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Friday, 13 May 2011
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Found in Outer Space
Little Feat is an American rock band formed by singer-songwriter, lead vocalist and guitarist Lowell George and keyboardist Bill Payne in 1969 in Los Angeles.
Although the band has undergone several changes in its lineup, the music remains an eclectic blend of rock and roll, blues, country, folk, R&B, funk and jazz fusion influences.
Lowell George era (1969-1979)
Lowell George met Bill Payne when George was a member of Frank Zappa's Mothers of Invention. Payne had auditioned for the Mothers, but had not joined. They formed Little Feat along with former Mothers' bassist Roy Estrada and drummer Richie Hayward from George's previous band, the Factory. The name of the band came from a comment made by Mothers' drummer Jimmy Carl Black about Lowell's "little feet." The spelling of "feat" was an homage to The Beatles.
There are three legends about the genesis of Little Feat. One has it that George showed Zappa his song "Willin'," and that Zappa fired him from the Mothers of Invention, because he felt that George was too talented to merely be a member of his band, and told him he ought to go away and form his own band. The second version has Zappa firing him for playing a 15 minute guitar solo—with his amplifier off. The third version says that Zappa fired him because "Willin'" contains drug references ("weed, whites and wine"). George often introduced the song as the reason he was asked to leave the band. On Oct. 18, 1975 at the Auditorium Theater in Rochester New York while introducing the song, George commented that he was asked to leave the band for "writing a song about dope".
In any version, Zappa was instrumental in getting George and his new band a record contract. When "Willin'" was recorded for the Little Feat album, George hurt his hand in an accident with a model airplane, so Ry Cooder sat in and played the song's slide part. Lowell's accident is referenced on the cover art of the band's 1996 album Under the Radar. "Willin'" was re-recorded (this time with Lowell playing) on Little Feat's second album Sailin' Shoes, which was also the first Little Feat album to include cover art by Neon Park, who had painted the cover for Zappa's Weasels Ripped My Flesh.
The first two albums received nearly universal critical acclaim, and "Willin'" became a standard, subsequently popularized by its inclusion on Linda Ronstadt's album Heart Like a Wheel.
Lack of commercial success led, however, to the band splitting up, with Estrada leaving to join Captain Beefheart's Magic Band. In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. The band also added a second guitarist, Paul Barrere, who had known George since they attended Hollywood High School in California, and percussionist Sam Clayton. Both Barrere and Clayton added vocals on many songs, although all the band members provided backing vocals in various tunes.
This new lineup radically altered the band's sound, leaning toward New Orleans funk. The group went on to record Dixie Chicken (1973)—one of the band's most popular albums, which incorporated New Orleans musical influences and styles—as well as Feats Don't Fail Me Now (1974), which was a studio-recorded attempt to capture some of the energy of their live shows. (The name of the latter album pays homage to the Fats Waller song.) An interesting recording in this period is the collaboration of Payne, Gradney, Barrere, Clayton and George (credited as George Lowell) with jazz drummer Chico Hamilton on the Stax album "Chico the Master", which is a strong showcase for the band's leanings toward funk and R&B.
The release of The Last Record Album in 1975 signaled another change in the Little Feat sound, with Barrere and Payne developing an interest in jazz-rock. Prior to the recording of The Last Record Album, drummer Richie Hayward had a motorcycle accident and the liner to the LP release of The Last Record Album was decorated with copies of his many hospital bills. Also present was evidence of a late change to the running order of tracks. The lyrics for Paul Barrere's song "Hi Roller" were printed on the sleeve, but scored out, and the words "maybe next time" scrawled over them. Sure enough, "Hi Roller" was the first track on the subsequent album Time Loves a Hero.
Lowell George continued to produce the albums, but his songwriting contribution diminished as the group moved into jazz fusion, a style in which he had little interest. In August 1977, Little Feat recorded a live album from gigs at the Rainbow Theatre in London and Lisner Auditorium in Washington, DC. Waiting for Columbus is considered by many rock music critics to be one of the best live albums of all time, despite the fact that significant portions of George's vocals and slide work were in fact over-dubbed later in the studio. It was released in 1978, by which time it had become apparent that Lowell George's interest in the band was waning, as was his health.
After Time Loves A Hero and before the Down on the Farm sessions, Little Feat were used as the backing band for Robert Palmer's album Pressure Drop, which featured his cover version of Lowell's song "Trouble."
George did some work on what would eventually become Down on the Farm but then declared that Little Feat had disbanded. In an interview with Bill Flanagan (for the book Written In My Soul) conducted eleven days before his death, George made it clear that he felt the demise of Little Feat was due to his having allowed the band to be run democratically, with the result that Payne and, to a lesser extent, Barrère, had a presence as songwriters and in production which was disproportionate to their abilities. George was particularly scathing about Payne's attempts at jazz/fusion, citing an instance when Payne jammed with Weather Report on a TV show and dropped "into one of his 'Day at the Dog Races'. I just got out of there as fast as I could. It was embarrassing". In the same interview, George stated that he planned to reunite Little Feat without Payne and Barrère.
At this time Warner Brothers released George's only solo album Thanks, I'll Eat It Here for which he had signed a contract in 1975. The album was mostly a collection of cover versions of other people's songs that George had been working on as a side project for several years and, in his biography of Lowell George 'Rock And Roll Doctor', Mark Brend states that George had hinted he only signed the solo contract in order to obtain funds to finance Little Feat (and Bill Flanagan states in Written In My Soul that George "didn't want his audience to assume a collection of other people's material marked the direction of Lowell George's solo career").
While touring in support of his solo album in June 1979, at the age of 34, George collapsed in his hotel room in Arlington, Virginia. An autopsy determined the cause of death was a heart attack, although it is considered likely that George's excess weight, (formerly chronic) drug usage, and the strain of touring contributed to his condition.
Lowell George was respected for his idiosyncratic genius, for crafting sophisticated melodies and lyrics; writing memorable songs, and for his high production standards. He is also remembered for his exuberant, unique slide style, which featured sustained, ringing legato lines.
The surviving members finished and released Down on the Farm before disbanding in 1979. A subsequent retrospective double album compilation of rare outtakes and live tracks, Hoy-Hoy!, was released in 1981. The album is a perfect overview of the history and sound of Little Feat and includes a cover of the Hank Williams song "Lonesome Whistle".
Paul Barrere, Sam Clayton, Kenny Gradney and Richie Hayward performed several shows as Feats in 1981 and 1982.
Little Feat (1972–79)
* Lowell George - vocals, guitar, harmonica
* Bill Payne - vocals, keyboards
* Paul Barrere - vocals, guitar
* Kenny Gradney - bass
* Richie Hayward - drums, backing vocals
* Sam Clayton - congas, vocals, percussion
Little Feat Homepage: http://www.littlefeat.net/
Disc 1 58:04
01. Introduction 01:06
02. Two Trains 04:15
03. Skin It Back > 05:41
04. Fat Man In The Bathtub 05:27
05. Walkin' All Night 04:58
06. A Apolitical Blues 03:31
07. One Love Stand > 04:41
08. Rock And Roll Doctor 05:02
09. Oh Atlanta 04:25
10. On Your Way Down 06:53
11. Day Or Night 07:15
12. All That You Dream 04:44
Disc 2 52:39
01. Romance Dance 05:38
02. Down Below The Borderline 04:17
03. Long Distance Love 03:08
04. Cold Cold Cold > 05:02
05. Dixie Chicken > 07:14
06. Tripe Face Boogie > 03:37
07. Bag Of Reds > 00:53
08. Tripe Face Boogie 03:39
09. Willin' 05:25
10. Teenage Nervous Breakdown 04:07
11. Sailin' Shoes 04:41
12. Spanish Moon 04:53
Part 1: https://rapidshare.com/files/1356884968/LittleFeat.part1.rar
Part 2: https://rapidshare.com/files/310998009/LittleFeat.part2.rar
Part 1: http://uploadmirrors.com/download/1KCHQIJZ/LittleFeat.part1.rar
Part 2: http://uploadmirrors.com/download/0BBVWEZE/LittleFeat.part2.rar
Size: 110 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Often billed as the West Country Beatles, this Bristol sextet started out of the local folk scene from there and developed quickly a strange presence on stage with the group using rhubarb leaves and dustbin lids as stage props and their strange cartoon-like characters described in their songs, a bit reminiscent of Gong's Planet Gong. The debut album (recorded only as a quintet) is full of those very bizarre heroes, but let's some real space for instrumental interplay often mixing their folk rock with symphonic instrumentation. By the second album, the again-sextet was building a healthy following in the club and university circuit.
Their fixation with the Beatles pushed them to require Sir George Martin's services for their third album Bowler Hat, but although the group gained a better visibility, it was at the expense of the humour and group soul. This will cause such a rift in the band that even before the album got a release, only two members were left in the band. Having to rebuild the group, they got transferred to Elton John's private label Rocket Records (still distributed by MCA) and in came Rod Bowkett (who will write most tunes on the new album) and Audience's Keith Gemmel, which will change the sound of the band since they now have two wind players. The ensuing album Extravaganza returns to the madness of their first two albums with the second side simply mind-blowing. The group will again disintegrate and will reform with original bassist Crun Walter back in the fold and Dave Lawson (ex-Web/Samurai and then-Greenslade) as a guest. Their album will a full-blown concept album describing Mr Mick's daily life and dreams.
Stackridge's debut album is one of those weird and unclassifiable oeuvre that defies easy categorization. Although the group enjoyed some chart success back in their prime days, they are largely forgotten nowadays even though they have reformed in the previous decade and are still active now. This first album came in a charming gatefold depicting a flock of seagulls, some of them showing some skyscapes on their body. The inside gatefold was quite frustrating because the lyrics and track listing are barely readable because of the choice of colours. Recorded in the spring of 71 and released that same year on the MCA label (home of The Who, Wishbone Ash and Elton John), the music on the album ranges from folk rock to Beatles-like pop to symphonic rock to almost country rock (which was still in the nascent days back then) and a quintessential feeling of Britishness. But overall, the folk roots are predominant even if it is hard to call this a full-blown folk prog album.
The least we can say is that Stackridge's debut is an original affair, provoking a flurry of mood from the charming to the irritating, but the very classical arrangements over the album is mostly due to Mike Evans' violin, Mutter Slater's flutes but also three cellos and three oboes sprinkled throughout the album. This album is a concept album bringing a bunch of comic character together in a loose bunch of adventures all sung by Davis or Warren with Mutter helping out on choruses.
From the late-Beatles-influenced opening track Grande Piano to full folky jig of Dora The Female Explorer (their first single) and the almost full symphonic twists of the instrumental Essence Of Porphyry (the highlight of the first side), the soundscapes are vast and wide-ranging. The Simon & Garfunkel-like folk (with a very classical music instrumentation, violins, flute and cellos) first section of Percy The Penguin (who has cucumber wings) gets transformed into a surprising brassy rock, crossover from Lennon (circa Let it Be) and Chicago Transit Authority on The Three-Legged Table.
The second side starts off with a countrier version of The Beatles in Marigold Conjunction and its successor 32 West Mall. Marzo Plod (the "strangest man alive") is another Beatles-laced track. The real highlight of the album is the amazing 14-min Slark with its extended instrumental second section and it is quite a tour de force. Weirdly enough, the groups saved their best tracks to end each side of the vinyl.
One of the tougher things to cope with on this album is the lack of real focus (or too wide a musical scope/spectrum), but this will become a sort of trademark throughout their discography. Definitely one of their best album, and still much worthy a spin, this album should be discovered in second or third after the more seminal Friendliness and tied with the Extavangaza album. [progarchives.com]
01. Grande Piano (3:23)
02. Percy the Penguin (3:42)
03. Three Legged Table (6:49)
04. Dora the Female Explorer (3:48)
05. Essence of Porphyry (8:05)
06. Marigold Conjunction (5:00)
07. West Mall (2:27)
08. Marzo Plod (3:07)
09. Slark (14:08)
Size: 106 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
The Boys are an English punk rock band formed in London in 1976.
Members of the band had previously played in other groups, such as London SS and Hollywood Brats. After recording four studio albums and eight singles, as well as recording Christmas themed music under the name The Yobs, they disbanded in the summer of 1982. Starting again in 1999, most of the original band members have played concerts together.
In June 1976, a factory worker, Honest John Plain, and fellow employees, Duncan "Kid" Reid (vocals and bass, now a board member of UK media finance and advisory firm, Ingenious Media) and Jack Black (drums) formed a band. They were joined by Casino Steel (keyboards and vocals) and Matt Dangerfield (guitar and vocals). Dangerfield & Steel had previously met at art college in Leeds, Yorkshire. Steel (ex-Hollywood Brats) and Dangerfield played in the London SS together, a group which at some point included future members of The Clash, The Damned, Chelsea and Generation X. Dangerfield had converted his rented basement apartment in Maida Vale into a home recording studio where they recorded early on. The band played their fist concert at the Hope and Anchor pub in Islington, London in September 1976. Notable attendees in the crowd included; Mick Jones, Billy Idol, Tony James and Gene October. After a handful of concerts, The Boys signed to NEMS in January 1977, and were at that time the only British punk band to have a record deal (The Sex Pistols having just been dismissed by EMI).
Their first release was the single "I Don't Care", and in support of that release, they toured with John Cale of Velvet Underground. The band were set to be the first British punk band to release an album, and their 16-track debut, The Boys, was recorded in early May 1977. However, the album's commercial release was delayed until 9 September 1977; which the band has blamed on the record company's "incompetence". The album eventually reached #50 in the UK Album Charts. A second single, "First Time" — with a theme of losing virginity — was released on the 27th of July, 1977. As a result, John Peel invited The Boys to recorded a live session for his show, which became 'Single Of The Week' in Sounds magazine. The single was steadily climbing the chart, until 16 August 1977 when Elvis Presley died. The Boys' records were distributed by RCA Records, who switched all their resources into satisfying the huge posthumous demand for Elvis Presley records.
The Boys released a second album on NEMS, titled Alternative Chartbusters, and toured in support of it with the Ramones. The Boys then moved to Safari in 1979, and two albums and five singles followed before they broke up in the summer of 1981. Every Christmas, they rearranged the "B" and the "Y" in their name and became The Yobs, releasing four singles one album; 1980s Christmas Album. In this incarnation, the band members used the pseudonyms Noddy Oldfield, Ebenezer Polak, Kid Vicious and H. J. Bedwetter.
On 31 July and 1 August 1999, four out of five original members, along with Steve "Vom" Ritchie (replacing Jack Black on drums, who was busy with his own band) played concerts in Japan. In September 2000, this new lineup played at the 'Holidays in the Sun Festival' in Bilbao, Spain. Original drummer Jack Black made a guest appearance and filmed the concert. It was the first time in 18 years that the five original band members had been reunited on stage. In 2006, the band again performed concerts, including their first shows in London in 25 years. Following their successful reunion tour in London, one of the Boys' early songs, "Jimmy Brown", was released as a single on 15 December 2008.
In 2010 the Boys have started a side project without the involvement of Matt Dangerfield, called "the Mattless Boys". They will be releasing their first single "Talk to me" with Still Unbeatable Records and have a world premiere and single launch party at the Still Unbeatable Festival at the Victora pub in London, on 19 June 2010.
Although the Boys never achieved massive commercial success, their music legacy has been carried on by influence. German punk band Die Toten Hosen championed their music for more than a decade, covering several songs and introducing new fans to the Boys. They also recorded cover versions of some songs, namely "First Time" and "New Guitar in Town" for their album Auf dem Kreuzzug ins Glück - 125 Jahre die Toten Hosen and "Brickfield Nights" for the cover album Learning English, Lesson One. In the late 1990s, Japanese band Thee Michelle Gun Elephant had a hit with a Boys cover. This prompted the re-release of several Boys albums with encouraging international sales (more than 30,000 albums being sold in Japan alone). A Boys tribute album was also released featuring 13 bands from around the world. The Boys also influenced the cult power pop band The Exploding Hearts, who performed and recorded in the early 2000s.
Originally released in 1979, "To Hell", the Boys' third album, was recorded in a small Norwegian town called Hell (hence the album title's pun), and is probably the most consistently great album of their career. Though they have always been considered a punk band, a quick listen to any of their albums (apart from their debut) shows them to be the ultimate power pop band: great songs, tons of energy, and a powerful wall of guitars. What more could you ask for out of a power pop band? Kicking off the set is "Sabre Dance" (yes, a musical nod to Love Sculpture), which then segues into the awesome "Rue Morgue". Next up is their fantastic re-write of "Knocking On Heaven's Door" entitled "Terminal Love" (which does actually feature a bit of them singing "Heaven's Door" near the end cheeky Boys, eh?). "See You Later" is glam pop at it's finest. The haunting Lennon-esqe ballad "You Can't Hurt A Memory" is quite touching (especially from a group of so-called punks). "Kamikaze" features an agitated heavily accented vocal with a catchy horn section that turns the 'angry' feel of the lyrics into a breezy pop/punk nugget. And so it goes on With five bonus tracks (including their great version of "You Better Move On"), this is a must have for fans of British pop and power pop in general.
01. Sabre Dance 2:01
02. Rue Morgue
03. Terminal Love 3:30
04. See Ya Later 3:14
05. You Can't Hurt A Memory 7:32
07. Lonely Cowboy 3:45
08. Waiting For The Lady 3:31 $0.99
09. Bad Day
10. Independent Girl 5:35
11. I Love Me 3:35
12. You Better Move On 3:32
13. Schoolgirls Explicit 2:27
14. Rub A Dum Dum
15. Another Christmas 2:02
Size: 103 MB
Found in DC++ World
Originally a hard-driving rocker in the vein of fellow Michigan garage rockers the Rationals and Mitch Ryder, Bob Seger developed into one of the most popular heartland rockers over the course of the '70s. Combining the driving charge of Ryder's Detroit Wheels with Stonesy garage rock and devotion to hard-edged soul and R&B, he crafted a distinctively American sound. While he never attained the critical respect of his contemporary Bruce Springsteen, Seger did develop a dedicated following through constant touring with his Silver Bullet Band. Following several years of missed chances and lost opportunities, Seger finally achieved a national audience in 1976 with the back-to-back release of Live Bullet and Night Moves. After the platinum success of those albums, Seger retained his popularity for the next two decades, releasing seven Top Ten, platinum-selling albums in a row.
Seger began playing music in 1961 as the leader of the Detroit-based trio the Decibels; his future manager, Eddie "Punch" Andrews was also a member of the band. Moving to Ann Arbor, he played with the Town Criers before he became the keyboardist and vocalist for Doug Brown & the Omens. Billing themselves as the Beach Bums, the band released "The Ballad of the Yellow Beret," a parody of the Sgt. Barry Sadler song "The Ballad of the Green Beret." The single was withdrawn shortly after its release after Sadler threatened a lawsuit. In 1966, Seger released his first solo single, "East Side Story," which became a regional hit. Several other local hit singles followed on Cameo Records, including "Persecution Smith" and "Heavy Music," before his label folded. In 1968, he formed the Bob Seger System and signed with Capitol Records, releasing his debut album, Ramblin' Gamblin' Man, in the spring of that year. The title track became a national hit, climbing to number 17, but the group's follow-up, Noah, stiffed and Seger decided to quit the music business at the end of 1969 to attend college.
By the end of the summer, Seger had returned to rock & roll with a new backing band, releasing Mongrel at the end of the year. For 1971's Brand New Morning, he disbanded his group and recorded a singer/songwriter effort. Following its release, he began performing with the duo Dave Teegarden and Skip "Van Winkle" Knape, and the duo provided support on 1972's Smokin' O.P.'s, which was the first release on Palladium Records, a label he formed with Andrews. The album failed to sell, as did Back in '72 (1973) and Seven (1974), and he moved back to Capitol Records for 1975's Beautiful Loser. For the recording of Beautiful Loser, Seger formed the Silver Bullet Band, which consisted of guitarist Drew Abbott, bassist Chris Campbell, keyboardist Robyn Robbins, saxophonist Alto Reed, and drummer Charlie Allen Martin. Seger supported Beautiful Loser with an extensive tour with the Silver Bullet Band, and while it didn't make the album a hit, it provided a widespread grassroots following across the country. The touring paid off in 1976, when Live Bullet, a double album recorded in Detroit, became a hit, spending over three years on the U.S. charts and going gold; the album would eventually go quadruple platinum.
The groundswell behind Live Bullet sent Seger's next studio album, Night Moves (1976), into the Top Ten early in 1977. Night Moves became a blockbuster, generating the hit singles "Night Moves," "Mainstreet," and "Rock & Roll Never Forgets." Stranger in Town, released in the summer 1978, was just as successful, featuring the hits "Still the Same," "Hollywood Nights," "We've Got Tonite," and "Old Time Rock & Roll." Stranger in Town confirming his status as one America's most popular rockers. Seger's next album, 1980's Against the Wind, became his first number one album and all of its big hits -- "Fire Lake," "Against the Wind," "You'll Accomp'ny Me" -- were ballads. The live album Nine Tonight continued his multi-platinum success in 1981, selling three million copies and peaking at number three.
Seger returned with The Distance in 1982. The Distance was the first album since Seven to be recorded with the addition of session musicians, which caused guitarist Abbott to quit the band in frustration. Over the course of the next decade, the membership of the Silver Bullet Band shifted constantly. While The Distance featured "Shame on the Moon," his biggest hit single to date, its sales plateaued at a million copies, suggesting that his popularity was beginning to level off. Seger also began to drastically reduce his recording and touring schedules -- he only released one other album, 1986's Like a Rock, during the '80s. Like a Rock and its supporting tour were both successes, paving the way for "Shakedown," a song taken from the soundtrack to Beverly Hills Cop II, to become Seger's lone number one hit in 1987. Four years after its release, he returned with The Fire Inside. Although the album went platinum and reached the Top Ten, it only appealed to Seger's devoted following, as did 1995's It's a Mystery, which became his first album since Live Bullet to fail to go platinum, leveling off at gold status. In 2006, after an 11-year hiatus, Seger released Face the Promise.
Whiskey-A-Go-Go, L.A., Ca.
01. Steal Your Love Away
02. Back in '72
03. Bo Diddley
04. Travelin' Man
05. Beautiful Loser
06. Bringin' It Back from Mexico
07. Ramblin' Gamblin' Man
Size: 76.6 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Armed Forces is Elvis Costello's third album, his second with the Attractions, and the first to officially credit the Attractions on the cover. It was released in the UK by Radar Records and in the U.S. by Columbia in 1979 (see 1979 in music). The American version deleted "Sunday's Best" and substituted Costello's version of "(What's So Funny 'Bout) Peace, Love, and Understanding," which had been released the previous November as the B-side of Nick Lowe's "American Squirm" single, at the end of side two. The album originally had the working title Emotional Fascism.
Initial pressings of the album in the UK and U.S. included a promotional three-song single, Live at Hollywood High, which was recorded on June 4, 1978 (1978-06-04). The live tracks, also produced by Nick Lowe, are "Accidents Will Happen," "Alison," and "Watching the Detectives". The UK edition also included 4 postcards featuring pictures of the band. The sitcom "WKRP In Cincinnati" shows the DJ playing the album in the episode "Tornado".
After releasing and touring the intense This Year's Model, Elvis Costello quickly returned to the studio with the Attractions to record his third album, Armed Forces. In contrast to the stripped-down pop and rock of his first two albums, Armed Forces boasted a detailed and textured pop production, but it was hardly lavish. However, the more spacious arrangements -- complete with ringing pianos, echoing reverb, layered guitars, and harmonies -- accent Costello's melodies, making the record more accessible than his first two albums.
Perversely, while the sound of Costello's music was becoming more open and welcoming, his songs became more insular and paranoid, even though he cloaked his emotions well. Many of the songs on Armed Forces use politics as a metaphor for personal relationships, particularly fascism, which explains its working title, Emotional Fascism. Occasionally, the lyrics are forced, but the music never is -- the album demonstrates the depth of Costello's compositional talents and how he can move from the hook-laden pop of "Accidents Will Happen" to the paranoid "Goon Squad" with ease. Some of the songs, like the light reggae of "Two Little Hitlers" and the impassioned "Party Girl," build on his strengths, while others like the layered "Oliver's Army" take Costello into new territories. It's a dense but accessible pop record and ranks as his third masterpiece in a row.
[The Rykodisc/Demon 1993 CD reissue of Armed Forces restored the album to its original British running order, adding the B-side cover of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding" -- which had been substituted for "Sunday's Best" on the American version of Armed Forces -- as one of the disc's bonus tracks. The CD also includes the B-sides "My Funny Valentine," "Tiny Steps," "Clean Money," the free single "Talking in the Dark"/"Wednesday Week," which was included with the initial Radar pressings of Armed Forces, and the Live at Hollywood High EP, which was also included on the first Radar edition.]
01."Accidents Will Happen" – 3:00
02."Senior Service" – 2:17
03."Oliver's Army" – 2:58
04."Big Boys" – 2:54
05."Green Shirt" – 2:42
06."Party Girl" – 3:20
07."Goon Squad" – 3:14
08."Busy Bodies" – 3:33
09."Sunday's Best" – 3:22
10."Moods for Moderns" – 2:48
11."Chemistry Class" – 2:55
12.."Two Little Hitlers" – 3:18
Size: 58.6 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Loving You is the third album by Elvis Presley, issued on RCA Victor Records in mono, LPM 1515, in July 1957 - the July 1 release date is unconfirmed. Recording sessions took place on January 15, 16, 17, and 18, 1957, at the Paramount Pictures Scoring Stage, and on January 12, 13, 19, and February 23 and 24, 1957, at Radio Recorders in Hollywood. These are the first sessions where Steve Sholes is officially listed as producer. It spent ten weeks at #1 on the Billboard Top Pop Albums chart.
The soundtrack includes seven songs composed expressly for the movie from writers contracted to the publishing companies owned by Elvis and the Colonel, Elvis Presley Music and Gladys Music. An eighth song intended for but not appearing in the movie, "Don't Leave Me Now," was included on the album, and a new recording would appear on the soundtrack for his next film, Jailhouse Rock.
The previously released material comprises both sides the single taken from the soundtrack, Presley's #1 hit "(Let Me Be Your) Teddy Bear" backed with the film's title track, "Loving You". Producer Hal Wallis liked "Teddy Bear" so much that he insisted it be included in the movie. Songs were added to bring up the running time of the album, including the swing era favorite "Blueberry Hill," covered by many had been recently a big hit for Fats Domino in 1956. "Have I Told You Lately That I Love You" had been done previously by the Sons of the Pioneers as well as Bing Crosby with The Andrews Sisters. Cole Porter's last great standard, "True Love," written for the 1956 musical film High Society also made the album, either to feature a straightforward romantic song, or to give Presley and The Jordanaires an excuse for some close harmony singing. The practice of RCA augmenting soundtrack recordings with extra songs from non-soundtrack studio sessions to bring up the running time of the LP to acceptable lengths would become a commonplace occurrence with Presley soundtracks through the 1960s.
The album was reissued for compact disc in an expanded edition on April 15, 1997, appending eight tracks to the original album. All tracks derive from the same sessions, with three alternate takes, the remaining track from the Just For You EP, three single sides including "Tell Me Why" which would wait almost nine years to be released, and a remake of the Sun master "When It Rains It Really Pours," also released much later on the 1965 LP Elvis for Everyone. On January 11, 2005, Sony BMG reissued the album again, remastered using DSD technology with the six bonus tracks appended in standard fashion. A two-disc set was released on the Follow That Dream collectors label on January 12, 2006, with the bonus tracks and numerous additional takes.
Purporting to be the soundtrack to Elvis' second film, this album collects songs used in the film on one side with new material on the other. The weakness of a couple of the movie tunes and the fact that the new songs were leftovers from the sessions used to produce Elvis' first gospel EP and latest single add up to his weakest album offering, although any album with "Got a Lot o' Living to Do" is alright. If you think of Loving You as simply an Elvis Presley album rather than a somewhat misleadingly packaged soundtrack, it was actually one of his more coherent and cohesive long-players, assembled from sessions all conducted in the first two months of 1957. By this time, he was doing precious little that was wrong, and his range and control were growing geometrically -- thus, amid some powerful rock & roll, including "Mean Woman Blues" (which could almost have passed for one of his Sun tracks), "Teddy Bear," the electric guitar-driven "Got a Lot 'o Livin' to Do," Ivory Joe Hunter's "I Need You So," and a hard, brittle-textured outtake of "I Beg of You," the King does some brilliant ballad singing on "One Night of Sin" and "Is It So Strange," and belts out one of his great blues performances on "When It Rains, It Really Pours" -- which boasts a killer Scotty Moore guitar part -- and moves into Sons of the Pioneers territory with the hauntingly beautiful Western ballad, "Lonesome Cowboy." He doesn't do badly with "Blueberry Hill," either.
01. 1/13/57 Mean Woman Blues Claude Demetrius 2:15
02. 1/24/57 47-7000 7/11/57 #1 (Let Me Be Your) Teddy Bear Kal Mann and Bernie Lowe 1:45
03. 2/24/57 47-7000b 7/11/57 #28 Loving You Jerry Leiber and Mike Stoller 2:12
04. 1/12/57 Got a Lot o' Livin' to Do Aaron Schroeder and Ben Weisman 2:31
05. 1/15-18/57 Lonesome Cowboy Sid Tepper and Roy C. Bennett 3:07
06. 1/15-18/57 Hot Dog Jerry Leiber and Mike Stoller 1:17
07. 1/22/57 Party Jessie Mae Robinson 1:26
08. 1/19/57 Blueberry Hill Vincent Rose, Al Lewis, Larry Stock 2:39
09. 2/23/57 True Love Cole Porter 2:05
10. 2/23/57 Don't Leave Me Now Aaron Schroeder and Ben Weisman 1:58
11. 1/19/57 Have I Told You Lately That I Love You? Johnny Russell and Scott Wiseman 2:31
12. 2/23/57 I Need You So Ivory Joe Hunter 2:37
Size: 49.3 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
King Creole is the sixth album by Elvis Presley, issued on RCA Victor Records, LPM 1884 in mono in September 1958, recorded in three days at Radio Recorders in Hollywood. It contains songs written and recorded expressly for the film, and peaked at #2 on the Billboard Top Pop Albums chart. It followed the film release by over ten weeks.
The bulk of the songs originated from the stable of writers contracted to Hill and Range, the publishing company jointly owned by Presley and Colonel Tom Parker: Fred Wise, Ben Weisman, Claude Demetrius, Aaron Schroeder, Sid Tepper, and Roy C. Bennett. Conspicuous in their relatively limited contribution were Jerry Leiber and Mike Stoller, who had come to an impasse with the Colonel during the making of the previous movie, Jailhouse Rock, in which they had practically dominated the musical proceedings. Furious over mere songwriters having such easy access to Presley without going through Parker's "proper channels," the Colonel closed off their avenue to his prize client, especially since the duo had also tried to influence Presley's film direction, pitching him an idea to do a gritty adaption of Nelson Algren's recent novel, A Walk on the Wild Side, with Elia Kazan directing, and Leiber and Stoller providing the music. The Colonel put the kibosh on such notions, although echoes of the concept remained in the film, and the pair still managed to place three songs on the soundtrack, including the title track and "Trouble," arguably the film's best songs. Presley's performance of "Trouble" in the film alludes to Muddy Waters and Bo Diddley; he would return to the song for his tremendously successful television comeback special.
The songs "Hard Headed Woman" and "Don't Ask Me Why" appeared as two sides of a single on July 10, 1958, to coincide with the release of the film. "Hard Headed Woman," the A-side, and "Don't Ask Me Why" both made the pop singles chart, peaking at #1 and #25 respectively.
The album was reisued for compact disc in an expanded edition on April 15, 1997, and again in an audiophile version from Japan on August 25, 2005. For the both reissues, an additional seven tracks were added, including the song "Danny" taken from the same sessions, with six alternates, four previously unreleased.
King Creole was the last movie that Elvis Presley made before he entered the army in the spring of 1958 -- it was also his last film in black-and-white, as well as his final effort directed by a serious old-time filmmaker (Michael Curtiz); and, apart from a few isolated, quirky efforts like Flaming Star, Change of Habit, and Charro, this was the last of his serious movies, in which Presley was trying hard, pushing himself as an actor and, really, all through the score, as a musician. This is reflected in the soundtrack, which is one of the stronger film-related releases of his career. The original 11 songs included a hot title track by Jerry Leiber and Mike Stoller that was a dazzling showcase for Scotty Moore's and Tiny Timbrell's guitars as well as Elvis' intense, exciting lead vocal. Leiber and Stoller's "Trouble" and Claude Demetrius' "Hard Headed Woman" have Moore's and Timbrell's electric guitars competing successfully with a five-man brass and reed section. Even "Dixieland Rock," if not up to the level of those other two numbers, features good playing and a strong performance by Presley, and "Young Dreams" is a decent midtempo number. The slow ballads are where the soundtrack falls flat, "As Long As I Have You" coming up to standard but "Lover Doll" and "Don't Ask Me Why" failing to excite or maintain interest; "Crawfish" can only have been included to bring the album up to the minimum acceptable length for an LP. [The 1997 remastered CD features rather upgraded sound and seven additional numbers that are outtakes from the score; these include two alternate takes of "King Creole" with considerably different guitar and brass parts, and two superior alternate versions of "As Long as I Have You," both in a much more spare arrangement -- basically just Elvis and a single piano accompanying him -- plus a discarded alternate title track ("Danny"). The undubbed "Lover Doll" is superior to the released version, featuring Presley accompanied by a single acoustic guitar.
01. 1/23/58 King Creole Jerry Leiber and Mike Stoller 2:16
02. 1/16/58 As Long As I Have You Fred Wise and Ben Weisman 1:50
03. 1/15/58 Hard Headed Woman Claude Demetrius 1:53
04. 1/15/58 Trouble Jerry Leiber and Mike Stoller 2:16
05. 1/16/58 Dixieland Rock Aaron Schroeder and Rachel Frank 1:46
06. 1/16/58 Don't Ask Me Why Fred Wise and Ben Weisman 2:06
07. 1/16/58 Lover Doll Sid Wayne and Abner Silver 2:09
08. 1/15/58 Crawfish Fred Wise and Ben Weisman 1:48
09. 1/23/58 Young Dreams Aaron Schroeder and Martin Kalmanoff 2:23
10. 1/23/58 Steadfast, Loyal And True Jerry Leiber and Mike Stoller 1:15
11. 1/15/58 New Orleans Sid Tepper and Roy C. Bennett 1:58
Size: 57.2 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
G.I. Blues is the eleventh album by Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2256, in October 1960. Recording sessions took place on April 27 and 28, and May 6, 1960, at RCA Studio C and Radio Recorders in Hollywood, California. The album topped the Billboard Top Pop Album chart and has been certified by the RIAA as a platinum album.
Music on this album comprised songs that had appeared in the film of the same name. The song "Wooden Heart" was released as a single in the United Kingdom, where it was #1 for six weeks. In the United States, Joe Dowell recorded a cover version of "Wooden Heart" that topped the Billboard Hot 100. RCA later released "Wooden Heart" by Presley as the b-side of a single twice, once in 1964 on the back of a reissue of "Blue Christmas," and again on the flip of a belated issue in 1965 of "Puppet On A String" from the Girl Happy movie. Four songs from this album appear on the 1995 soundtrack compilation: "G.I. Blues," "Wooden Heart," "Shoppin' Around," and "Doin' the Best I Can."
Due to copyright reasons, the European version of the soundtrack album and film substitutes the opening track "Tonight Is So Right for Love" with the song "Tonight's All Right for Love," adapted from a melody by 19th century waltz-king Johann Strauss II. Interestingly, the melody for "Tonight Is So Right for Love" was taken directly from a barcarolle composed by Jacques Offenbach, one of Strauss's contemporaries. An American release of "Tonight's All Right for Love" did not occur until it appeared on the compilation album Elvis: A Legendary Performer Volume 1 in 1974. The version of "Blue Suede Shoes" used on the soundtrack is a new recording of the song Presley first recorded in 1956, and is one of only a few songs that Presley would re-record in a studio setting during his career, others being "Love Letters" and "A Little Less Conversation."
On April 27, 1997, RCA remastered the album for compact disc, adding eight outtakes from the recording session as bonus tracks. Two songs were previously released, the acoustic version of "Big Boots" appearing on the posthumous 1978 album Elvis Sings for Children and Grown-Ups Too, and the substitute "Tonight's All Right For Love."
01. 4/27/60 Tonight Is So Right for Love Abner Silver and Sid Wayne 2:14
02. 4/28/60 What's She Really Like Abner Silver and Sid Wayne 2:17
03. 5/6/60 Frankfort Special Sid Wayne and Sherman Edwards 2:58
04. 4/28/60 Wooden Heart Ben Weisman, Fred Wise, Kathleen Twomey, Bert Kaempfert 2:03
05. 4/27/60 G.I. Blues Sid Tepper and Roy C. Bennett 2:36
06. 5/6/60 Pocketful of Rainbows Ben Weisman and Fred Wise 2:35
07. 5/6/60 Shoppin' Around Aaron Schroeder, Sid Tepper, Roy C. Bennett 2:24
08. 5/6/60 Big Boots Sid Wayne and Sherman Edwards 1:31
09. 4/27/60 Didja' Ever Sid Wayne and Sherman Edwards 2:36
10. 4/28/60 Blue Suede Shoes Carl Perkins 2:07
11. 4/27/60 Doin' the Best I Can Doc Pomus and Mort Shuman 3:10
Size: 70.7 MB
Ripped by: ChrisGoesRock
Source: japan 24-Bit Remaster
Music for Pleasure is the second album by the punk rock band The Damned. It was released on 18 November 1977.
It was produced by Nick Mason of Pink Floyd and featured new member Lu Edmunds on guitar alongside Brian James, as well as guest saxophonist Lol Coxhill. The album was the last studio release to feature original guitarist Brian James, and the group's final album release on Stiff Records. It saw the band move into more complex song structures, while maintaining the punk sound of their debut album. The release failed to make the UK Top 100 Album chart.
The sleeve was designed by Barney Bubbles (including the cover painting).
The band famously dislikes the album.
The Damned are an English gothic punk band formed in London in 1976. They were the first punk rock band from the United Kingdom to release a single ("New Rose"), an album (Damned Damned Damned), to have a record on the UK music charts, and to tour the United States. The Damned later evolved into one of the forerunners of the gothic genre.
They have incorporated numerous styles into their music and image, including: garage rock, psychedelic rock, cabaret, and the theatrical rock of Screaming Lord Sutch and Alex Harvey. Lead singer Dave Vanian's vocal style has been described as similar to a crooner. The Damned have dissolved and reformed many times, with Vanian as the sole constant member. However, the lineups have always included either guitarist Captain Sensible and/or drummer Rat Scabies, who are both founding members. The current line-up includes Vanian, Captain Sensible, Monty Oxy Moron, Pinch and Stu West.
01."Problem Child" – 2:13
02."Don't Cry Wolf" – 3:15
03."One Way Love" – 3:44
04."Politics" – 2:26
05."Stretcher Case Baby" – 1:52
06."Idiot Box" – 5:00
07."You Take My Money" – 2:04
08."Alone" – 3:37
09."Your Eyes" – 2:53
10."Creep (You Can't Fool Me)" – 2:12
11."You Know" – 5:05
Size: 73.3 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Elvis Is Back! is the tenth album by Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2231, in April 1960. Recording sessions took place on March 20 and April 3, 1960, at RCA Studio B in Nashville, Tennessee. It was Presley's first album to be released in true stereo. It peaked at #2 on the Top Pop Albums chart and is listed, along with his debut and From Elvis in Memphis, in the book 1001 Albums You Must Hear Before You Die.
The first album by Presley after his military discharge from the army, the first day of its sessions were attended by the Colonel, his assistant Tom Diskin, and representatives from RCA in a show of interest regarding whether or not Elvis still "had it" after two years in uniform. His long-serving guitarist Scotty Moore, pianist Floyd Cramer, and drummer D. J. Fontana had returned, along with his back-up vocal quartet The Jordanaires, but the other musicians had only played on one previous session with Elvis. One new face at the sessions whom Presley had befriended while in the service, Charlie Hodge, would become a Presley regular, member of the Memphis Mafia and a mainstay in his return to live performance at the end of the decade. Pressure aside, the sessions were successful, the album a highlight of the entire decade and a declared favorite by Presley regarding his own work. He moved beyond his standard rock and roll sound of the 1950s, combining doo-wop, gospel, blues, and even jazzy tones from his version of "Fever" following so close to that of Peggy Lee from 1958. The results yielded a new sound for Presley, with a varied song selection, moving him further toward the pop music he would undertake as the decade progressed. Prior to this, only his second album fully derived from a specific set of sessions undertaken expressly to make a particular album.
The original twelve track album was first issued on compact disc in 1988. The May 18, 1999 CD reissue included six bonus tracks, recorded at the same two sessions for the album and issued as the sides to three singles. Those three singles, "Stuck on You", "Are You Lonesome Tonight?", and "It's Now or Never" all topped the singles chart; the b-sides all also charted independently in the Top 40. "It's Now or Never" had been adapted from the 1898 Neapolitan song "'O Sole Mio", and "Are You Lonesome Tonight?", a ballad from 1926, had been the only time the Colonel had requested Elvis record a specific song.
On January 18, 2011, Legacy Records released a Legacy Edition with the entirety of the 1999 reissue on one disc, appending the single "Surrender." A bonus disc included the entirety of Something for Everybody along with the singles "I Feel So Bad," (Marie's the Name) His Latest Flame" and its flipside "Little Sister," and "Good Luck Charm" and its b-side "Anything That's Part of You." Other reissues include a Steve Hoffman remastered DCC Gold CD prepared from the original tapes in 1997,an expanded edition by the Follow That Dream collectors label on April 1, 2005, and a Legacy edition with Something For Everybody as the second disc and bonus tracks of singles recorded around the same time, released March 1, 2011.
01. 3/20/60 Make Me Know It Otis Blackwell 1:58
02. 4/3/60 Fever John Davenport and Eddie Cooley 3:31
03. 4/3/60 The Girl of My Best Friend Beverly Ross and Sam Bobrick 2:21
04. 4/3/60 I Will Be Home Again Bennie Benjamin, Raymond Leveen, Lou Singer 2:33
05. 4/3/60 Dirty, Dirty Feeling Jerry Leiber and Mike Stoller 1:35
06. 4/3/60 Thrill of Your Love Stan Kesler 2:59
07. 3/20/60 Soldier Boy David Jones and Theodore Williams Jr. 3:04
08. 4/3/60 Such a Night Lincoln Chase 2:58
09. 3/20/60 It Feels So Right Fred Wise and Ben Weisman 2:09
10. 4/3/60 Girl Next Door Went A'Walking Bill Rice and Thomas Wayne 2:12
11. 4/3/60 Like A Baby Jesse Stone 2:38
12. 4/3/60 Reconsider Baby Lowell Fulson 3:39
Size: 84.9 MB
Ripped by: ChrisGoesRock
Source: Japan SHM-CD Remaster
There are a few albums in the rock universe written and recorded by younger teenagers and this is one of them. While those albums can sometimes be immature there is often an inherent excitement and passion that only the young, naïve, uninhibited spirit can conjure. Once a musician becomes older and more seasoned they may well produce better work but there is a certain spark to youth that can be imitated but not authentically captured again. Semiramis is one of those magical products of youth that is worth hearing. It also comes from the height of the classic period of Italian prog and lives up to the competition of the great work surrounding it.
The music of Semiramis is not easy to describe. I suppose if I had to try I would say its crazy theatrical edge brings to mind Ange. Gnosis reviewer Tom Hayes gives the best description I've ever read: "So it's an established fact that in Italy during the period between 1971-1974, a music movement existed where bands would challenge each other to see who could be the most imaginative, who could create the album for the ages. They were all painters and sculptors just as in Renaissance Italy. Dedicato A Frazz is Michaelangelo's 'David'. Combining elements of Italian folk, circus, hard rock, Baroque church music, jazz, classical, and a good dose of insanity, Dedicato A Frazz pounds every sense, challenges every synapse in a flurry of ideas. After literally hundreds of listens, I still hear a different album each time. There is no weak link, no attempt at copying others works, no tries at banal commercialism. Just uninhibited reckless abandon of the imagination combined with musical expertise. Most tracks have a few hundred ideas and change moods faster than a bipolar woman left in the cold. Acoustic moments are quickly offset by heavy electric ones. Quiet moments of solitude are blasted away by militaristic might. It's never enough to have one striking contrast. No, Semiramis pile it on from every angle. Synths go awry, voices scream, guitars go a hundred miles a second, drums jettison you across the room. How could a group compose so many ideas? There are literally 15 albums on this!" [quoted paragraph by Tom Hayes, 2001]
The boys from Rome started around 1970 playing covers of Sabbath, Zeppelin, Stones and Italian groups. Younger brother Michele Zarrillo, a 15 year old musical prodigy joined the band and wrote the material on this album. The band then started playing the Italian festival scene. Drummer Memmo Pulvano fondly remembered the Villa Pamphilli festival in this 2003 interview: "We had a 24 minute song to play there, at the sound check Michele made an astonishing solo, and all the technicians stopped their work to listen to him, you know he was only 15! But I remember noticing that some popular guitarists said to the sound engineers to turn the volume down....Then the show began, and when our turn came we were very excited: we had just played in front of small audiences, and there were lots of people there! People sitting on the grass and you couldn't even see the lawn! We started playing, and I had behind me the best italian drummers, and they were watching me. It was incredible; my favorite drummers were listening at me! At the end some of them came to me congratulating, it was very satisfying because I was a self-taught drummer. Our song ended with a long guitar solo, it was common at the time, and Michele played it perfectly, but the engineers turned down the volume, it was due to the other guitarists' pressures I had noticed before! Michele was really angry for this, but they told us we had played too much. I was very sad then, but after a while Banco del Mutuo Soccorso started playing and it was a pleasure!" [interview with Memmo Pulvano, by Augusto Croce, september 2003]
It's true as mentioned by others that the production is not perfect and the sound somewhat compromised but it's really not so bad. Poor sound is a turnoff to me but I have no trouble dealing with this album. The vocals are fine robust Italian at their lively best. The guitar playing is energetic on the electric side and expressive on the acoustic side. The rest of the band are fine musicians but not the best I've ever heard. Composition is amazing for a 16 year old kid, this is material you will have to play many times to fully appreciate. A definite grower. It is a great example of the kind of spirit that makes me love these classic Italian albums so much.
This is an essential classic for anyone pursuing an Italian prog collection. For the wider website I rate the album excellent but can't claim it essential to everyone. The Trident Records mini-lp sleeve reissue is fabulous with its faithful reproduction of the gorgeous inner gatefold art, and the fine booklet with band history and rare photo of the group playing live at a '73 outdoor festival. I would give anything to have been able to witness those large Italian festivals in 72-74. If anyone here ever had the pleasure of being there, you'll have to start a thread in the forums and write a review. [progarchives.com]
01. La bottega del rigattiere (6:01)
02. Luna Park (5:58)
03. Uno zoo di vetro (4:28)
04. Per un strada affolata (5:00)
05. Dietro una porta di carta (5:42)
06. Frazz (5:05)
07. Clown (4:34)