be Caravan's most consistently listenable album for me — there's not a single weak track, by my estimates. Every tune seems candy-coated with catchy vocal melodies and the music — the band's most rock-oriented to date — is full of hooks and is quite economical for a band that liked to stretch things out. The "L'Auberge Du Sanglier" suite is weighed down some by the strings and it occasionally labors through its winding 9:46, but that's really the worst I can say. For Girls... is also the most guitar-dominated of any previous Caravan album, contributing to its "rock" feel and also giving it a west-coast (U.S.) jam-band quality in spots. The harmonized "Hoedown," for instance, reminds me of nothing so much as Moby Grape's barn-burning "Hey Grandma." Some of this late-'60s vibe is present elsewhere, like "Surprise, Surprise," and the choruses of "C'thlu Thlu." Everything else is pretty much what fans of earlier Caravan came to know and love.

The 2001 remaster of this album contains over thirty minutes of additional material; unfortunately, all of it is just alternate versions or demos of the music already on the album.

Tracklist:
1. Memory Lain, Hugh/Headloss — 9:19
2. Hoedown — 3:10
3. Surprise, Surprise — 3:45
4. C'thlu Thlu — 6:10
5. The Dog, The Dog, He’s At It Again — 5:53
6. Be Alright/Chance of a Lifetime — 6:38
7. L'Auberge Du Sanglier/A Hunting We Shall Go/Pengola/Backwards/A Hunting We Shall Go (Reprise) — 9:46
8. Memory Lain, Hugh/Headloss (US Mix) — 9:18
9. No! ("Be Alright")/Waffle ("Chance of a Lifetime") — 5:10
10. He Who Smelt It Dealt It ("Memory Lain, Hugh") — 4:43
11. Surprise, Surprise — 3:15
12. Derek's Long Thing — 11:00

total time 78:51

http://rapidshare.com/files/112525499/CARAFOR.rar

The Soft Machine - Selftitled - 1968.

1968 isn't so long ago is it ?

Surviving thus far and having enjoyed more than a passing
association with the Canterbury music scene I seem
to remember Soft Machine with fond affection.
(At my advanced age an old Wolf cannot be quite sure!)

In many ways they were quite unique.

To have their debut album restored to human consciousness
will be a big thrill to all those jaded hippies and bohos
who are still able to gaze upward to the stars and dream.

This was fiercely uncompromising music for those unafraid to listen.
Intelligent; droll; a tad bonkers and very, very English.

'A Certain Kind' finds Bob Wyatt reaching for those top
notes as though his life depended on it. Mr. Ratledge's
churchey organ (A Lowrey Holiday De Luxe no less - and it
was a brave man who chose one of those over a Hammond
I can tell you !!) brings gravitas to the warmly
affecting arrangement. Mr Wyatt also reminds us what a
truly inventive and epic drummer he was.

'Joy Of A Toy' finds life for the first time here (it's
spirit re-emerged a year or so later in Kevin Ayers'
debut solo album of that same name) and gives a small glimpse
of what was to emerge later in the band's progressively
distilled and refined improvisatory methods.

'So Boot If At All' is the kind of jam that many others
(myself included !) were attempting to emulate in garages all
over the kingdom but delivered here with far greater imagination
and alacrity than most of us could ever have hoped to muster.
The drum solo (!!!) is manfully sustained.

'Pricilla' is a strangely fragile one minute lounge-jazz out-take.
There and gone almost as if it hadn't quite existed at all.

Tiny sketches like this crop up elsewhere.
'Plus Belle Qu'une Poubelle' and 'Box 25/4 Lid'
are both willfully obfuscating miniatures.

The additional inclusion of 'Love Makes Sweet Music'
(Soft Machine meets The Monkees !) and the Zappa-esque
'Feelin', Reelin', Sqealin'' are an absolute hoot of a bonus.

Chas Chandler and Tom Wilson's production skills have also
stood the tests of time and emerged with dignity intact.

To have heard 'We Did It Again' (another quasi-Motherly Invention)
is nothing short of an absolute joy !

If you have even just the smallest spirit of adventure
I entreat you to give this wonderful album a listen.

The rewards are rich.

Highly recommended.

01."Hope for Happiness" (Brian Hopper, arr. Robert Wyatt / Mike Ratledge / Kevin Ayers) – 4:21
02."Joy of a Toy" (Ayers / Ratledge) – 2:49
03."Hope for Happiness (reprise)" (B. Hopper, arr. Wyatt / Ratledge / Ayers) – 1:38
04."Why Am I So Short?" (Hugh Hopper / Wyatt) – 1:39
05."So Boot If At All" (Ratlege / Ayers / Wyatt) – 7:25
06."A Certain Kind" (H. Hopper) – 4:11
07."Save Yourself" (Wyatt) – 2:26
08."Priscilla" (Ayers / Ratledge / Wyatt) – 1:03
09."Lullabye Letter" (Ayers) – 4:32
10."We Did It Again" (Ayers) – 3:46
11."Plus Belle qu'une Poubelle" (Ayers) – 1:03
12."Why Are We Sleeping?" (Ayers / Ratledge / Wyatt) – 5:30
13."Box 25/4 Lid" (Ratledge / H. Hopper) – 0:49

http://uploadmirrors.com/download/1JUFE34J/Soft%20Machine.rar

Local Anaesthetic - Nirvana - 1971.

Nirvana had been around the London music scene since the late 60's, creating psychedelia albums of cult status. By the time of recording Local Anaesthetic, Nirvana had slimmed down to a one man project - founder Patrick Campbell-Lyons. In the original album notes that accompany the CD he states that this album marked the real birth of Nirvana, although it was 'mentally un-balanced'. It was released on the Vertigo label, and if you are familiar with the Vertigo band Gracious, then you'll have an idea of how this album sounds. It's composed of 2 tracks, although the second has been broken into it's 5 component parts on the CD track listing. The first track 'Modus Operandi' has been built up from various musical snippets, similar in approach to the first Gracious album. A soft flute passage will suddenly jump into a boogie rock piece, and then cut to some harpsichord, with no real musical theme connecting any of the different elements. This doesn't necessarily have to be a criticism if the different elements grab your attention, but too much of the music in Modus Operandi just passes you by. It should also be said that Patrick isn't a great vocalist. Again not necessarily a criticism in itself, as some of my most favourite singers from the 70's didn't exactly fit the normal classic vocalist role - but the sections with lyrics feel as if they bog down the inventiveness of some of the instrumental passages.

And this theme continues into the second track Home. It starts with some fabulous almost voodoo sounding congo drums. Then stops. And a harpsichord comes in for no obvious reason, followed by Patrick on vocals again. Unfortunately the greater use of vocals and a more structured song based approach actually makes Home the weaker of the two tracks, in my humble opinion.

Tracklist:
1. Modus Operandi (16:15)
2. Home (19:12)

http://rapidshare.com/files/80203690/nir-la.zip.html

Upon Reflection - The Dawn Anthology - Heron.

This 2CD set is truly fantastic. A relatively unknown folk band from England with acoustic guitars, keyboards, and the occasional harmonica and acordian. This is a group of hippies with beautiful voices who made just beautiful music. Nothing to change the foundations of music, but the sunshine and the love for the song is oozing out of this beauty.

Appearently, after the band had got a recording deal, they went into a studio to record a single, and hated the experience. They were used play in much more relaxed and organic settings. So to record their album, they got a mobile recording unit and some good friends and family members, and have set out to record an album in a field on a sunny day. This album, self titled, was released in 1970, and sounds like a timeless classic. Imagine Bert Janech's Pentangle recording with Devendra Banhart circa Nino Rojo, using Crosby Stills and Nash circa their first album for the harmonies, and the aesthetics of Simon & Garfunkle circa Parcley, Sage, Rosemary and Thyme.

You can defenitely hear that this was recorded out in a field and not in a studio. the sound is dirty in all the right places, and includes the sounds of birds chirping.

The first CD of this anthology includes this beautiful album, a 4-song EP from 1971, and some nice outtakes. The 2nd CD contains the group's sophomore and final album, Twice The Nice & Half The Price (the album's title reffers to it being a double album, which was sold for the price of one). It was also recorded in a field, but with a less acoustic setting. There is an extra guitarist, who plays a "clean" electric (plugged straight to the amp with no distortion), and in some songs, there are even some basic drums. This album defenitely holds some precious pearls as well, and is a truly beautiful sunday music, even if it falls a bit short comparing to the pure and simple magic of the first album.

This anthology, 2 CD's which includes the band's two albums, their EP and some outtakes (including the first recordings in the studio), and is the complete output of this short-lived, long-forgotten, but magestically simplistic and timeless band. Many years later the original band members have returned to that field and played a reunion concert which was recorded and released, though I still haven't heard it.

http://rapidshare.com/files/196501060/Upon_Reflection-_The_Dawn_Anthology_Disc_1.rar
http://rapidshare.com/files/196534121/Upon_Reflection-_The_Dawn_Anthology_Disc_2.rar

Happy Halloween! Kiss - The Lost Alive II Album - 1977!

Kiss - The Lost Alive II
1977-04-04, Budokan Hall, Tokyo, Japan, Silver Master Lost Alive II
Exc Soundboard @ 320 Kbps

Every KISS fan knows that Alive! and Alive II weren't 100% live, there was a lot of studio dubbing involved. But this album, The Lost Alive II, is truly KISS live. It was intended to be the official Alive II album but for some reason was shelved and a year later the well-known studio-polished Alive II album was released. This recording also has a different set-list than the official Alive II album. Here you get live recordings of Take Me and Do You Love Me? as well as Cold Gin and Rock N Roll All Nite, which were on the first Alive! album. Perhaps the coolest inclusions are the four demo versions of side 4. They're very close to the finals but some of the solos and background vocals are different. Enjoy and PLAY LOUD!

01 - Detroit Rock City
02 - Take Me
03 - Ladies Room
05 - Makin' Love
06 - I Want You
07 - God Of Thunder
08 - Cold Gin
09 - Beth
10 - Shout It Out Loud
11 - Rock N Roll All Nite
12 - Larger Than Life
13 - Rocket Ride
14 - All American Man
15 - Anyway You Want It
16 - Rockin' in The USA

RAPIDSHARE:
http://rapidshare.com/files/26005716/Kiss_-_The_Lost_Alive_II_Album_1.zip
http://rapidshare.com/files/26009790/Kiss_-_The_Lost_Alive_II_Album_2.zip

Frank Marino & Mahogany Rush - Live - 1978.

Mahogany Rush wasn't as huge a name in 1970s hard rock/heavy metal as Led Zeppelin, Black Sabbath or Deep Purple, but the power trio commanded a loyal, good-sized following and provided its share of five-star albums. One of them is this live album, which was recorded during a U.S. tour in late 1977 and came out on vinyl the following year. Mahogany knew how to burn on stage, and this excellent LP really captures the vitality of its 1970s concerts. No one who is seriously into hard rock and metal should be deprived of hearing singer/guitarist Frank Marino let loose on live versions of "Dragonfly," "Electric Reflections of War" and "The Answer." The band is equally captivating on sweaty performances of Jimi Hendrix's "Purple Haze," Chuck Berry's "Johnny B. Goode" and Muddy Waters' "I'm A King Bee." Some fans were disappointed because Live is a single LP instead of a two-LP set-many of the gems that Mahogany performed on stage in 1977 were omitted. The band cites space limitations as the reason, although one suspects that licensing restrictions had something to do with what was and wasn't included. But while Live may not be the perfect document of Mahogany Rush on stage in the 1970s, it is consistently rewarding and is enthusiastically recommended to hard rockers and metalheads.

On a Personal Note:
The year is 1978, and it is ten minutes before I have to be in senior year high school home room. I am out in the school
parking lot in my '68 Chev Nova, listening to music. I'm listening to Frank Marino and Mahogany Rush Live. My best friend Rob is next to me in his Plymouth Fury, blasting out the same cassette. Across the parking lot, Billy L. is also playing this
cassette at top volume. In my high school class, in my social circle, this was THE album to own. We had all gone to see Aerosmith that year and Mahogany Rush opened for them and blew them, and us, away. Aerosmith seemed so stale and formulaic after we had seen Mahogany Rush almost tear the roof off the auditorium. They were just amazing, so exciting and fast and loud and hard, savage, and cool. So then about ten of us went out the next day and bought this cassette and listened to it constantly. The music here is just awesome, starting with a blistering The Answer (which has a guitar solo that should make any guitarist weep and finishing with an astonishing version of Purple Haze. I got to see Mahogany Rush a few more times in concert and they were always great. They always embarassed the headliners. I saw them open for Nazareth and after Mahogany Rush, Nazareth basically put me to sleep. After seeing Marino stalk the stage, Nazareth just seemed so tame and timid. So, when I
listen to this CD, it just always brings back so many memories of being young, sitting or standing in a hot, crowded auditorium with my friends, watching Marino work out on his guitar as Jim Ayoub played his drums as hard and fast as he could. Purple laser lights pierce the clouds of smoke that envelope us, and we didn't even know at the time that we were having the time of our lives. Now I'm a middle aged workaholic father of two and experiences like that are probably behind me for good. But, I can still listen to this CD and snatch a little of that feeling
back again.

http://link-protector.com/324529/

Dimestore Medicine - Bob Dylan - 1965-1966 Demos and Outs.

Dimestore Medicine
Year of Release: Unkown
Label: Wild Card
Catalog Number: 65

"Collection of 1965/66 studio outtakes. Also contains Don't Look Back performances and Les Crane show including full 15+ minute interview (it's a riot). Great to have it all in once place though. ABSOLUTELY ESSENTIAL! "
" Xlnt package from the folks who brought us the Genuine Basement/Bootleg/Live series. Much of it is familar but it's all top notch, quite a few sound quality upgrades, especially Phantom Engineer and I Wanna Be Your Partner. A real must have, especially for electric '65-66 nuts lik emyself."

Tracklisting:
Disc One
01: Phantom Engineer (1)
02: Sitting On A Barbed Wire Fence (1)
03: I Wanna Be Your Lover (2)
04: Can You Please Crawl Out Your Window? (3)
05: If You Gotta Go, Go Now (4)
06: I Don't Want To Be Your Partner (2)
07: She's Your Lover Now (5)
08: Visions Of Johanna (6)
09: Desolation Row (7)
10: From A Buick 6 (3)
11: Jet Pilot (2)
12: Number One (3)
13: Lunatic Princess Revisited (1)
14: Midnight Train
15: Can You Please Crawl Out Your Window? (7)
16: Visions Of Johanna (6)
17: Tombstone Blues (3)
18: Queen Jane Approximately (3)
19: Like A Rolling Stone (1)

Disc Two
01: Subterranean Homesick Blues (4)
02: You Don't Have To Do That (4)
03: I'll Keep It With Mine (4)
04: It's All Over Now Baby Blue (4)
05: Love Minus Zero/No Limit (4)
06: She Belongs To Me (4)
07: To Ramona (4/30/65, Sheffield) (8)
08: The Lonesome Death Of Hattie Carroll (5/10/65, London) (8)
09: Love Minus Zero/No Limit (5/6/65, Newcastle) (8)
10: It Ain't Me, Babe (5/10/65, London) (8)
11: It's All Over Now, Baby Blue (5/10/65, RAH, London) (8)
12: It's All Over Now, Baby Blue (9)
13: It's Alright Ma (I'm Only Bleeding) (9)

Sources:
(1) Highway 61 sessions - NY, June 15/16 1965
(2) First Hawks session - NY, October 20, 1965
(3) Highway 61 sessions - NY, July 30, 1965
(4) BIABH sessions - NY, January 15, 1965
(5) Blonde On Blonde sessions - January 21, 1966
(6) Second Hawks session, NY - November 30, 1965
(7) Highway 61 sessions - NY, August 2, 1965
(8) Don't Look Back; UK tour, 1965
(9) Les Crane TV show, NY - February 17, 1965

http://lix.in/-5e5bd6

Pampered Menial - Pavlov's Dog - 1975.

Pampered Menial was the first album from Pavlov's Dog, a band produced by Murray Krugman and Sandy Pearlman, the duo behind Blue Oyster Cult. The seven men in this group are revealed in the gatefold holding "Horace," a dog, while three engravings from 1849 by artist Robert Vernon make up the front, back and inside cover. Those paintings are striking, and though the music, mostly written by vocalist David Surkamp, tries hard, it just isn't as captivating as the package which surrounds it. Surkamp sounds like a chick singer, something that wasn't quite in vogue yet — Journey and the Mickey Thomas Starship wouldn't happen for another four years, not until 1979, and even Thomas' hit with the Elvin Bishop Group was a year away, male vocalists were singing in lower registers at this point. With song titles like "Theme From Subway Sue" and "Of Once And Future Kings" the identity that a Blue Oyster Cult maintained was missing here. "Subway Sue" sounding very much like the 80s version of Mott, the band after Ian Hunter took his leave. If you thought Mott's high pitched vocals were out of place and annoying, check out Surkamp's strange warbling. The band itself isn't half bad. "Episode's mellotron, courtesy of Doug Rayburn and Siegfried Carver's violin, provide more than adequate sounds. Carver's sole composition, "Preludin," comes off as one of the best tracks, perhaps because it is an instrumental version of progressive rock that Triumvirat and early Journey were exploring, But when David Surkamp's vocals kick in again on the next tune, like Pavlov's experiments, it makes the listener want to break things, including this record. "Julia" is a mediocre lyric and ok melody, just destroyed by the vocalist who composed it. If this were an instrumental group, the music would be much easier to take. The band provides elegant rock, majestic drums by Mike Safron, additional keyboards by David Hamilton augmenting Rayburn's mellotron and flute, and solid 70s production from Krugman and Pearlman. Lead guitarist Steve Scorfina co-writes a beautiful piece with vocalist Surkamp in "Late November," but its perfection is marred by the whining sounds of the frontman. It is really sad, as there seems to be much potential here, drummer Michael Safron's "Song Dance" another highly creative number. A & R man Mark Spector had some kind of ears, what he was thinking here is anyone's guess. The solid riffs, the wonderful blend of sounds, all destroyed by David Surkamp's forced vocals which sound like some experiment by Pavlov gone awry. The Mott band from Shouting & Pointing infamy should have been put on a stage with Pavlov's Dog to see which act could clear the room first. "Fast Gun" is another solid progressive tune, but without the polish of a Brad Delp or Steve Perry, it just didn't stand a chance. Columbia Records should re-issue an instrumental version of this disc via their Legacy series, the music deserves it.

Tracklisting:
1. Julia
2. Late november
3. Song dance
4. Fast gun
5. Natchez trace
6. Theme from subway Sue
7. Episode
8. Preludin
9. Of once and future kings

http://rapidshare.com/files/114915756/PD_-_PM__320kbps_by_staricco.rar

In The Land of Grey and Pink - Caravan - 1971.

I guess if there was one album to totally represent the quintessential Canterbury progressive rock album of all times one would have to look to "In The Land Of Grey & Pink". David Sinclair's wandering keyboard solo's dominate this album with it's wild collection of prog, jazz and psychy elements. Of course the most talked about CARAVAN track "Nine Feet Underground" (22 Mins) epic track adorns the second side of this masterpiece. Once again GENESIS' producer David Hitchcock was brought in to engineer this album with CARAVAN (so too was "Waterloo Lily"). What I still find amazing is that at the time of release (1971) this album did not ever reach any mentionable UK or USA chart position, unlike neighboring albums like TULL's "Aqualung" (4), SOFT MACHINE's "3rd" (18) or CRIMSON's "Larks Tongues In Aspect" (20). The funny thing is that I personally rate "In The Land Of Grey And Pink" in the same lustrous light as those other great albums. In fact I read somewhere that only last year this album finally reached gold status! Without a question the first few CARAVAN albums are killer prog rock and need to be in your collection.

Studio Album, released in 1971

Songs / Tracks Listing
1. Golf girl (5:05)
2. Winter wine (7:46)
3. Love to love you (and tonight pigs will fly) (3:06)
4. In the land of grey and pink (4:51)
5. Nine feet underground: (22:40)
- Nigel blows a tune
- Love's a friend
- Make it 76
- Dance of the seven paper hankies
- Hold grandad by the nose
- Honest I did!
- Disassociation
- 100% proof

Total Time: 43:28

Bonus tracks on remaster (2001):
6. I Don't Know Its Name (6:12)
7. Aristocracy (3:42)
8. It's Likely To Have A Name Next Week (7:48)
9. Group Girl (5:04)
10. Disassociation / 100% Proof (8:35)

Line-up / Musicians
- Richard Sinclair / bass guitar, acoustic guitar, vocals
- Pye Hastings / electric. guitars, acoustic guitar, vocals
- David Sinclair / organ, piano, mellotron, harmony vocals
- Richard Coughlan / drums, percussion
- Jimmy Hastings / flute, tenor saxophone, piccolo
- David Grinsted / cannon, bell, wind

http://rapidshare.com/files/291070809/Caravan_2nd.rar

Thanks chris H!

We Say Goodbye...Again!

The hardest part of any friendship is when it's time to say goodbye. As much as we might like things to stay the same, change is an inevitable part of life. The universe may seem huge and the rift between friends on opposite sides of the world may seem a great distance. There are many tools available with which we can communicate, but even without these tools there is a secret that only real friends know, and it is this. All the mountains and valleys in the world cannot separate friends whose hearts are as one.

You and I will meet again,
When we're least expecting it,
One day in some far off place,
I will recognize your face,
I won't say goodbye my friend,
For you and I will meet again”

Vaya Con Dios Our Friend!

A Good Friend's Melody

The time soon comes for parting,
And our time is at an end,
The rest of your life is starting,
And we have no time at all to spend.

You knew one day you'd have to go,
But thought you'd have more time.
We can't reverse time's one-way flow,
But at least you'll have this rhyme.

You had your shining moments,
Upon this life's darkened stage,
And in my book of wonderments,
You'll never be just another page.

Like the exploding of a star,
You've changed us in and out,
Your light will travel with us far,
Past when all other lights go out.

Canada Dry - The Rolling Stones - Oct. 2nd, 1997 Edmonton, Alberta!

Commonwealth Stadium, Edmonton, Canada
Ocotober 2, 1997

Label : A Vinyl Gang Product
Catalog : VGP 206

Disc 1
01. Opening
02. Satisfaction
03. It's Only Rock n' Roll
04. B#*ch
05. Let's Spend The NIght Together
06. Rock And A Hard Place
07. Sister Morphine
08. Anybody Seen My Baby
09. 19th Nervous Breakdown
10. Out Of Control
11. Gimme Shelter
12. Miss You
13. Band Introductions

Disc 2
01. All About You
02. Wanna Hold You
03. Little Queenie
04. Crazy Mama
05. The Last Time
06. Sympathy For The Devil
07. Tumbling dice
08. You Got Me Rocking
09. Honky Tonk Women
10. Start Me Up
11. Jumping Jack Flash
12. You can't Always Get What You Want
13. Brown Sugar

Format : MP3
Bitrate : 320 Kbps
Artwork included

I have had the great pleasure of seeing the Stones in my hometown twice this concert being the second occasion. The night air was chilly and the stage set up gargantuous to say the least. The Stones ran through their setlist with an almost conveyor belt ease dropping in songs from every major period of their career.

I can't think of enough superlatives to describe the show! It was incredible, awesome, phenomenal, over the top! Our seats were outstanding - row five on the floor just to the right of center stage. How totally amazing it was to see them so close up - unforgettable!!!

The Stones kicked off the show with the usual numbers; "Satisfaction", "IORR",
"B#*ch","Let´s Spend..."and "Rock And A Hard Place".At this point it was clear that also the Stones,especially Mick, were on a good mood too. Mick thanked us all and told us that the night was not as cold as he had expected. Well, he had all the lights to warm him up...
We also got to hear "Crazy Mama", the second song performed on the satellite stage, instead of Let It Bleed. The CyberVote winner was my absolute favorite Stones song, Gimme Shelter...I was so thrilled to hear them play it live, and Lisa Fischer's voice...WOW!

AND...we got to see the much-anticipated propane cannons - which shot huge flames about 50 feet into the air during Jumpin' Jack Flash.

A very strange and interesting crowd that night. I guess for 60,000 people out to watch a then 30 year old band that should be assumed. My guess is 25% of the people there hadn't been to a concert since their kids were born. 10% of those had dragged their kids out to this show. 50% hadn't been to more than one show a year since they were still popping zits. About 1 in 2 patrons were impaired beyond belief. 24 % were out to enjoy the evening. My friends and I were there for the music. We felt outnumbered. And yes, if you're doing the math, we did make up 1% of the crowd. (hyperbole alert!)

Now while oil may be rising back to an all-time high, concert etiquette has got to be at an all-time low. And getting worse. Let me give you a short-list of the annoyances:

Your ticket has a section, row number and seat...it's not rocket-science to figure out where you're supposed to be sitting. If you don't know where your seat is, recognize that I don't work here and really don't give a sh*t if you find it, except to get you away from me.

While the patron in front of you may like beer, it's unlikely they use it as a cologne. If you can no longer keep your beer in the cup, it's time to stop drinking.

If you're gonna clap, get rhythm.

If you're gonna sing the words out loud, get laryngitis.

It's about $130 cheaper to chat with your girlfriend/boyfriend/bunkmate/significant other/hooker on hire OUTSIDE the venue, than inside. And you'll hear just as much. I'll hear more.

If you talked through the song, don't clap. You're not fooling me and you're only expanding your disrespect to the artist.

By now you might be wondering why this surly b*astard even bothered to head out on that chilly fall evening. Well, I like the music and have great respect for The Stones. To paraphrase Denis Leary; you see this scar on my wrist? I got that when American Idol hit the air.

OK but did I enjoy the show that cold evening long ago?
Hell yes...and I would go again in a second!

http://www.gigasize.com/get.php/230879/CanD_F_CD_1_FLAC.zip
http://www.gigasize.com/get.php/3198268711/CanD_F_CD_2.zip

Artwork:
http://www.gigasize.com/get.php/231840/CanD_Art_Front.JPG
http://www.gigasize.com/get.php/231838/CanD_Art_Back.JPG
http://www.gigasize.com/get.php/231841/CanD_Art_Inner.JPG

Catholic Boy - Jim Carroll Band - 1980.

Rest in Peace, Jim
I am very sad to let you know that Jim Carroll died on September 11, 2009.

This disc is as difficult to classify as its main architect is. Is this a Punk disc? If so, then what's the keyboard guy from Blue Oyster Cult doing playing on a couple of the songs? Is it a straight early 80's Rock album? Not with scorching guitar sounds, unconventional vocals and brutally "street" New York subject matter like this. Is it some sort of hip-hop precurser? No way, although reporting on life in the seedy urban jungle, as this disc does constantly, later became a rap music hallmark. And this Jim Carroll guy--confessional author? bowery poet? former junkie? lead singer of a smokin' band? This disc gives an emphatic "all of the above" answer to these questions. The disc occupies a rare stand-alone subcategory in the Rock world that defies further pigeon-holing, and its intensity and drive make it one of the best things to ever crawl out of New York in the past 22+ years.
Jim's singing is actually 80% Lou Reed-style speak-singing (mostly in tune with the music) , with about 20% of Bob Dylan's "Blonde on Blonde" era phrasing and tendency to change the pitch upward at the end of a phrase thrown in for good measure. The words matter to Jim: his voice is mixed up front, and he speak-sings clearly to make sure you get what he's written. He even repeats the entire lyrics of "Three Sisters" and "People Who Died" twice. The words are funny, thought-provoking, harrowing, surreal and sometimes disturbing. There are lots of strange vignettes taking place on the lower side of New York life. There are clever double meanings and quoteable rejoinders. There are no 'We're Gonna Rock Tonight' songs, no songs about cars, no 'I Want You, Baby' songs--the disc is nearly free of Rock cliches. Here's a witty example of his writing from the song "Three Sisters"---read this and think about whether he's describing a woman, or whether just maybe this 'Miranda' refers to the rights that the police are required to advise to suspects:"Though I don't understand her/I love my sister,her name is Miranda/the boys from Uptown, they can't stand her/ the more she denies them, the more they demand her/ but she just wanna lay in bed all night, reading Raymond Chandler".
The music is clearly Punk-influenced, but this isn't a total screaming thrash-fest, as American early 80's Punk had become. The two-guitars-bass-drums lineup are augmented at times by the afore-mentioned keyboards and even a sax on "City Drops Into the Night". "Day and Night" sounds positively mainstream with its female backing vocals, slow tempo and sythesizer wash, and almost seems out of place with the rest of the material--like maybe the record company wanted a song to promote as a single. The grittier sounds of the guitars prevail in most songs. The tempos are fast, the soloing miminal, and the production packs a solid whallop. "City Drops Into the Night" seems to be about twice as long as it needed to be to make its point, but other than this minor lull, the disc demands your attention and is hard driving right up the the final abrupt cutoff at the end of "Catholic Boy". The match with the lyrics/vocals is exceptionally good.
This is an overlooked but highly recommended disc from the dawn of the 80's that is sure to provide you with riveting listening material for years to come. It's a must for Manhattan-ites and those planning to visit.

"Wicked Gravity" (Jim Carroll) – 4:56
"Three Sisters" (Carroll, Terrell Winn) – 3:19
"Day and Night" (Carroll, Allen Lanier) – 2:22
"Nothing Is True" (Carroll, Brian Linsley) – 3:29
"People Who Died" (Carroll) – 4:59
"City Drops into the Night" (Carroll, Steve Linsley, Brian Linsley) – 7:23
"Crow" (Carroll, Terrell Winn) – 3:02
"It's Too Late" (Carroll, Wayne Woods) – 3:04
"I Want the Angel" (Carroll, Brian Linsley) – 2:49
"Catholic Boy" (Carroll) – 3:03

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