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Saturday, 14 April 2012
Size: 71.4 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
A beautiful album, full of atmosphere and haunting music. This album should have been massive. Tracks like 'Keep my Children Warm', 'I've seen the movie' and of course 'Nina', are timeless favourites and still sound wonderful 30 years on.
Andrew "Andy" Roberts (born 12 June 1946) is an English musician.
Andy Roberts was born in Harrow, Middlesex, England and won a violin scholarship to Felsted School. He then attended Liverpool University. He has played with The Liverpool Scene, Plainsong, The Scaffold, Roy Harper, Chris Spedding, Pink Floyd, Hank Wangford, Kevin Ayers, Vivian Stanshall and Grimms. He has also done many sessions for artists such as Richard Thompson, Paul Korda, and Maddy Prior, and has been a musical partner to Iain Matthews for 30 years. He has also written film scores, themes for TV series, backed Billy Connolly, provided music and voice for Spitting Image and continues to create musical backdrops for the poetry of Roger McGough.
01. Keep my children warm (Roberts)
02. I've seen the movie (Roberts)
03. 25 hours a day/Breakdown/Welcome Home (Roberts)
04. Good Time Charlie (Koerner)
05. Dream Tree Sequence (Roberts)
Size: 72.5 MB
Ripped by: ChrisGoesRock
Source: Japan SHM-CD Remaster
The album marked Sinatra's return to #1 on the pop album charts in the mid-1960s, and it consolidated the comeback he started in 1966. Combining pop hits with show tunes and standards, the album creates a balance between big band and pop instrumentation. The single "Strangers in the Night" also reached #1 on the pop single charts, while "Summer Wind" would slowly become a classic, used for television commercials and mood-setting entrances by the 2000s.
At the Grammy Awards of 1967 Sinatra garnered two Grammy Awards for his efforts on this album, including the Record of the Year for the title track "Strangers in the Night", as well as Best Male Vocal Performance for the same song. (He also won a further Grammy award that same year, the Album of the Year for A Man and His Music). Ernie Freeman's arrangement of the title track won him the Grammy Award for Best Arrangement Accompanying a Vocalist or Instrumentalist.
This is the final album Sinatra performed with long-time arranger/conductor Nelson Riddle and his orchestra.
Strangers in the Night has been certified platinum for 1 million copies sold in the U.S. It is the only "regular" Sinatra album to achieve this mark (the others to do so have been greatest hits/compilation albums, Christmas albums, or the end-of-career "Duets" albums).
Also, this album has been released as a "Deluxe Edition" on January 26, 2010. Including 3 bonus tracks (2 recorded tracks of "Strangers in the Night" and "All or Nothing at All" performed at the Budokan Hall from 1985, and an alternate take of "Yes Sir, That's My Baby").
Strangers in the Night marked Frank Sinatra's return to the top of the pop charts in the mid-'60s, and it consolidated the comeback he started in 1965. Although he later claimed he disliked the title track, the album was an inventive, rich effort from Sinatra, one that established him as a still-viable star to a wide, mainstream audience without losing the core of his sound. Combining pop hits ("Downtown," "On a Clear Day [You Can See Forever]," "Call Me") with show tunes and standards, the album creates a delicate but comfortable balance between big band and pop instrumentation. Using strings, horns, and an organ, Nelson Riddle constructed an easy, deceptively swinging sound that appealed to both Sinatra's dedicated fans and pop radio. And Sinatra's singing is relaxed, confident, and surprisingly jazzy, as he plays with the melody of "The Most Beautiful Girl in the World" and delivers a knockout punch with the assured, breathtaking "Summer Wind." Although he would not record another album with Riddle again, Sinatra would expand the approach of Strangers in the Night for the rest of the decade.
01."Strangers in the Night" (Bert Kaempfert, Charles Singleton, Eddie Snyder) – 2:25
02."Summer Wind" (Heinz Meier, Hans Bradtke, Johnny Mercer) – 2:53
03."All or Nothing at All" (Arthur Altman, Jack Lawrence) – 3:57
04."Call Me" (Tony Hatch) – 3:07
05."You're Driving Me Crazy!" (Walter Donaldson) – 2:15
06."On a Clear Day (You Can See Forever)" (Alan Jay Lerner, Frederick Loewe) – 3:17
07."My Baby Just Cares for Me" (Donaldson, Gus Kahn) – 2:30
08."Downtown" (Hatch) – 2:14
09."Yes Sir, That's My Baby" (Donaldson, Kahn) – 2:08
10."The Most Beautiful Girl in the World" (Richard Rodgers, Lorenz Hart) – 2:24
11."Strangers in the Night" - 2:14 live performance at the Budokan Hall, Tokyo, Japan, April 18, 1985
12."All or Nothing at All" - 3:40 live performance at the Budokan Hall, Tokyo, Japan, April 18, 1985
13."Yes Sir, That's My Baby" (Alternate Take) - 2:17
Size: 80.7 MB
Ripped by: ChrisGoesRock
Japan 24-Bit Remaster
Axis: Bold as Love is the second studio album by The Jimi Hendrix Experience. Under pressure from their record company to follow-up the successful debut of their May 1967 album Are You Experienced, Axis: Bold as Love was released on Track Records in the UK in December 1967. It reached #5 in the UK and later, #3 in the US.
The album was recorded to fulfill the band's contract, which stated that they must produce two albums in 1967. Even so, it was not released in the USA until 1968 due to fears that it might have disturbed the sales of the first album. Bassist Noel Redding has noted that this was his favourite of three Experience albums. He plays eight string bass on some tracks.
Just before the album's completion, Hendrix left the master tapes of side 1 in a taxi. They were never found again, and thus the A-side had to be mixed again quickly.
In 2003, the album was ranked number 82 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Many of the album's songs were composed with studio recording techniques in mind and as a result were rarely performed live. Only 'Spanish Castle Magic' and 'Little Wing' were performed regularly. The lyrics of "Spanish Castle Magic" were inspired by 'The Spanish Castle', a dance hall in what is now Des Moines, Washington near Seattle where Hendrix jammed with local rock groups during his high school years. On 'Little Wing' Hendrix plays his guitar through a Leslie speaker (a revolving speaker which creates a wavering effect, that is typically used with electric organs) for the first time. Hendrix's effects man Roger Mayer then invented the 'Univibe' effects pedal to simulate the Leslie sound for him (the commercially sold Uni-Vibe pedal was made by Fumo Mieda an engineer of Shin-Ei company not Roger Mayer. Hendrix started using the Uni-Vibe in the summer of '69 just shortly after the release of the Uni-Vibe. Jimi Hendrix also used the obscure and elusive Jax Vibra Chorus - basically a Uni-Vibe with the addition of tremolo and full/slow repeat time selector - on various recordings.)
The intro track, "EXP", begins with a few notes from 'Stone Free' (although played one-half step down) and then features a conversation between Mitchell and Hendrix about UFOs, where Mitchell plays a radio host, and Hendrix plays an outerspace alien in the guise of a human named Mr. Paul Caruso, whose voice is gradually slowed down until he eventually takes off in his spaceship, much to the hosts consternation ("But-but-but", he splutters). Paul Caruso was actually a friend of Jimi's from his days in Greenwich Village. 'Up From the Skies' is a jazzy number featuring Mitchell playing with brushes. The song is about a space alien who has visited the earth thousands of years in the past, and returns to the present to "find the stars misplaced and the smell of a world, that has burned."
"Wait Until Tomorrow" is a pop-song with an R&B guitar riff with Mitchell and Redding singing backing vocals. The fourth track, 'Ain't No Telling', is a rock song with a complex structure despite its short length. 'Little Wing' is the Indian name of Hendrix's guardian angel. Jimi himself said that it was his impression of the Monterey Pop Festival put into the form of a girl. 'If 6 Was 9', the last song on the A-side, is the album's longest track and arguably the most psychedelic; Gary Leeds (Walker Brothers) and Graham Nash use their feet during the outro to make some stomping. The song features prominently on the soundtrack for the 1969 counterculture film, 'Easy Rider'. "You Got Me Floatin", a rock song opening with a swirling backwards played guitar (which is absent on the mysterious, differently mixed Polydor version of this LP (only available in stereo), which outside of France & UK was the only one available in Europe, opens the second side of the album. The following track, 'Castles Made of Sand', is a ballad also making use of a backwards guitar solo. 'She's so Fine', Redding's contribution to the album as a composer, a very British Pop/Rock/Who influenced affair features Redding on lead vocals with help from Mitchell. 'One Rainy Wish' begins as a ballad but develops a rock feel during the chorus that is in a different time signature than the verses.
The song 'Little Miss Lover' was the first to feature a percussive muted wah-wah effect (with the fretboard hand "killing" notes) - a technique that was later adopted by many guitarists. The album is included in the book '1001 Albums You Must Hear Before You Die'. The final song of the album, Bold as Love, opens very abruptly and segues into a mellow groove similar to Little Wing and Castles Made of Sand. With a psychedelic chorus and an extended solo at the end it fades out the album.
Hendrix was a little disappointed with the album's cover art. Although he appreciated the symbolic design, he mentioned in an interview that it would have been more appropriate if the cover art showcased his American "Indian" heritage. The British Track records art department had independently chosen to use the current fad for all things Indian to create the cover, and thus the album's cover has a photographed copy of a cheap, mass produced religious poster of the Hindu devotional painting known as 'Viraat Purushan-Vishnuroopam' showing the different forms of Vishnu with a small, superimposed painting of the group by Roger Law) (from a photo portrait by Karl Ferris) blended in. In November a giant B&W blow up of the fantastic day-glo pink, orange & blue offset litho print over gold foil, Haphash/Osiris poster featuring Hendrix dressed as a Native American, wearing a feathered War Bonnet, was used as a background to his appearance on 'Hoepla', a controversial Dutch TV show. This poster, although produced later in London, and supposedly commissioned by Hendrix has text along the top to make it appear as if it was an original poster, advertising his (post Monterey) 1967 Fillmore concerts, this design was possibly what he had in mind. Original prints of this poster are probably all in collections and only later copies occasionally come up for sale at huge prices. The original Track UK issue came in a gatefold sleeve with a large B&W portrait photo of the group by Donald Silverstein spread over the inside and an orange sheet insert with overprinted lyrics in red, the allegedly high cost of this packaging was a topic of note in the music press. The USA issue had no insert and instead of the group photo inside, had the lyrics. In Europe, the Polydor issue had no lyrics and unfortunately stuck an inch wide white border round the inside portrait, spoiling its effect, while the French dispensed with the original cover entirely and put it in a dull single sleeve with a photo of the group taken from a recent French TV show on the front.
01. "EXP" 1:55
02. "Up from the Skies" 2:55
03. "Spanish Castle Magic" 3:00
04. "Wait Until Tomorrow" 3:00
05. "Ain't No Telling" 1:46
06. "Little Wing" 2:24
07. "If 6 Was 9" 5:32
08. "You Got Me Floating" 2:45
09. "Castles Made of Sand" 2:46
10. "She's So Fine (Noel Redding)" 2:37
11. "One Rainy Wish" 3:40
12. "Little Miss Lover" 2:20
13. "Bold as Love" 4:09
The last recording by Jimi Hendrix to have a dedicated mono mix, this was only released in the UK and the US. Also released in stereo world wide. The Polydor release (at least in Europe) mysteriously had a different mix from that released in UK, France, US and the rest of the world.
Size: 66.0 MB
Ripped by: ChrisGoesRock
Japan 24-Bit Remaster
The album is virtually a second Deep LP and almost identical in style. A Million Grains Of Sand and My Rainbow Life are two of its better tracks. Some of the other material can arguably described as rubbish, or brilliant. It's now a minor collectors' item and has been reissued several times. My Rainbow Life was also done by Third Bardo and it has therefore been surmised that they were yet another of Rusty Evans' 'projects'. This was not the case as you'll read later in the Third Bardo entry. Filling The Gap includes a different version of A Million Grains of Sand that Rusty recorded at a later date as Marcus.
A great little record of hippie freakout experimentalism -- almost like some of the weird bits you'd find in the ESP catalog from some of the sub-Fugs rock groups of the time! The songs have a very trippy nature, mixed with a bit of politics ("draft beer, not students") -- and the album's produced with lots of cool effects that make the guitars go wild, the voices sound spooky, and which introduce some sound snippets and a small bit of electronics! The whole thing's definitely a "Freak Scene" overall -- the kind of tripped-out album that somehow sounds even better today than it did a few decades back. Titles include "The Subway Ride Thru Inner Space", "My Rainbow Life", "The Center Of My Soul", "Mind Bender", "Grok", and "Watered Down Soul". CD also features the bonus track "A Million Grains Of Sand".
01. A Million Grains Of Sand (2:69)
02. Interpolation: We Shall Overcome (3:58)
03. Rose Of Smiling Faces (4:24)
04. Behind The Mind (2:28)
05. The Subway Ride Thru Inner Space (2:72)
06. Butterfly Dream (1:64)
07. My Rainbow Life (2:83)
08. The Center Of My Soul (2:43)
09. Watered Down Soul (2:61)
10. Red Roses Will Weep (2:32)
11. Mind Bender (2:45)
12. Grock! (1:63)
Size: 144 MB
Ripped by: ChrisGoesRock
This far flung, double yellow Tiger bomber wrapped brown bag in paper was unleashed in Japan on Atlantic Records, Speed, Glue & Shinki’s second album did the impossible by being even more of a wrecked and loose a masterpiece as their previous album, “Eve.” Two separate LPs came tethered together in the oversized obi enclosure of one wraparound brown paper bag sleeve designed by the Taj Mahal Travellers’ self-made instrumentalist Michihiro Kimura. And the album’s lyric and credits sheet were littered with typos, crossed out words and all the reproductive cut marks, tape and detritus no white-out or non-repro blue zone exposure of all fuckups unmasking. And most of the music here on their final and eponymous named effort mirrored this, comprised of one-takes mishandled with searing guitar overdubs, occasional phasing on the drums and a direction mapped out not by some flimsy, preconceived fad but by a truly unselfconscious and of-the-moment reaching, succeeding and staggering just over the finish line in such a sublimely wrecked and burnt manner that it made an art form out of just teetering on the edge of falling apart altogether. It’s a miracle it was ever played and recorded, let alone released for Speed, Glue & Shinki were loose cannons on the loosest ship of the loosest navy ever and seemed more like three stringless kites that soared so high upon the currents of Rock they never came down. Nothing was ever a big deal for these guys, they were so damn loose.
Speed, Glue & Shinki were a highly unorthodox trio comprised of three rock’n’roll kings of oblivion disguised as Pacific Rim gipsy mongrels who already had spent nearly a decade apiece performing a succession of groups and loose musical configurations. Previous bassist Masayoshi “Ruiseruis” Kabe had spent several years in the successful Group Sounds outfit The Golden Cups before subsequently joining fellow Yokohama native, guitarist Shinki Chen, in the premier Japanese supergroup Food Brain. And Shinki himself had cut his teeth in innumerable blues-based bands, the “New Rock” group Power House and many sporadic live jam sessions. By the end of 1970, Shinki quickly recorded his solo album “Shinki Chen & Friends” with various Power House members and included Kabe on bass on the album’s one true classic: the distended, 13-minute freak out, “Farewell To Hypocrites.” By this time, Shinki had already checked out Zero History, a Filipino quartet hired to perform in a circuit of Tokyo department stores. Although their repertoire was primarily cover versions of psychedelic top ten hits, it was the unforgettable power of longhaired vocalist/drummer Joey Smith who caught Shinki’s attention. Shinki performed several times with Zero History, and once Food Brain was no longer a going concern, Shinki invited Smith to form a band. Once Kabe was tracked down, the trio was complete. Smith’s pedigree went as far back as the late fifties performing as vocalist, drummer and sometimes both through a succession of popular Filipino rock’n’roll bands that were virtually all but unknown outside The Philippines. The best-known were The Downbeats, who scored a coveted opening slot for The Beatles at their notorious concert in Manila on July 4, 1966. And Smith’s vocals grew to be a yammer of a soul hammer while his drum fills were deft, hit hard and oftentimes spun out exaggeratedly as if replicating the sound of a sack of potatoes being flung down a corridor lined with floor toms and set-up crash cymbals and laced with extra volleys of spud-lobbing galore.
And on “Speed, Glue & Shinki” it was different kettle of mess boiling all over the kitchen to match the Little Rascals’ surprise cake, for the group were augmented by a further trio of musicians; the most prominent of which was drummer/vocalist Joey Smith’s longtime friend and bandmate Michael Hanopol, brought in to replace original bassist Masayoshi “Glue” Kabe at the onset of the album’s recording. It would be an inspired choice as Hanopol not only evenly matched Smith’s contributions song for song and brought to the shebang heavy bass, heavier vocals and the heaviest lyrics for tracks of the heaviest sludge properties, but also contributed occasional keyboards and even co-wrote side four’s synthesizer suite with Smith. And as the new Glue in town, Hanopol helped drive the band to their very outermost limits: igniting Shinki’s guitar playing to unlock his inner Jimi and through his re-connection with his previous Filipino Rock Brother No. 1, drove the drumming, lyrics and (especially) the vocals of Joey Smith right up the wall, and into an overall lower, larynx strangulating register.
When the world tries to make one feel meaningless of life, to join their robot parade, crank the music of the hard rock idiom loud to chase bad vibes off the cliff and reinforce inner fortress of mind, heart, spirit. For too soon are we all crushed into dust. Live we must. Love we trust. Hate is a bust. Break the crust. Blow out the must. Shake off rust. Pant with lust. Woman is all inside, outside log waits to jam up inside cream with flesh rag and dance continues. The people of big hassle remain balcony hidden with cheat masks of extra bad actor faceless like a sore crack in hell.
The air becomes heavy: feeling the energy which it tries probably to create good ones. The vigor fullest capacity is with the sound, which overflows. Rock soul is felt in the performance which is made dark slippery. When such dark sound is decided, it becomes the pleasant sensation which is hard to change into many things -- In the vocal which is approached to the force perfect score darkly with thick voice; it is the case that the timbre of the functional guitar keeps being covered. Speed, Glue & Shinki have something to say, and say it over and over to make it stick. And it would, anyway: Woman do Joey wrong, so he sings pain how it is. You know. Terror you want no one to know, and tears well in your heart to stretch out time to infinity between minute and second hands of heart clock within and nothing familiar seems real or comfort provide as life merges into constant corner of crushing no change where once was only life: sun; with face. Then rain, on your head and all free forever.
Tiger Album the FirstSides 1&2 of Tiger Album the First starts off with sniffing, snorting and overall gleeful knocking stuff all over the place during a bargain basement jumble in the dark for “Sniffin’ & Snortin’ Pt. 1 (Vitamine C)” barges in and kicks down the door with a sonic moronic display driven off the edge with Shinki’s buzz-sawn-off Chuck Berry riffing shot up with immediate stomp appeal and Joey Smith’s lead foot kick drum stepping on the gas and bashing out at all around him...And to think that this is only a warm-up exercise for once the faders and mental house lights go up on “Run And Hide,” the band are firing on all cylinders at once, cutting loose like a retarded version of “The Immigrant Song.” Backwards. And slowed to 8rpm. Minus a handful of random notes. Sort of. Cradled in woman’s arms and your broken head. Forever. Joey sings like he plays drums; crude and willful to make a stand for himself and the people in the streets (IN THE STREETS!) but not bitter: rather, knowing ultimately of compassion not himself only but for all living things and none surviving impact of tsunami culture war but for all living things and no surviving brain cells. Shinki Chen rips and tears through the track like Food Brain LP never was but only looked: charging drunken elephant sleeve with big tease Amon Düül the Second gatefold masking a dozen overplayed Zoot Money overdrafts from the Hammond B-3 bank. Over-amplified bass dump from Kabe and Shinki’s alternating buzzsaw rhythm and multi-dubbed soloing like tattooed brain of small but effective “Electric Ladyland” detailing in both production and guitar. “Give us back the night..!” barks out Joey into the impending dusk, the sinking sun and the dying embers of old land.
The first of Michael Hanopol’s contributions enters with “Bad Woman”, setting Speed, Glue & Shinki off into West, Pappalardi & Laing territory but with half the calories, the map being read upside down and topped off with the stinky tiara of “Mississippi Queen” and Hanopol handling the Steve Knight role on organ. And with its Leslie (!) speaker-filtered guitar solo, tops off an already overqualified Mountain metaphor about as unwieldy as the Les Weinstein of old hisself. Hanopol lets loose a bevy of insane bass propulsions near the coda, and it’s equally weird that this is the sole song of Hanopol’s that Smith sings -- and in his newfound slow and strained, near-Louis Armstrong holler.
“Red Doll” is another Hanopol composition, performed at the speed of burning barge and oozing kooze with Hanopol on accompanying spook-o-rama spidery organ fills following his overdubbed bass propulsions following Joey Smith’s raining blows of sticks upon his tiny kit, clearing a 2mph riff and drumming to approximate a desert belly crawl with no oasis sighted for days and at the speed of surgery at the pace of exhaustion that presses on regardless. In all certainty, if it stopped for one moment to think it would perish outright. Shinki tosses in a Leslie-fed guitar solo, flanked by Smith’s errant drum fills that always fling themselves just across the tempo’s finish line every damn time. And although sung by Hanopol, the character here is Joey, for:
I always imagined Red Doll is ginger lady Joey walks to over his bed to kiss naked and only he cares and Joey and her both know but no bother for Speed brother. Red sister and Joey draw together and big bang later make them both go dead to disperse bad world silt from their ocean souls. They want whole world to get tired so they sleep in each others hair and walk better as people. You kiss a red hair sister and hair fire shoots into your belly and her body lays fine and two breast shine below only moonlight attic window in Joey’s crash pad. It’s dark and next morning not so and Joey smokes big cigarette to make things whole and light again. Red woman is circle unbroken for Joey. Not clean, but cleansed. Apple woman she says take a bite, my wound is your head inside, then we fall. Fire in the darkness from red sister spark cream delight inside. Rejoice. Joey Smith: motherfucker drummer with two team totem pole sticks twice as big as wood, looking through the knothole of goddess unblinking and rolling a jay. Heaving big log in forest of silence only he hears, up against open seam of woman and push into love dish of sugar outside in the rain. Stay and awake the stamen.
Album side the Second of Album No. One begins with a gradual build of super-phased drumming that projects outward through a massive mushroom cloud exhalation of cannabis sativa and they’re off and walking through “Flat Fret Swing.” Joey’s vocals once more swell like a big Louis Armstrong (and a little headstrong Mark E. Smith) soul holler lodged in the throat against the horizontal, mid-tempo backing. Joey’s trying to get his head together for the umpteenth time, and the greatest lines of the album are: “And leave all the miseries behind me/Cradle all of the good things in mind...” Joey’s thinking things over and hanging out, making air whistle out of his head and trying to figure out how to get up off the floor and leave so he can get back once more to some more good times. At first listen, I never thought too much of this track, but it’s now grown to anthem proportions in my head. Forever.
A reprise of the opener, “Sniffin’ & Snortin’ Pt. 2 (Vitamine C)” follows and bears about as much resemblance to the version on the previous side as the two versions of “Revolution” by The Beatles...Which is to say, they’re night and day and this one’s high noon and with a far wilder speed differential to and all the while continually cops successive quick feels off of Jimi’s “Come On (Part 1).” It’s probably Masayoshi Kabe pounding out the bass here, for his style always easily reached those rave up qualities of an amphetamine’d Paul Samwell-Smith channeling through Jack Bruce’s amplification. As it races into hyperspace stereo “War Pigs” tape-sped warp conclusion, the soothing Shinki Chen instrumental “Don’t Say No” wafts in like a summer breeze through opened window. In your head. Forever. Shinki collaborates here with drummer Hiroshi Oguchi and keyboardist Shigeki Watanabe (two musicians he’d team up with the following year in the short-lived and unrecorded band, Orange.) It gathers together becalmed organ buoyancy floating above the surface of low slung bass, drums as a wordless wail of content melodiously sounds over the instrumental’s slow and measured paces like “Careful With That Axe, Eugene” in dub and capturing that same heartfelt sense of farewell Steve Winwood channeled through his organ playing so poignantly well on “Sea of Joy.” It approximates that feeling of being suddenly caught within the cool shadow of a huge, dark and imperceptibly moving cloud formation on an otherwise clear and sunny day. Oddly, there’s only one appearance from Shinki’s guitar here and it is a single, small but perfectly placed overdubbed ‘woman tone’ solo -- inserted like a perfect crystal within this organically framed setting.
The entire scene turns upside down with the entry of “Calm Down” as wave upon wave of crazily hit fills and cymbals part for a two-toned BRAANNGGG-INGGG guitar to steam shoveling all to the side in its wake all silence up against the wall and out of existence. Guitar tone is a loud and bronzed blur, fried from the sun, hallucinogens and who the fuck knows what else. Tremendous wah-wah guitar from Shinki over a second fuzz rhythm combined with Hanopol’s piledriving bass with a vocal delivery that sidles right up against the rhythm and feels it up just to get off. Here, my mind is already drowning in all the colours, especially with a musical bridge cut from the most rudimentary material I’ve ever heard. Giddily, the song falls away and into a drum solo like no other: Namely, taking its fucking time taking a major tumble down a ravine while going out of its way to hit as many branches, boulders and rocky outcroppings as possible before finally landing crumpled on the valley floor two miles down.
Tiger Album No. TwoSides 3&4 of Tiger LP No. Two begins with a word from behind the now streaming, sweaty and belaboured kit of Smith after downing a long, tall cool one. Smacking his lips, he do declare “That’s the best wine I’ve ever tasted” and he’s already crashed into his cymbals, prefaced with another quick drum roll and is already headlong into his Armstrong-along-60-second-long holler, “Doodle Song.” After which, they just grease most of the album side out in the most wrecked and transcendental way possible. Smith calls out to regroup with a “Right!” “Yeah!” and “Ya ready?” and they break directly into the epic “Search For Love.” Oh, Motherfucker. What a track. The running time sez 8:44, which is ridiculous: for time seems all but suspended for the duration of the raging depths of this howling, sprawling track. The intro to “Moby Dick” off “Zeppelin Album No. One” is all but hustled roughly into a burlap sack with the drum solo thrown off the back of the Speed, Glue & Shinki 18-wheeler as they head steaming down the highway on 24 hour beaver patrol: But at 80mph in fourth gear with their collective scroti dragging behind them alongside a case of empty Sapporo beer cans and 12 drained plastic gallon jugs of Happy Sunshine cough mixture marked ‘For Institutional Use Only’; set off by two oversized silver foil pinwheels that catch, refract and shine into all eyes of creation sun’s bright rays of illuminated genius at the gates of dusk as impromptu sunspots get caused by residual white powder still alighting on the surface from the previous night’s snort-sesh. The main part is hazardously heavy and simple and Hanopol brays out the vocals swaggering all the way. All else cuts out during the guitar solo number 1: overlaid with the very same number 1 and staggered directly at the only point where it could and does extend into a 3D topographic mind map of the DNA emotion spiral in ancient memory banks’ nighttime deposits of the contact high as exquisitely overdriven bass amplitudes in a howling buzz discharged from the belching innards of Rock Behemoth until all fades out to leave Shinki alone perched upon a cloud with his guitar, plugging into the rising sun rays extending from behind as they exchange complimentary, throbbing hues and using them as amplification. It all vanishes like the techincolour daydream it is, awakening back to the “Moby Dick”-ed up introduction and the vocals. Bass resounds, thunder craps, rain and wind storm and through this weather pattern breaks through another insane guitar solo. Out cuts a trap door from within and TADA out falls Joey Smith still rapping out his spastically insistent drum heads while Pinoy brother Michael brays out his will to get woman, get high, get good and stoked and fucked. Enter guitar solo two number up causing heavens to thunder and split and crack open with rain to make the parched drains green with moss and make love grow in one’s head, body caught in uncontrollable shudder, to shake your brains to the core, body to the mantle and spirit out of baked seasonal crust. Dough girl smiles from within, winking. Me, too...a pinky. Thunderclaps drown it out as crickets and other mossy denizens resound in humid black air.
Dropping in for a brief, mood-breaking baroque keyboard not unlike the “Lake Isle of Innisfree” upchuck on Sir Lord Baltimore’s “Kingdom Come” is the nonplussing “Chuppy.” This hiccough sounds nothing like the rest of the album and is a saccharine-sweet nightmare performed on cembalo; a keyboard that looks like a spinet (apparently), sounds like a harpsichord and is entirely incongruous to its surroundings. The only annoying moment of the album, “Chuppy” is light years away in approach from Shigeki Watanabe’s far more subtle and unstudied keyboard performance on “Don’t Say No.”
“Wanna Take You Home” commences as the final blare’n’bump’n’grind of the album, as well as being the slowest moment of the album outside of the near-standstill “Red Doll.” Originally written and recorded in 1969 by the obscure San Franciscan trio Fields as “Take You Home,” here it’s appropriated by Speed, Glue, Shinki & Friends, which is more than all right: ‘Specially as Fields’ version was nothing less than taking Cream’s cover of Albert “Flying V” King’s “Born Under A Bad Sign”, dropping a few notes, adding new lyrics and PRESTO came up with this bird-doggin’ come-on supreme for all the sweet young things of heaving nubile bosom with stars in their eyes at their West Coast ballroom gigs opening for John Mayall (This track would also spill over into a third version by Juan de la Cruz, the Filipino power trio Smith would form the following year back home with Hanopol and guitarist Wally Gonzalez.) The Blue Cheer sand in the grease grinding of the original is greatly adhered to, especially since it was already such an integral part of Speed, Glue & Shinki’s lexicon of sound and a long lost cousin that they could’ve written, anyway. Michael Hanopol, with a fantastic sense of the appropriate and appropriation judged it as worthy noise to work into the loose collage that is this huge and expansive double album. Because:
Where there’s nothing left and day is caught darkness on its tail, the last people left waiting dazed are collected up and into black drug pit at nighttime Texas Pop Festival ’69 when Zeps unfurl “Dazed And Confused” for people who forgot their name yet remember nighttime soul and no hangnail hang-ups on monkey’s uncle backside besides. Evening is balm to head, silence no longer crazy and no mystery any longer left: so Joey Smith reminds heaven and earth through tinny portable sounds Grundig machine and he grokks and all are zonked as well: remembering their reason for being by taking a form under circling sun so many times half in darkness left.
Completing an ingenious album that is one of the best records of the hard rock idiom stoned emperor 100 percent comes the run-on suite of “Sun”/“Planets”/“Life”/“Moon” and “Song For An Angel” performed on Moog synthesizer for Side four’s entire seventeen minute duration. A lift-off from all earthly desires prostrate on the floor as a series of charged electronic trajectories waft and smear together. Even on Moog synthesizer, Joey Smith makes it as Rock as his vocals, drumming and guitar playing because his attitude is so strong, careless and perfect, discharging a slow motion round of rocket launchings, pink noise twittering and knuckle dragging undertows as the air-locked elevation of soul continues to jettison all with Moog starship to lift-off beyond prefecture of asteroid, stratospheric inner space where neurons circle and spark brain coral of interior pink neon to litter all around sensation’s head quarters to ultimate collision with your only self. Self and soul unite. In your head. Forever. [www.headheritage.co.uk/unsung/thebookofseth/1398]
01. Sniffin' & Snortin' Pt. 1 (Vitamine C) (3:48)
02. Run And Hide (4:47)
03. Bad Woman (4:34)
04. Red Doll (4:54)
05. Flat Fret Wing (4:42)
06. Sniffin' & Snortin' Pt. 2 (Vitamine C) (2:36)
07. Don't Say No (5:35)
08. Calm Down (4:50)
01. Doodle Song (1:32)
02. Search For Love (8:50)
03. Chuppy (1:42)
04. Wanna Take You Home (5:58)
05. A) Sun, B) Planets, C) Life (13:16)
06. Song For An Angel (4:22)
Size: 111 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Guitarist Mike Cooper is as responsible as anyone else — and more so than many — for ushering in the blues boom in the U.K. in the late '60s. His use of a '20s National Steel didn't hurt, but neither did his knowledge of the techniques of Fred McDowell and Blind Boy Fuller; or his rock-solid songwriting in both the folk and blues genres. His debut, recorded on the Pye label in 1969, was a largely forgettable affair due to dodgy production, but it was auspicious enough to land him a deal with Dawn Records, for whom he recorded four astonishing records between 1970 -1973, the first of which is Do I Know You?. On his debut for Dawn, Cooper hybridized his use of the blues in his songs. The opener, "The Link," and Journey to the East," are open, modal pieces, which use open tunings and drones produced by a 12-string tuned in open-A.
They are wide-open country romps — meaning the English countryside, not Nash Vegas — and full of a driving power and fluency with the traditional languages to make them both breezy and muscular. It isn't until "Theme in C" that Cooper's legendary slide playing makes an appearance. Using his National Steel and some weird sound effect, he begins with a near-Travis-style picking technique, followed by Fred McDowell's high-end, slip-and-slide method of vibrato, always returning to an open-E to end the phrase. Again, Cooper's style is trademarked by the ease with which he attacks the instrument, and makes his playing sound like water running over rocks.
It's hum-able, percussive, and full of shimmering glissando as well. On his vocal tunes, such as "First Song" and "Thinking Black," it's the blues tunes; with their thin, reedy, vocal qualities, that work best,. But even here there are exceptions to that rule. The closing track, "Looking Back," is a folk song underlying a gorgeous, soul-music feeling that is enhanced by the use of an upright bass played by Harry Miller. In the mournful, drifter tradition, Cooper traces the same lyrical territory his good friend Mike Chapman had mined a year before with '"Rainmaker," but his voice is lighter, freer, less-weighted by the mournful, bitter edge that was Chapman's trademark; and therefore more palatable, if not believable. As an album, Do I Know You? proves that Cooper was a major talent, who, if given the chance, would have had staying power due to his musical restlessness; and it provided a mere hint of the things to come on the legendary Trout Steel a year later.
This was Cooper's second full-length solo album, released in 1970 on Pye/Dawn Records, following the previous year's Oh Really?!? Born in 1942, Cooper started his solo recording career relatively late; he was already 27 when his debut was released, and the benefits of time are clearly shown -- none of the hesitancy of youth, found on the debut records of so many other (younger) folkies of the time, finds its way onto his recordings.
It helps, of course, that he'd been cutting his teeth since 1958. He founded an R&B band called the The Blues Committee in '62, which opened for such blues legends as John Lee Hooker, Jimmy Reed, and Howling Wolf when these greats played in Cooper's home town of Reading (UK).
Concomitant to his blues playing, however, he was performing folk and country blues as a solo artist, and cut his first single in '66 w/ singer/guitarist Derek Hall (whose whereabouts are apparently now unknown).
The combination of these traditions -- (country) blues and folk -- informed his earlier work, and is what can be found here on Do I Know You? This is an outstanding document of a tremendous talent, rendered with little other than acoustic guitar and his distinct voice.
Despite his being British, the traditional English folk heritage evident in the music of other outstanding British pickers/singers (cf. the Village Thing roster) doesn't crop up much in Cooper's recorded legacy; he's long seemed to valorize the American folk heritage over the English.
In his later work, Cooper became more interested in avant-garde and free jazz/improv idioms, yet his roots never truly shriveled up, and can be heard in his work even today.
01. Link Mike Cooper
02. Journey to the East Mike Cooper
03. First Song Mike Cooper
04. Theme in C Mike Cooper
05. Thinking Back Mike Cooper
06. Think She Knows Me Now Mike Cooper
07. Too Late Now Mike Cooper
08. Wish She Was with Me Mike Cooper
09. Do I Know You? Mike Cooper
10. Start of a Journey Mike Cooper
11. Looking Back Mike Cooper
12. Your Lovely Ways Pt.1&2 Mike Cooper
13. Watching You Fall Pt.1&2 Mike Cooper
Size: 126 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Jimmy Reed at Carnegie Hall is a double LP album by Jimmy Reed, released in 1961. Though the title suggests that the record was recorded live, it consists of a studio recreation of a Carnegie Hall performance on one disc and a second disc that is identical to an LP released separately as The Best of Jimmy Reed.
Reed's recordings of "Bright Lights, Big City" and "Big Boss Man" were voted two of the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
This was originally issued as a vinyl double album by Vee-Jay in the early '60s. The first 12 tracks are not "live" at all (the disclaimer is in the liners) but instead are some nice middle-period studio tracks while the following dozen constitutes a "reissue" of the label's Best of Jimmy Reed album. Stereophiles will love this as the sound is Mobile Fidelity impeccable, even on the mono masters, while stereo masters of such classics as "Baby What You Want Me to Do" and "Big Boss Man" sound almost revelatory. Not the place to start (even with most of the hits aboard), but if you have to have some classic Jimmy Reed in clean stereo, this is the place to go.
Lefty Bates – guitar
Lonnie Brooks – guitar
Willie Dixon – bass
Earl Phillips – drums
Jimmy Reed – guitar, harmonica, vocals
Mary Reed – backing vocals
Eddie Taylor – guitar
Phil Upchurch – guitar
01."Bright Lights, Big City" – 2:50
02."I'm Mr. Luck" – 3:34
03."Baby What's Wrong" – 3:24
04."Found Joy" – 3:41
05."Kind of Lonesome" – 2:52
06."Aw Shucks, Hush Your Mouth" – 2:33
07."Tell Me You Love Me" (Jimmy Reed/Al Smith) – 2:54
08."Blue Carnegie" – 2:53
09."I'm a Love You" – 2:07
10."Hold Me Close" – 2:38
11."Blue Blue Water" – 2:45
12."Baby, What You Want Me to Do" – 2:31
13."You Don't Have to Go" – 3:10
14."Hush Hush" – 2:43
15."Found Love" – 2:24
16."Honest I Do" (Jimmy Reed/Ewart Abner) – 2:50
17."You Got Me Dizzy" – 2:58
18."Big Boss Man" (Luther Dixon/Al Smith) – 2:54
19."Take Out Some Insurance" – 2:31
20."Boogie in the Dark" – 2:41
21."Going to New York" – 2:26
22."Ain't That Loving You Baby" – 2:25
23."The Sun is Shining" (Jimmy Reed/Ewart Abner) – 2:57
Size: 94.1 MB
Ripped by: ChrisGoesRock
Japan 24-Bit Remaster
Maggie Bell (born 12 January 1945, Maryhill, Glasgow, Scotland) is a Scottish rock and blues-rock singer. Vocally regarded by some as Britain's answer to Janis Joplin.
From a musical family, she sang from her teenage years, leaving school at the age of fifteen, to work as a window dresser by day and singer at night. Bell was introduced to Leslie Harvey, by his older brother Alex, after getting up on stage to sing with him (Alex). Leslie Harvey was, at that time, a guitarist with the Kinning Park Ramblers. Bell joined the group as one of the vocalists. After the band split up, Bell moved to the Mecca Band at the Sauchiehall Street Locarno, and later to the Dennistoun Palais Band.
She then rejoined Harvey, forming a group, initially known as Power, eventually travelling to Germany to sing on United States Air Force bases in the mid 1960s. Peter Grant, who was managing The Yardbirds at the time, spotted Power playing at one of these bases, and agreed to produce and manage them, impressed by the vocal ability of Bell and the guitar playing of Harvey. Power was renamed as Stone the Crows, an expression used by Grant upon hearing this band.
This group lasted until 1973, finding that Harvey's death from accidental electrocution, on 2 May 1972, took too much out of the group for them to continue. The live chemistry between Bell and Harvey was missing. Peter Grant remained as Bell's manager after the split, and organised her first solo album, Queen of the Night, which was recorded in New York with record producer Jerry Wexler.
Although critically feted in the U.K., Maggie Bell never quite achieved the commercial breakthrough everyone had so expected -- always a bridesmaid, never a bride.
Her second album, 1975's Suicide Sal is tougher, more energized set than its predecessor. Sal's electrifying live feel reflects the incendiary stage shows Bell and her new backing band had been playing in the intervening time between recordings.
The two bonus tracks, recorded at a gig later that year, capture their live ferocity. Intriguingly, the funky, fiery title track, an homage to Bell's Aunt, a music hall star, is one of only two originals on this set. The second, the lavishly bluesy "If You Don't Know" was penned by band keyboardist Pete Wingfield, and boasts a guesting Jimmy Page on guitar. The storming "Coming on Strong" also has a Bell connection, being co-penned by ex-Crow Colin Allen and Zoot Money.
The rest of the album comprises astutely chosen covers drawn from an eclectic selection of artists. One of the standouts is "It's Been So Long", a powerful gospel number written by the Pretty Things' Brian May, who not only rewrote some of the lyrics for Bell, but added his backing vocals to the song. Free's classic "Wishing Well" gets a sensational workout, while that band's offshoot Kossoff, Kirke, Tetsu & Rabbit's "Hold On" is taken to new emotive heights. From barrelling Beatles pop to the Sutherland Brothers poignant Gaelic ode, from ballads to hefty rock & roll, Bell struts across this set with style and such assurance, that even Aunt Sal must have been impressed.
One of Britain's greatest soul rock singers is showcased at her best with this magnificent album.
01. Wishing Well - 3:35
02. Suicide Sal - 3:45
03. I Was In Chains - 3:04
04. If You Don't Know - 3:54
05. What You Got - 2:55
06. In My Life - 3:10
07. Coming On Strong - 4:07
08. Hold On - 4:49
09. I Saw Him Standing Here - 4:18
10. It's Been So Long - 4:30
11. I Saw Him Standing There
12. It's Been So Long
Size: 85 MB
Ripped by: ChrisGoesRock
Source: 24-Bit Remaster
Late 60's jugband bluesoutfit led by Denis Parker alongside Gary Compton (harmonica) and Brian Strachan (guitar), the Panama Limited Jugband, also named after a Bukka White song (from 1930) The band was based in the Richmond area of London, which at the time was kind of a hotbed for blues (the Crawdaddy Club), especially acoustic style blues Shortly thereafter, however, Denis became disenchanted with the music business Thankfully he left us these recordings as an artefact They shortened their name to Panama Ltd for a second album by which time Liz Hann, their vocalist, had left and been replaced by Anne Matthews On this better second album their early jugband sound is replaced by a brand of Beefheart - influenced rock
01. Moonshine 6:08
02. Set Me Free 3:59
03. Citadel Chapters 3:28
04. Woman I Love 2:42
05. Dangle Wild 4:32
06. Eastern Man 3:30
07. Indian Summer 3:14
08. Future 4:08
09. Darkness Brings 3:53
10. Laughing 4:36
Size: 72 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Mike Cooper is a British guitar player, singer and songwriter. Born in 1942 in Reading, Berkshire, UK, Cooper started playing guitar shortly after leaving school in 1958. In 1962, as a singer and harmonica player, he co-founded an R&B band The Blues Committee, with guitarist Paul Manning, guitarist Dicky Reeves and drummer Eddie Page. They played alongside many visiting American blues players in their home town: John Lee Hooker, Jimmy Reed, Howling Wolf and others as well as British r&b and blues bands such as Alexis Korner's Blues Incorporated.
At the same time Cooper was playing and singing folk and country blues as a solo artist in local folk clubs. In 1966, together with singer/guitarist Derek Hall, they recorded their first record, a 7inch four track independent release, titled "Out Of The Shades". The title referred to the coffee house where Cooper and Hall played regularly during that period.
From the mid until the late sixties Cooper was one of the handful of players who pioneered the acoustic British blues Boom, playing with and alongside other British players such as Jo Ann Kelly, Dave Kelly, Tony McPhee and Ian A. Anderson and others, as well as with visiting blues legends such as Son House, Mississippi Fred McDowell and Bukka White. His 1969 l.p. "Oh Really!?" on Pye Records is widely acclaimed as one of the best acoustic blues albums of the period.
In the early 1970s, working with producer Peter Eden for Pye/Dawn Records, he recorded four solo albums which chronicle, through his own songwriting, a fascinating shift from pure blues through to free jazz. Collaborating with jazz, improvising and avant-garde musicians, in particular South Africans Dudu Pukwana, Harry Miller, Louis Moholo and Mongezi Feza, Zimbabwean composer and arranger Mike Gibbs and British saxophonist Mike Osborne he produced perhaps some of the first and finest rogue folk. For the last of these albums he formed the band Machine Gun Company with Geoff Hawkins on sax, Alan Cook on keyboards, Les Calvert on bass and Tim Richardson on drums. A group that mixed rock, folk and free jazz. Cooper moved to live in Spain briefly before returning to the UK to record a fifth l.p. "Life and Death In Paradise" with Harry Miller, Mike Osbourne and Louise Moholo for Tony Hall's short lived Fresh Air label. He moved to live in Germany, Spain and France shortly after its release. 30 years later these recordings, along with those by Wizz Jones, Roy Harper, The Incredible String Band and Davy Graham have inspired the recent 'New Weird America' or 'Free Folk' explosion in the U.S., with Thurston Moore and Jim O'Rourke from Sonic Youth and the No-Neck Blues Band confessing to be fans.
Returning to the UK in the late 1970s he began to develop a parallel career and establish himself on the avant-garde and free-improvised music scene, working initially with members of the London Musicians Collective, such as Eddie Prévost, Keith Rowe, David Toop, Steve Beresford, Max Eastley, Paul Burwell, dancer Jo-Anna Pyne, and vocalist Viv Corringham. With saxophonist Lol Coxhill and drummer Roger Turner, they formed The Recedents, a free improvising trio now in its third decade.
01. Death Letter
02. Bad Luck Blues
03. Maggie Campbell
04. Leadhearted Blues
05. Four Ways
06. Poor Little Annie
07. Tadpole Blues
08. Divinity Blues
09. You're Gonna Be Sorry
10. Electric Chair
11. Crow Jane
12. Paper Rag
13. Saturday Blues
Friday, 13 April 2012
Size: 152 MB
Ripped by: ChrisGoesRock
Japan 24-Bit Remaster
For Certain Because is the fifth UK album by The Hollies. This was also the first Hollies album in which all the songs were written by members Allan Clarke, Graham Nash, and Tony Hicks.
Retitled Stop! Stop! Stop! for the US and Canadian markets, this was the first Hollies album in which the track listing on both US and UK versions remained the same. In addition, other markets used the title Stop! Stop! Stop! when reissuing this album. In 1983, Liberty Records reissued this album as Pay You Back With Interest without the tracks "Stop! Stop! Stop!" and "High Classed".
Stop! Stop! Stop! was also the Hollies' last new album for Imperial Records in the US and Capitol Records in Canada. Their next album, Evolution, would be released in the US and Canada on Epic Records while remaining on Parlophone/EMI in the UK.
Stop! Stop! Stop! tells the story of a young man watching an exotic dancer who completely captivates him, so much so that he jumps up on stage to dance with her and promptly gets thrown out of the nightclub (presumably by a bouncer).
One gets the feeling that, as 1966 drew to a close amid an incredible acceleration of innovations in the pop and rock world, the Hollies felt the need to prove themselves capable of artistic growth despite having established a very winning formula. For Certain Because... was their first album entirely composed of original material, and it echoed pop's increased sophistication with fuller, more adventurous arrangements and more personal, folk-rock-influenced compositions. Such was the intense competition of the time that this record couldn't hope to take on Revolver, Aftermath, or Face to Face, but it nevertheless remains an admirable effort that may stand as the group's most accomplished album (greatest-hits packages excepted) of the '60s.
The Hollies were very much a pop group and didn't let their somewhat more sober and introspective compositions stand in the way of their glittering harmonies and jangling guitars. Occasional brass, banjo, bells, and vibrating piano embellish their basic rock instrumentation on this pleasant, if hardly earthshaking, work. The circus-like "Stop! Stop! Stop!," with its manic banjo, was a hit on both sides of the Atlantic; the good-natured "Pay You Back with Interest" was a Top 30 hit in America; and the jazzy "Tell Me to My Face" was one of their best '60s album tracks.
01."What’s Wrong with the Way I Live?"
02."Pay You Back with Interest"
03."Tell Me to My Face"
05."Suspicious Look in Your Eyes"
09."What Went Wrong?"
11."Don't Even Think About Changing"
12."Stop! Stop! Stop!"
+ 14 Bonus Tracks
Added by Dirty Funky Situation at Friday, April 13, 2012