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The 3 Albert tracks here are outstanding - Albert in all his funky, string-bending, stage-bantering glory. But if you're buying it for the Albert tunes, you're only getting about 17 minutes of music.
Little Milton is a blues stud in his own right, but not when you can't hear his guitar. What you can hear on this disc is him screaming to the sound guys "gimme some mike!" Unfortunately, he never gets it. The drums, bass, horns, and vocals are there, but that doesn't cut it. Little Milton without the guitar work is Little Milton you can do without! If you're interested, I recommend the albums Little Milton Sings Big Blues ('66) or Grits Ain't Groceries ('69).
Chico Hamilton is an extremely talented jazz drummer and was influential on psychedelic rockers such as Carlos Santana. Some of his music was on the bluesy side of what label-slingers call "soul jazz" and could work alongside some of Albert's stuff. In View is a good 12-minute jam of mostly drums, saxophone, and bass, but it isn't really bluesy and makes me wonder why it was chosen for inclusion on this album.
Albert King (April 25, 1923 – December 21, 1992) was an American blues guitarist and singer.
One of the "Three Kings of the Blues Guitar" (along with B. B. King and Freddie King), Albert King stood 6' 4" (192 cm) (some reports say 6' 7") and weighed 250 lbs (118 kg)[1] and was known as "The Velvet Bulldozer". He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his childhood he would sing at a family gospel group at a church. One of 13 children, King grew up picking cotton on plantations near Forrest City, Arkansas where the family moved when he was eight. He began his professional work as a musician with a group called In The Groove Boys in Osceola, Arkansas. He also briefly played drums for Jimmy Reed's band and on several early Reed recordings. Influenced by blues musicians Blind Lemon Jefferson and Lonnie Johnson, but also interestingly Hawaiian music, the electric guitar became his signature instrument, his preference being the Gibson Flying V, which he named "Lucy".
King was a left-handed "upside-down/backwards" guitarist. He was left-handed, but usually played right-handed guitars flipped over upside-down so the low E string was on the bottom. In later years he played a custom-made guitar that was basically left-handed, but had the strings reversed (as he was used to playing). He also used very unorthodox tunings (i.e., tuning as low as C to allow him to make sweeping string bends). Some believe that he was using open Eminor tuning (C-B-E-G-B-E) or open F tuning (C-F-C-F-A-D). A "less is more" type blues player, he was known for his expressive "bending" of notes, a technique characteristic of blues guitarists.
He recorded his first disc in 1953 for Parrot Records in Chicago, but it made no impact. His first minor hit came in 1959[1] with "I'm a Lonely Man" written by Bobbin Records A&R man and fellow guitar hero Little Milton, responsible for King's signing with the label. However, it was not until his 1961 release "Don't Throw Your Love on Me So Strong" that he had a major hit, reaching number fourteen on the U.S. Billboard R&B chart. In 1966 he signed with the Stax record label. Produced by Al Jackson, Jr., King with Booker T. & the MGs recorded dozens of influential sides, such as "Crosscut Saw" and "As The Years Go Passing By", and in 1967 Stax released the album, Born Under a Bad Sign. The title track of that album (written by Booker T. Jones and William Bell) became King's best known song and has been covered by many artists (from Cream to Homer Simpson).
In the 1970s, King was teamed with members of The Bar-Kays and The Movement (Isaac Hayes's backing group), including bassist James Alexander and drummer Willie Hall adding strong funk elements to his music. Adding strings and multiple rhythm guitarists, producers Allen Jones and Henry Bush created a wall of sound that contrasted the sparse, punchy records King made with Booker T. & the MGs. Among these was another of King's signature tunes for King with "I'll Play the Blues For You" in 1972.
King influenced others such as Mick Taylor, Derek Trucks, Warren Haynes, Mike Bloomfield and Joe Walsh (the James Gang guitarist spoke at King's funeral). He also had an impact on contemporaries Albert Collins and Otis Rush. Clapton has said that his work on the 1967 Cream hit "Strange Brew" and throughout the album Disraeli Gears was inspired by King.
As he hit his mid-sixties King began to muse about retirement, not unreasonable given that he had health problems.[1] Nevertheless, when near to death, he was planning yet another overseas tour.
King died on December 21, 1992 from a heart attack in Memphis, Tennessee.
Chico Hamilton (born Foreststorn Hamilton, September 20, 1921), is an American jazz drummer and band leader.
Early life through 1960s
Hamilton was born in Los Angeles, California. He had a fast track musical education in a band with his schoolmates Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim & Slam, T-Bone Walker, Lester Young, Count Basie, Duke Ellington, Charlie Barnet, Billy Eckstine, Nat King Cole, Sammy Davis Jr., Billie Holiday, Gerry Mulligan and six years with Lena Horne established this young West Coast prodigy as a jazz drummer on the rise[1], before striking out on his own as a band leader in 1955.
Hamilton appeared in the March Milastaire number in the film You'll Never Get Rich (1941) as part of the backing group supporting Fred Astaire, and performed on the soundtrack of the Bing Crosby/Bob Hope film Road to Bali.
He recorded his first LP as leader in 1955 with George Duvivier and Howard Roberts for Pacific Jazz; in 1955 he formed an unusual quintet in L.A. featuring cello, flute, guitar, bass and drums[2]; it has been described as one of the last important West Coast jazz bands[1]. The original personnel included Buddy Collette, Jim Hall, Fred Katz and Jim Aton; Carson Smith later replaced Aton on bass; Hamilton continued to tour using different personnel, 1957 to 1960; the group including Paul Horn and John Pisano was featured in the film Sweet Smell of Success in 1957; the group including Nate Gershman and Eric Dolphy appeared in the film Jazz on a Summer's Day in 1960; Dolphy marked his first recordings with Hamilton on With Strings Attached, Gongs East, The Three Faces of Chico, and That Hamilton Man.
Hamilton revamped the group in 1961 with Charles Lloyd, Gabor Szabo, George Bohanon and Albert Stinson, playing what has been described as "a moderate avant-gardism"[3]; the group recorded for Columbia, Reprise and Impulse and also recorded the soundtrack for the industrial film Litho in 1962, the first American film to be shown behind the Iron Curtain. Hamilton formed a commercial and film production company in 1965; scored the feature films Repulsion, Mr. Rico, By Design, Liebe Auf Den Ersten Blick, Die Sonnengottin, and A Practical Man; scored for television Portrait of Willie Mays and the popular children's series Gerald McBoing Boing; and scored hundreds of commercials for TV and radio.
He formed a new group with Larry Coryell, Richard Davis and Arnie Lawrence in 1966 and recorded The Dealer for Impulse.
1970s onwards
He performed at Montreux Jazz Festivals in 1972 and 1973. Formed a new "Players" group in 1975 with Arthur Blythe, Steve Turre, Barry Finnerty and Abdullah; also, wrote and performed the musical score for the movie, Coonskin, in 1975; toured with "Players" using different personnel in 1976-1980; recorded for Blue Note, Mercury Records, Nautilus and Elektra. Originating faculty member in 1987 of New School University Jazz and Contemporary Music Program.
He formed the new group "Euphoria" in 1987 with Eric Person, Cary DeNigris and Reggie Washington; recorded Euphoria in 1987; toured Europe with Euphoria 1987, 1988, 1990. Performed at Verona, Bolzano, Vienne, Nice, North Sea and Montreux Jazz Festivals in 1989 with regrouped original quintet with Buddy Collette, Fred Katz, John Pisano, Carson Smith; recorded Reunion [disambiguation needed] for Soul Note. For Soul Note records Arroyo with Euphoria group, Trio! w. Eric Person, Cary DeNigris, Eric Dolphy tribute My Panamanian Friend with Euphoria group, and solo drum session Dancing to a Different Drummer. Toured Europe with Euphoria in 1994. Hamilton was the subject of a documentary film by director Julian Benedikt, Dancing to a Different Drummer.
Hamilton released Foreststorn in 2001 featuring Euphoria with Cary DeNigris on guitar, Paul Ramsey on bass, and a new two horn front line featuring Eric Lawrence on alto and soprano saxes and Evan Schwam on tenor sax, as well as special guest appearances from former band members Arthur Blythe, Steve Turre and his wife Akua Dixon, Eric Person, former Spin Doctors guitarist Eric Schenkman (a student of Chico's), Blues Traveler front man John Popper (also a student of Chico's), and Charlie Watts of The Rolling Stones. In August 2001 he performed in front of 2300 people at Lincoln Center My Funny Valentine: A Tribute to Chico Hamilton with Euphoria plus special guest appearances from Joe Beck, Arthur Blythe, Larry Coryell, Akua Dixon, Rodney Jones and Eric Person. In fall 2002 he released Thoughts of… with Euphoria, with special guest appearances from guitarists and former band members Joe Beck, Larry Coryell and Rodney Jones.
In 1997, Hamilton received the New School University Jazz and Contemporary Music Programs Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz." In 2002, he was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, Hamilton was awarded a NEA Jazz Master Fellowship, presented to him by Roy Haynes. In December 2006, Congress confirmed the President's nomination of Chico Hamilton to the Presidents Council on the Arts. And in 2007, Hamilton received a Living Legend Jazz Award as part of The Kennedy Center Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School.
Hamilton has a resume that includes scores for film, original compositions, commercial jingles, albums as a leader, and countless international tours. In 2006, he released four CDs on Joyous Shout! in celebration of his 85th birthday: Juniflip featuring guest appearances from Love front-man Arthur Lee, vocalist (and successful actor) Bill Henderson, and former Hamilton band members trombonist George Bohanon and bass trombonist Jimmy Cheatham; Believe with special guest appearances from vocalist and Rhythm and blues singer Fontella Bass and trombonist George Bohanon; 6th Avenue Romp featuring special guest appearances from guitarist Shuggie Otis, trumpeter Jon Faddis, trombonist George Bohanon, vocalist Brenna Bavis and percussionist Jaimoe of the Allman Brothers Band; and Heritage with special guest appearances from vocalist Marya Lawrence and trombonist George Bohanon. In September 2007, he released Hamiltonia sampling his original compositions from the four albums released in 2006. Hamiltonia confirms Hamilton's status as one of the most important living jazz artists and composers.
Over the years, Hamilton has had a series of dance successes, including his signature song "Conquistadors" from his 1960s Impulse album El Chico, and the Brazilian influenced song "Strut" from Hamilton's 1980 Elektra album, Nomad, which became so successful on the Northern Soul scene in the U.K. that it had its own dance. In 2002 a track titled "For Mods Only" from Hamilton's 1968 Impulse album The Dealer, was included on the Thievery Corporation's Sounds from the Verve Hi-Fi. In 2006, Rong Music released the 12" vinyl Kerry's Caravan from Mudd and Chico Hamilton, with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. And the recent Impulsive! Revolutionary Jazz Reworked Remix Project features Mark De Clive-Lowe's remix of Chico's song "El Toro." Released in December 2007 from SoulFeast (Joaquin 'Joe' Claussell and Brian Michel Bacchus) is their recasting of Chico's track "Mysterious Maiden," and 2008 from SoulFeast is a EP Chico Hamilton Presents: Alternative Dimensions of El Chico.
Hamilton is presently teaching at The New School for Jazz and Contemporary Music in New York City; touring extensively in North America with Euphoria, which includes Nick Demopoulos on guitar, Paul Ramsey on bass, Evan Schwam on flute, tenor and soprano saxes, and Jeremy Carlstedt on percussion; recording with his group and special guests; composing and performing music for film; and working on his autobiography. His brother was the actor Bernie Hamilton.
Little Milton (September 7, 1934 - August 4, 2005) was an American blues and soul singer and guitarist, best known for his hit records "Grits Ain't Groceries" and "We're Gonna Make It."
Biography
Milton was born James Milton Campbell, Jr., in the Mississippi Delta town of Inverness and raised in Greenville by a farmer and local blues musician. By age twelve he had learned the guitar and was a street musician, chiefly influenced by T-Bone Walker and his blues and rock and roll contemporaries. In 1952, while still a teenager playing in local bars, he caught the attention of Ike Turner, who was at that time a talent scout for Sam Phillips' Sun Records. He signed a contract with the label and recorded a number of singles. None of them broke through onto radio or sold well at record stores, however, and Milton left the Sun label by 1955.
After trying several labels without notable success, including Trumpet Records, Milton set up the St. Louis based Bobbin Records label, which ultimately scored a distribution deal with Leonard Chess' Chess Records. As a record producer, Milton helped bring artists such as Albert King and Fontella Bass to fame, while experiencing his own success for the first time. After a number of small format and regional hits, his 1962 single, "So Mean to Me," broke onto the Billboard R&B chart, eventually peaking at #14.
Following a short break to tour, managing other acts, and spending time recording new material, he returned to music in 1965 with a more polished sound, similar to that of B.B. King. After the ill-received "Blind Man" (R&B: #86), he released back-to-back hit singles. The first, "We're Gonna Make It," a blues-infused soul song, topped the R&B chart and broke through onto Top 40 radio, a format then dominated largely by white artists. He followed the song with #4 R&B hit "Who's Cheating Who?" All three songs were featured on his album, We're Gonna Make It, released that summer.
Throughout the late 1960s Milton released a number of moderately successful singles, but did not issue a further album until 1969, with Grits Ain't Groceries featuring his hit of the same name, as well as "Just a Little Bit" and "Baby, I Love You". With the death of Leonard Chess the same year, Milton's distributor, Checker Records fell into disarray, and Milton joined the Stax label two years later. Adding complex orchestration to his works, Milton scored hits with "That's What Love Will Make You Do" and "What It Is" from his live album, What It Is: Live at Montreux. He appeared in the documentary film, Wattstax, which was released in 1973. Stax, however, had been losing money since late in the previous decade and was forced into bankruptcy in 1975.
After leaving Stax, Milton struggled to maintain a career, moving first to Evidence, then the MCA imprint Mobile Fidelity Records, before finding a home at the independent record label, Malaco Records, where he remained for much of the remainder of his career.[1] His last hit single, "Age Ain't Nothin' But a Number," was released in 1983 from the album of the same name. In 1988, Little Milton was inducted into the Blues Hall of Fame and won a W.C. Handy Award. His most final album, Think of Me, was released in May 2005 on the Telarc imprint, and included writing and guitar on three songs by Peter Shoulder of the UK-based blues-rock trio Winterville.
The name 'Little Milton' was reused for Gerald Bostock, the fictional boy poet central to Jethro Tull's 1972 record Thick as a Brick.
Milton died on August 4, 2005 from complications following a stroke.
01. In View Chico Hamilton 12:21
02. Let Me Down Easy Little Milton 6:32
03. We're Gonna Make It Little Milton 3:17
04. Don't Make No Sense Albert King 7:06
05. Call It Stormy Monday Albert King 5:30
06. For The Love Of A Woman Albert King 4:27
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Freddie King (September 3, 1934 – December 28, 1976), thought to have been born as Frederick Christian, originally recording as Freddy King, and nicknamed "the Texas Cannonball", was an influential African-American blues guitarist and singer. He is often mentioned as one of "the Three Kings" of electric blues guitar, along with Albert King and B.B. King.
Freddie King based his guitar style on Texas and Chicago influences and was one of the first bluesmen to have a multi-racial backing band onstage with him at live performances. He is best known for singles such as "Have You Ever Loved A Woman" (1960) and his Top 40 hit "Hide Away" (1961). He is also known for albums such as the early, instrumental-packed Let's Hide Away and Dance Away with Freddy King (1961) and the later album Burglar (1974), which displayed King's mature versatility as both player and singer in a range of blues and funk styles.
King had a twenty-year recording career and became established as an influential guitarist with hits for Federal Records, in the early 1960s. He inspired American musicians from Stevie Ray Vaughan and Jimmie Vaughan, and others. His influence was also felt in UK, through recordings by blues revivalists such as, Eric Clapton, Peter Green, and Chicken Shack. King died from heart failure on December 28, 1976, at the age of 42.
When King was only six, his mother Ella Mae and his uncle began teaching Freddie guitar. In autumn 1949 King and his family moved from Dallas to the South Side of Chicago. In 1952 King started working in a steel mill, the same year he married fellow Texas native Jessie Burnett, with whom he eventually had six children.
There are significant variations and unresolved confusion over King's use of the surname King. According to his estate, he was named "Freddy King" at birth and his parents were Ella Mae King and J.T.Christian. According to his sister, King had the surname Christian, even after their mother re-married and the family moved to Chicago and that by the mid 1950s he "Freddy Christian", was so musically ambitious that he changed his surname to King, to ride on the coat tails of B.B. King. It is notable that his first name is spelled "Freddy" on his recordings made between 1956 and 1964. From 1968 his name was credited as Freddie King.
Almost as soon as his family had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with guitarist Jimmy Lee Robinson and drummer Sonny Scott. In 1952, while employed at the steel mill, an eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s went on, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including guitarists Jimmy Rogers, Robert Lockwood, Jr., Eddie Taylor, Hound Dog Taylor, bassist Willie Dixon, pianist Memphis Slim, and harpist Little Walter.
In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was a duet with a Margaret Whitfield, "Country Boy,", and the B-side was a King vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these same years was also adding rhythm backing and fills to Little Walter's records.
King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was home to Muddy, Wolf, and Walter. The complaint was that Freddie King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. Bassist and producer Willie Dixon, during a late 1950s period of estrangement from Chess, had King come to Cobra Records for a session, but the results have never been heard. Meanwhile, though, King established himself as perhaps the biggest musical force on the West Side. King played along with Magic Sam and supposedly did uncredited backing guitar on some of Sam's tracks for Mel London's Chief and Age labels, though King does not stand out anywhere.
In 1959 King got to know Sonny Thompson, pianist, producer, and A&R man for Cincinnati's King Records and King owner Syd Nathan signed King to the subsidiary Federal label in 1960. King recorded his debut single for the label on August 26, 1960: "Have You Ever Loved a Woman" backed with "You've Got to Love Her with a Feeling" (again as "Freddy" King). From the same recording session at the King Studios in Cincinnati, Ohio, King cut the instrumental "Hide Away," which the next year reached #5 on the R&B Charts and #29 on the Pop Singles Charts, an unprecedented accomplishment for a blues instrumental. "Hide Away" was originally released as the B-side of "I Love the Woman". "Hide Away" was King's conglomeration of a theme by Hound Dog Taylor and parts by others , such as from "The Walk" by Jimmy McCracklin and "Peter Gunn", as credited by King. The song's title comes from Mel's Hide Away Lounge, a popular blues club on the West Side of Chicago. Willie Dixon later claimed that he had recorded King doing "Hide Away" for Cobra Records in the late 1950s, but such a version has never surfaced.
After their success with "Hide Away," King and Sonny Thompson recorded thirty instrumentals, including "The Stumble," "Just Pickin'," "Sen-Sa-Shun," "Side Tracked," "San-Ho-Zay," "High Rise," and "The Sad Nite Owl". Vocal tracks continued to be recorded throughout this period, but often the instrumentals were marketed on their own merits as albums. During the Federal period King toured with many of the R&B acts of the day such as, Sam Cooke, Jackie Wilson and James Brown, who performed in the same concerts.
King's contract with Federal expired in 1966, and his first overseas tour followed in 1968. King's availability was noticed by producer and saxophonist King Curtis, who had recorded a cover of "Hide Away," with Cornell Dupree on guitar in 1962. Curtis signed King to Atlantic in 1968, which resulted in two LPs, Freddie King Is a Blues Master (1969) and My Feeling for the Blues (1970), produced by Curtis for the Atlantic subsidiary Cotillion Records.
In 1969 King hired Jack Calmes as his manager , who secured him an appearance at the 1969 Texas Pop Festival, alongside Led Zeppelin and others, and this led to King's being signed to Leon Russell's new label, Shelter Records. The company treated King as an important artist, flying him to Chicago to the former Chess studios for the recording of Getting Ready and gave him a backing line-up of top session musicians, including rock pianist Leon Russell. Three albums were made during this period, including blues classics and new songs written by Russell and Don Nix.
King performed alongside the big rock acts of the day, such as Eric Clapton and for a young, mainly white audience, before signing to RSO. In 1974 he recorded Burglar, for which Tom Dowd produced the track "Sugar Sweet" at Criteria Studios in Miami, with guitarists Clapton and slide guitarist George Terry, drummer Jamie Oldaker and bassist Carl Radle. Mike Vernon produced all the other tracks. Vernon also produced a second album Larger than Life with King, for the same label. Vernon brought in other notable musicians for both albums such as, Bobby Tench of The Jeff Beck Group, to complement King.
King had an intuitive style, often creating guitar parts with vocal nuances. He achieved this by using the open string sound associated with Texas blues and the raw, screaming tones of West Side Chicago blues. In his early career he played a gold top Gibson Les Paul with P-90 pickups through a Gibson GA-40 amplifier, later moving on to Gibson ES-345 guitars, using a plastic thumb pick and a metal index-finger pick to achieve an aggressive finger attack, a style he learned from Jimmy Rogers. He had a relatively more aggressive and creative style of improvisation than others such as, B.B King and Albert King, considered by many to be a more exploratory and less traditional approach.
01. Pack It Up
02. Shake Your Booty Baby
03. Ain't Nobody's Business
04. Woman Across the River
05. Sweet Home Chicago
06. Sugar Sweet
07. TV Mama
08. Gambling Woman Blues
09. Farther on up the Road [Live]
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Wildlife is the third album by the band Mott the Hoople.
It was originally released in 1971; in the UK by Island Records (catalogue number ILPS 9144) and in the US by Atlantic Records (cat. no. SD 8382). After the edgier rock of their first two albums this record has a softer feel (leading to its nickname "Mildlife" among band members). Even Ian Hunter's trio of compositions are introspective, though disarmingly beautiful. For the first (and only) time Mick Ralphs' contributions predominate, leading to an almost country-rock feel.
"Keep a Knockin'" is a shambolic live version, all that was deemed salvageable at the time from a prospective live album recorded at Croydon's Fairfield Halls in 1970. During this song the band also plays "What'd I Say" by Ray Charles, which singer Ian Hunter incorrectly introduces as being written by Jerry Lee Lewis.
Since they had little success and seemed to be going off the tracks, Mott the Hoople was encouraged to produce their third album with anyone that wasn't Guy Stevens. Eventually, they chose themselves, creating a record that is bright and punchy, standing in direct contrast to Mad Shadow's enveloping fog. They wound up with Wildlife, a record that still seems a little transitional, yet is considerably more confident, unified, and enjoyable. Ironically, even if this is a much better record, few songs are as immediately gripping as "Walkin' with a Mountain," but both Mick Ralphs and Ian Hunter turn out some fine rockers, while driving the group toward some interesting territory, like the string-drenched "Waterlow," the country-tinged "It Must Be Love," and the ambling "Original Mixed-Up Kid," or even the surprisingly straight and faithful reading of Melanie's "Lay Down." These give the record a slightly rural feel, lending credence to the title, and the album is unique in Mott's decidedly urban body of work for that very reason — it's lighter, quirkier, and more friendly than the rest. Of course, it didn't widen their audience, and they returned to brutal rock with Brain Capers, but in retrospect it's a charming anomaly in their catalog.
01."Whiskey Woman" (Mick Ralphs) - 3.42
02."Angel of Eighth Avenue" (Ian Hunter) - 4.33
03."Wrong Side of the River" (Ralphs) - 5.19
04."Waterlow" (Hunter) - 3.03
05."Lay Down" (Melanie Safka) - 4.13
06."It Must Be Love" (Ralphs) - 2.24
07."Original Mixed-Up Kid" (Hunter) - 3.14
08."Home Is Where I Want To Be" (Ralphs) - 4.11
09."Keep a Knockin' (Live)" (Richard Penniman) - 10.10
Bonus:
10."It'll Be Me" - 2.58
11."Long Red" (West/Pappalardi/Ventura/Landsberg - 3.47
Part 1: https://rapidshare.com/files/34930948/3%20Albums.part1.rar
Part 2: https://rapidshare.com/files/2534638936/3%20Albums.part2.rar
or
Part 1: http://uploadmirrors.com/download/1RI3BZSK/3_Albums.part1_0.rar
Part 2: http://uploadmirrors.com/download/1M7IKHT5/3_Albums.part2.rar
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1 comment:
I like your effort to musically re-create "the poster". Cool idea, maybe you could do it for other concert posters?
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