Nirvana - The Story of Simon Simopath (1st Album UK 1967)

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The Story Of Simon Simopath is Nirvana's debut album released by Island Records in 1967. It traces the story from life to death of the titular hero via a series of short songs which are similar in tone and innocence to the work of Mark Wirtz.


The certain level of 'obscurity' that the album has, makes it a classic for most fans. It was very highly acclaimed by critics making it one of the most important albums released in the psychedelic genre of the UK. Some people compare some of the arrangements to those in "Sgt. Pepper's", while others simply put it in a category all by itself because of the complex orchestrations.


The story deals with a boy named Simon Simopath who dreams of having wings. He is unpopular at school, and after reaching adulthood (in 1999) goes to work in an office in front of a computer. He suffers a nervous breakdown and is unable to find help in a mental institution, but gets aboard a rocket and meets a centaur who will be his friend and a tiny goddess named Magdalena, who works at Pentecost Hotel. Simon and Magdalena fall in love and get married, followed by a jazzy party.


"Pentecost Hotel" was released as a single with the non-album B-side, "Feelin' Shattered'." "Wings of Love" was the next single, also with a non-album B-side, "Requiem to John Coltrane." "Girl in the Park," from the second album All of Us featured the B-side, "C Side In Ocho Rios," which is an instrumental version of "In the Courtyard of the Stars."


Biography:
Nirvana were a United Kingdom-based progressive rock band active in the late 1960s and early 1970s. Though the band only achieved limited commercial success, they were acclaimed both by music industry professionals and critics. In 1985 the band reformed.

Nirvana was created as the performing arm of the London-based songwriting partnership of Irish musician Patrick Campbell-Lyons and Greek composer Alex Spyropoulos. On their recordings Campbell-Lyons and Spyropoulos supplied all the vocals. The instrumental work was primarily undertaken by top session musicians and orchestral musicians - with Campbell-Lyons providing a little guitar and Spyropoulos contributing some keyboards.


Musically, Campbell-Lyons and Spyropoulos blended myriad musical styles including rock, pop, folk, jazz, Latin rhythms and classical music, primarily augmented by baroque chamber-style arrangements to create a unique entity.


In October 1967, they released their first album: a concept album produced by Blackwell titled The Story of Simon Simopath. The album was arguably the first narrative concept album ever released, predating story-driven concept albums such as The Pretty Things' S.F. Sorrow (December 1968), The Who's Tommy (April 1969) and The Kinks' Arthur (September 1969).


Island Records launched Nirvana's first album "with a live show at the Saville Theatre, sharing a bill with fellow label acts Traffic, Spooky Tooth, and Jackie Edwards."

Unable to perform their songs live as a duo and with the impending release of their first album, Campbell-Lyons and Spyropoulos decided to create a live performing ensemble and they recruited four musicians to enable them to undertake concerts and TV appearances. Though hired to be part of the live performance group rather than as band members, these four musicians were also included in the photograph alongside the core duo on the album cover of their first album to assist in projecting an image of a group rather than a duo. However they were not core founding members of the group and within a few months Nirvana had reverted to its original two-person lineup. The four musicians who augmented Campbell-Lyons and Spyropoulos on their live appearances and TV shows for those few months were Ray Singer (guitar), Brian Henderson (bass), Sylvia A. Schuster (cello) and Michael Cole (French horn, viola).


The band appeared on French television with Salvador Dalí, who splashed black paint on them during a performance of their second single "Rainbow Chaser." Campbell-Lyons kept the jacket, but regrets that Dalí did not sign any of their paint-splashed clothes. Island Records allegedly sent the artist an invoice for the cleaning of Schuster's cello.


Following the minor chart success of "Rainbow Chaser", "live appearances became increasingly rare" and the songwriting duo at the core of Nirvana "decided to disband the sextet" and to rely on session musicians for future recordings. Spyropoulos cited Schuster's departure due to pregnancy as the instigator for the band returning to its core membership. Schuster later became principal cellist of the BBC Symphony Orchestra.


In 1968, the duo recorded their second album, All Of Us, which featured a similar broad range of musical styles as their first album.


Their third album, Black Flower, was rejected by Blackwell, comparing it disparagingly to Francis Lai's A Man and a Woman. Under the title, To Markos III (supposedly named for a "rich uncle" of Spyropoulos who helped finance the album), it was released in the UK on the Pye label in May 1970, though reportedly only 250 copies were pressed it was deleted shortly after. One track, "Christopher Lucifer," was a jibe at Blackwell.


In 1971 the duo amicably separated, with Campbell-Lyons the primary contributor to the next two Nirvana albums, Local Anaesthetic 1971, and Songs Of Love And Praise 1972, the latter featuring the return of Sylvia Schuster. Campbell-Lyons subsequently worked as a solo artist and issued further albums: Me And My Friend, 1973, Electric Plough, 1981, and The Hero I Might Have Been, 1983, though these did not enjoy commercial success.


01."Wings of Love" – 3:20
02."Lonely Boy" – 2:31
03."We Can Help You" – 1:57
04."Satellite Jockey" – 2:35
05."In the Courtyard of the Stars" – 2:36
06."You Are Just the One" – 2:07
07."Pentecost Hotel" – 3:06
08."I Never Found a Love Like This" – 2:50
09."Take This Hand" – 2:17
10."1999" – 2:09


Bonus:
21. "I Believe in Magic" (B-side to "Tiny Goddess")
22. "Life Ain't Easy" (previously unreleased version)
23. "Feelin' Shattered" (B-side to "Pentecost Hotel")
24. "Requiem to John Coltrane" (B-side to "Wings of Love")
All songs composed by Patrick Campbell-Lyons and Alex Spyropoulos

1. https://rapidshare.com/files/1937470103/Nirvana.rar
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Julie London - Calendar Girl (Rare 1st Jazz Album US 1956)

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Calendar Girl was an LP album by Julie London, released by Liberty Records under catalog number SL-9002 in 1956. In keeping with the title, each of the first twelve tracks had a month in its title, completing the album with a song entitled "Thirteenth Month." Two of the songs were composed especially for this album by London's husband, Bobby Troup, who also produced the album, as he did many of her albums.


Jazz critic Will Friedwald has stated that Julie London's records were so popular in the 1950s mainly because she looked so drop-dead gorgeous on the album covers. The marketing hook behind Calendar Girl may just be the main example for those critical of London's musical career, since its sleeve has made it a prized collector's item. The famous wraparound cover depicts cheesecake shots of London posed for every month of the year, while original issues of the album included a more-than-suggestive insert photo of the singer stretched out in bed. While Friedwald's correct about London's physical beauty, he's wrong in suggesting that the vocalist didn't have the talent to go along with her looks. Like Chet Baker, Julie London had an extremely limited vocal range but she did the most with what she had, possessing a special knack for torch songs that cast her in the role of a woman constantly being destroyed by love in general and by men in particular. 

The cover concept of Calendar Girl is carried over from the concept album, which features a narrative of romance lost and found for each month of the year before ending with one final tune called "The Thirteenth Month" (which is illustrated by that insert picture of London in bed). Since there aren't quality standards for every month of the year, one of Calendar Girl's pleasures can be found in the numbers written especially for the album, particularly those penned by Bobby Troup, London's husband. The jazz-oriented Troup hit pay dirt with such fine compositions as "Route 66," "Daddy," and "The Meaning of the Blues," but too few of his smart, witty songs have been widely recorded. Calendar Girl is a fun, if often bittersweet, ride and a must-have for fans of classic vocal pop and lounge music.


Thankfully, EMI has reissued this album on CD in a two-fer package with the more traditional London session Your Number Please.., which, oddly enough, also features a very suggestive photo of London in bed.


Calendar Girl, an Lp with twelve songs, six on each side, one for each month of the year (there's another version of this lp with an extra song thrown in... I think the British edition must have logically thrown that one back out... or something) and on the cover Julie London herself poses in idiomatic costume twelve times, one for each month. 


Maybe it was her famous Cry me a River turning up on the V for Vendetta soundtrack that brought her recently back to mind. That was a track from her first Lp, which had a pristine and perfect pared down accompanimant of only guitar (the first rate jazz guitarist Barney Kessel) and base, and was a big success against the odds in the year that rock'n'roll arrived in the public consciousness, 1955. It was produced, as were her first handful of albums, by her husband Bobby Troup, himself famous as writer of the song Route 66. Her second album, Lonely Girl was even more sparse, with just a soft guitar. Calendar Girl was her third, and an orchestra was brought in this time. Half of the numbers were standards and the rest were written specially including two by Troup himself and two by the guy who wrote Cry me a River.
While googling around i found a chap named Godfrey King mulling over one of these,

'FEBRUARY BRINGS THE RAIN' (Troup)
breaks the Winter's icy chain, 
that's a song I heard so long ago"
I think he must have been recalling Sara Coleridge's (1802 - 1852) poem known as 'The Months'...the second line goes 
"February brings the rain, Thaws the frozen lake again". It is at least an adaption from it and, as her father ST Coleridge
is my favourite poet , the song becomes a shared memory beautifully sung by Julie.
the album affects people like that. 
I recently was able to retrieve it to some extent when it appeared on a cd, but it was paired with her 1959 album which had an orchestra arranged and conducted by a young Andre Previn in a godawful syrupy style. After Calendar Girl they started mucking about trying to find a winning approach, and there was an occasional return to form, but the 1955-57 albums are the best. My favourite Chet Baker session went for the same kind of simplicty. Dated 1957 it was probably carefully taking note of London's first outing. That's on Embraceable You. The record company apparently decided that wasn't saleable and put it in the vault for thirty eight years.


I scanned the above piccies from the cd booklet, but there's a site here with a far superior scan of the original lp sleeve, and lots of information on Julie London and her recordings.


My brain turned to Calendar Girl in 1997 when I needed a story for the Bacchus serial Banged Up. The set-up was that Bacchus was in jail and each of the various characters he meets there has his own story. Thus the book becomes a little set of short crime stories, including the man who killed santa Claus, the punk who pissed on the grave of Elvis, etc. This story was titled The Snatching of Miss July. An old inmate finds that his favourite pin up has been stolen out of a calendar that he has kept for years. The other pinups comment on the stituation:
Miss June: "I was looking the other way at the time." 


Miss August: "It happened right under my nose but I aint saying nothin. More than my life's worth." 
Miss December: "you ask me, she got what she deserved. She was so up herself, all that flag wavin' an' bugle blowin'." 
It turns out in the end that Miss July was the old geezer's wife of twenty-odd years ago, and he's still doing time for her murder.


The attraction of the story was that I was able to draw on one of Pete Mullins' strengths, the depiction of that kind of period style cheesecake, and have him do a great deal of the art on that chapter. We had a lot of fun with it. You can just see my drawings of Bacchus and his cockeyed mayhem behind the pin-up of Miss January, which appears to have been left lying over the artwork. It wasn't unlike the kind of tricks Eisner used to pull in the great days of the Spirit. [Source: http://eddiecampbell.blogspot.com]


01. "June in January" Ralph Rainger/Leo Robin 
02. "February Brings the Rain" Bobby Troup 
03. "Melancholy March" Dory Langdon 
04. "I'll Remember April" Gene de Paul/Patricia Johnston/Don Raye 
05. "People Who Are Born in May" Earl Brent 
06. "Memphis in June" Hoagy Carmichael/Paul Francis Webster 
07. "Sleigh Ride in July" Johnny Burke/James Van Heusen 
08. "Time for August" Arthur Hamilton 
09. "September in the Rain" Harry Warren/Al Dubin 
10. "This October" Bobby Troup 
11. "November Twilight" Paul Francis Webster 
12. "Warm in December" Bob Russell 
13. "Thirteenth Month" Arthur Hamilton 

1. https://rapidshare.com/files/1310882016/Julie_London.rar

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Patto - Hold Your Fire (Rare Progressive Rock UK 1971)

Size: 113 MB
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Patto's second album, "Hold Your Fire", presents a great collection of songs that explores somewhat more complex musical territory than the debut album, "Patto".  There are still relatively straight-ahead songs like the title cut and "You, You Point Your Finger".  But the album contains a lot more experimentation, with unusual time signature changes present in nearly all of the tunes.  There's plenty of great rock, and the jazz influence still presents itself in many of the songs, particularly in Ollie's Air-Raid Shelter.  


In just a year, Ollie's guitar playing improved incredibly since the debut album, having perfected his legato hammer-on/pull-off technique.  His fast, fluid, and inventive playing is the star of this album.  Nearly every track on "Hold Your Fire" includes extraordinary guitar playing that these words cannot possibly do justice to, and he had only been playing guitar for four years!  If you are into great guitar playing and you haven't heard this album, you are urged to rectify that situation as soon as possible.

Muff Winwood's production on "Hold Your Fire" is not as minimalist or in-your-face as it is on "Patto".  More time was spent on overdubs.  John's drums have a fuller sound.  Ollie's keyboards are more present throughout the album.  There are also more backing vocals.  "Hold Your Fire" is a fine sounding album with impressive songs and musicianship of an extraordinary caliber.  It is a shame that it has not been discovered by more rock music and guitar enthusiasts.


Despite the relatively poor sales of the debut album, "Patto", Vertigo/Mercury did not skimp on the packaging for "Hold Your Fire".  


The UK cover was designed by the band and was based on a game known as consequences.  The game involved a group of people drawing characters - one draws the head, the next draws the body, etc.  The band had created a bunch of their own consequences drawings and gave these to Roger Dean to use for the cover.  Roger proceeded to lose them all and had to create his own for the album cover.
     
The front cover of the album was cut into three sections, allowing the flaps to be individually lifted up revealing parts of the three characters printed on the inside of the gatefold.  Different combinations would produce up to 8 different sets of characters. 


01. Hold Your Fire        
02. You, You Point Your Finger        
03. Hows Your Father        
04. See You at the Dance Tonight        
05. Give It All Away        
06. Air Raid Shelter        
07. Tell Me Where You've Been        
08. Magic Door        
09. Beat the Drum[Demo Version]        
10. Bad News [Demo Version]        
11. Air Raid Shelter [Alternative Version]

1. https://rapidshare.com/files/3521611286/Patto.rar
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Gun - Selftitled (Classic 1st Album UK 1969)

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The Gun was a late 1960s British rock guitar trio, who scored a single British Top Ten hit, "Race With The Devil" and recorded two albums before disbanding. Two of its founders, brothers Adrian and Paul Gurvitz, later took the name Three Man Army and then, after joining up with Ginger Baker, the Baker Gurvitz Army.


The Knack
The Gun were renamed in 1967 from The Knack, formed by guitarist/vocalist Paul Gurvitz (born Paul Anthony Gurvitz, 6 July 1944, High Wycombe, Buckinghamshire (he was known by the surname Curtis until the early 1970s after which he returned to his original name Gurvitz). The Knack changed its name with the development of a psychedelic style in the spring/summer of 1966, performing at the final UFO Club concerts with bands such as Pink Floyd, Arthur Brown, Tomorrow. Recording sessions at Olympic Studios produced the unreleased single "Lights On The Wall".

"Race with the Devil"
In November 1967 they recorded for the BBC alternative music radio programme Top Gear and twice played on air. The group was a power trio consisting of Paul Curtis, bassist, his younger brother Adrian Curtis (Adrian Gurvitz), guitarist/vocalist, and Louie Farrell (born Brian John Farrell, 8 December 1947, Goodmayes, Essex), drummer, who had joined The Knack in mid 1966.


After being signed to CBS Records in early 1968 the band scored a hit with the opening track from their self-titled album (1968), "Race With The Devil". Issued as a single in October 1968 it reached the top 10 in its native UK and #35 on the Australian Singles Chart (Go-Set) in March 1969. Jimi Hendrix quoted the song's riff during his song "Machine Gun" at the Isle of Wight Festival in 1970. "Race With The Devil" has been covered by Judas Priest (on the remastered CD version of Sin After Sin), Black Oak Arkansas (on their album Race With The Devil), Girlschool (on their album Demolition), and Church of Misery (on their split album with Acrimony).


Albums
Their debut album's cover is noteworthy as an early example of the work of Roger Dean. Allmusic describes it as having a "distinctive psych-flavored proto-metal" sound. Their second album, Gunsight (1969), included tracks such as "Long Haired Wildman" and "Drown Yourself In The River".


01. Race With the Devil  
02. The Sad Saga of the Boy and the Bee  
03. Rupert's Travels  
04. Yellow Cab Man  
05. It Won't Be Long  
06. Sunshine  
07. Rat race  
08. Take off

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Eddie and the Hotrods - Teenage Depression (Classic Album UK 1977)

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Teenage Depression Is the first studio album released by Pub Rock band Eddie and the Hot Rods. It is mixed by Jonz:A and R Howard Thomson and produced by Ed Hollis and Vic Maile. The Album contains three cover songs, the Who's "The Kids Are Alright," Joe Tex's "Show Me," and Sam Cooke's "Shake". In the year 2000 a reissue was released with 12 additional tracks that contains in it yet another cover, this time of the track "96 Tears" live originally by "? & the Mysterians". Teenage Depression is often sighted as being one of the albums that is the missing link between Pub Rock and Punk Rock because of the albums fast and hard hitting R&B sound showing the attitude of a Punk band.

History records Eddie & the Hot Rods as the missing link between pub rock and punk, and their debut album, released at the tail end of 1976, proves that every word is true. Young, loud, snotty and incredibly fast, the riffs and rhythms are fuel-injected R&B, but the lyrics are teenaged disaffection with a forest on its shoulders. Even the album's covers, the Who's "The Kids Are Alright," Joe Tex's "Show Me," and Sam Cooke's "Shake," were selected for their swagger, while the title track is a proto-punk cry of anguish that makes the later new-wavers sound like a room full of spoiled children. The six-minute finale, "On the Run," is even stronger, a dead-end kid-style anthem about the ultimate outsider -- "the boy should be pitied, but they're getting me committed." The FX that drench the song's closing minutes, meanwhile, capture all the rage and confusion of the lyric, and give a hint of the sheer brutal power that was the Hot Rods when they really let loose -- a treat normally reserved for the live show. 


Isolated tastes of that particular beast do surface elsewhere on the album -- both "The Kids Are Alright" and "Been So Long" were recorded live at the Marquee on a baking-hot night in July 1976; the dozen bonus tracks appended to the CD reissue include four more from that memorable night, in the form of the legendary Live at the Marquee EP. Mach 10 versions of Van Morrison's "Gloria," Bob Seger's "Get Out of Denver," ? Mark's "96 Tears," and the Rolling Stones' "Satisfaction" further amplify the linkage between '60s garage and '70s punk, but, far more importantly, they give at least a hint of why witnesses still describe that particular show among the greatest gigs they ever attended. Five further tracks date from a Rainbow show nine months later, previously immortalized on the aptly named Live at the Speed of Sound EP; the CD is completed by the band's first two singles, including a crunchy cover of "Wooly Bully," produced by Roxy Music's Andy Mackay. They, however, are simply the icing on the cake. In late 1976, with punk still a flood of records waiting to happen, Teenage Depression was one of the only things that made it worthwhile to get up in the morning. And the Hot Rods live was the only thing that stopped you from getting straight back into bed. 


01."Get Across To You" - 2:48
02."Why Can't It Be?" - 2:33
03."Show Me" - 2:03
04."All I Need Is Money" - 2:21
05."Double Chekin' Woman" - 2:29
06."The Kids Are Alright" - 2:40
07."Teenage Depression" - 2:59
08."Horseplay (Wearier On The Schmaltz)" - 2:22
09."Been So Long" - 3:22
10."Shake" - 1:30
11."On The Run" - 6:26


Bonus Tracks
12."Writing on the Wall"
13."Crusin (In the Lincoln)"
14."Wooly"
15."Horseplay" (Single Version)
16."96 Tears" (Live)
17."Get Out of Denver" (Live)
18."Medley: Gloria/Satisfaction" (Live)
19."On the Run" (Live)
20."Hard Drivin Man" (Live)
21.."Horseplay" (Live)
22."Double Checkin Woman" (Live)
23."All I Need Is Money" (Live)

1. https://rapidshare.com/files/3998005260/Eddie.rar    

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2. http://uploadmirrors.com/download/UKY89O1F/Eddie.rar 

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Led Zeppelin - BBC Sessions 1969-71 (Very Good Perfomances)

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BBC Sessions is a compilation album featuring studio sessions and a live concert recorded by English rock group Led Zeppelin for the BBC. It was released on 11 November 1997, by Atlantic Records. This was the first release of new Led Zeppelin material in 15 years. Disc 1 consists of material from four different 1969 BBC sessions. Disc 2 contains most of the 1 April 1971 concert from the Paris Theatre in London.

Countless bootlegs of these recordings circulated for years before the official release. This release was widely welcomed by Led Zeppelin fans as the first live release since The Song Remains the Same in 1976. Others have criticized the decision to edit some of the songs and drop others that were recorded for the BBC. Most notable are one session from 1969 which included the unreleased song "Sunshine Woman," and large portions of the "Whole Lotta Love" medley from 1971.

Led Zeppelin's BBC sessions were among the most popular bootleg items of the rock & roll era, appearing on a myriad of illegal records and CDs. They were all the more popular because of the lack of official Led Zeppelin live albums, especially since The Song Remains the Same failed to capture the essence of the band. For anyone who hadn't heard the recordings, the mystique of Zeppelin's BBC sessions was somewhat mystifying, but the official 1997 release of the double-disc BBC Sessions offered revelations for any fan who hadn't yet heard this music. While some collectors will be dismayed by the slight trimming on the "Whole Lotta Love Medley," almost all of the group's sessions are included here, and they prove why live Zeppelin was the stuff of legend. The 1969 sessions, recorded shortly after the release of the first album, are fiery and dynamic, outstripping the studio record for sheer power.

Early versions of "You Shook Me," "Communication Breakdown," "What Is and What Should Never Be," and "Whole Lotta Love" hit harder than their recorded counterparts, while covers of Sleepy John Estes' "The Girl I Love She Got Long Black Wavy Hair," Robert Johnson's "Travelling Riverside Blues," and Eddie Cochran's "Something Else" are welcome additions to the Zeppelin catalog, confirming their folk, blues, and rockabilly roots as well as their sense of vision. Zeppelin's grand vision comes into sharper relief on the second disc, which is comprised of their 1971 sessions. They still have their primal energy, but they're more adventurous, branching out into folk, twisted psychedelia, and weird blues-funk. Certainly, BBC Sessions is the kind of album that will only appeal to fans, but anyone who's ever doubted Zeppelin's power or vision will be set straight with this record.

Disc one (1969)
1."You Shook Me" (Dixon/Lenoir) – 5:14
2."I Can't Quit You Baby" (Dixon) – 4:22
3."Communication Breakdown" (Bonham/Jones/Page) – 3:12
4."Dazed and Confused" (Page) – 6:39
5."The Girl I Love She Got Long Black Wavy Hair" (Page/Plant/Jones/Bonham/Estes) – 3:00
6."What Is and What Should Never Be" (Page/Plant) – 4:20
7."Communication Breakdown" (Bonham/Jones/Page) – 2:40
8."Travelling Riverside Blues" (Johnson/Page/Plant) – 5:12
9."Whole Lotta Love" (Bonham/Jones/Page/Plant) – 6:09
10."Somethin' Else" (Cochran/Sheeley) – 2:06
11."Communication Breakdown" (Bonham/Jones/Page) – 3:05
12."I Can't Quit You Baby" (Dixon) – 6:21
13."You Shook Me" (Dixon/Lenoir) – 10:19
14."How Many More Times" (Bonham/Jones/Page) – 11:51

Disc two (1971)
1."Immigrant Song" (Page/Plant) – 3:20
2."Heartbreaker" (Bonham/Jones/Page/Plant) – 5:16
3."Since I've Been Loving You" (Jones/Page/Plant) – 6:56
4."Black Dog"(Jones/Page/Plant) – 5:17
5."Dazed and Confused" (Page) – 18:36
6."Stairway to Heaven" (Page/Plant) – 8:49
7."Going to California" (Page/Plant) – 3:54
8."That's the Way" (Page/Plant) – 5:43
9."Whole Lotta Love{inc. Boogie Chillun' (John Lee Hooker), Fixin' to Die (Bukkah White), That's Alright Mama (Arthur Crudup), A Mess of Blues (Doc Pomus, Mort Shuman}" (Bonham/Jones/Page/Plant) – 13:45
10."Thank You" (Page/Plant) – 6:37

Part 1: https://rapidshare.com/files/4286416623/Led_Zeppelin_-_BBC_Sessions.part1.rar
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Hookfoot - A Piece of Pye (Unreleased Recordings UK 1969)

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Hookfoot was a British rock band, active from 1970 to 1974.

Formed by Caleb Quaye (guitars, piano and vocals) and three fellow DJM session musicians, Ian Duck (vocals, guitars and harmonica), Roger Pope (drums) and David Glover (bass), the band were also backing musicians for Elton John, appearing together on most of his early recordings for DJM. Fred Gandy (bass - formerly of Bluesology) replaced David Glover, who left after the release of the second album.

Hookfoot was a quintet formed at the end of the '60s as a recording unit by a half-dozen session players associated with Dick James' publishing and later with his DJM Records label. They never made much of an impression on the charts, despite their work being licensed to A&M Records, through which they released four LPs in the U.S.A. Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums, vocals), and Caleb Quaye (guitar, vocals) were the original lineup, with Bob Kulick (guitar, vocals) coming in alongside Quaye, and Fred Gandy joining on bass later.

01.A Peace One - 1.46
02.You Better Get On - 7.16
03.Death Song - 6.36
04.First Things First - 3.05
05.Wide Open Funky Spaces - 4.13
06.S.B.W. - 2.37
07.Shoeshine Boy - 12.13
08.A Peace of Two - 0.55

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Kiss - Alive (Classic Live Album US 1975)

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Source: 24-Bit Japan Remaster

Alive! is Kiss' fourth album and is considered their breakthrough, as well as a landmark for live albums. Released on September 10, 1975, the double-disc set contains live versions of selected tracks from their first three studio albums, Kiss, Hotter Than Hell, and Dressed to Kill.

Despite Kiss' reputation as a live act, which emphasized theatrics (such as explosions, smoking guitar solos, fire breathing, and blood spitting), as much as it did the music, their notoriety did not translate to increased record sales. Kiss was essentially surviving on then-manager Bill Aucoin's American Express card. Complicating matters was the fact that their label, Neil Bogart's Casablanca Records, was having financial difficulties of its own stemming from a major misstep: the label had released a double album of Johnny Carson monologues earlier in the year. However, the album was a flop, and Casablanca Records had pressed millions of copies in anticipation. The band and Aucoin were nevertheless able to convince Bogart that a memento of a Kiss show would boost their album sales.

Years later, both guitarist Paul Stanley and bassist Gene Simmons recounted that in the weeks after the release, they saw a significant increase in concert attendance. In the documentary Kiss: X-treme Close Up, Stanley remembers that at one particular show in Dayton, Ohio, "the place was packed; I mean you couldn't have gotten another person in with a shoehorn."

There has been considerable debate as to how much use was made of studio overdubs. Gene Simmons states in his autobiography Kiss and Make-Up that very little corrective work was done in the studio and that most of the studio time was devoted strictly to mixing down the multi-track recordings. He also emphasized that Kiss could not have done extensive overdubbing even if they had wanted to; thanks in no small part to the Johnny Carson album fiasco, the extremely meager budget allotted to the band simply would not allow it.

According to Dale Sherman's book Black Diamond and Goldmine magazine, in the early 1990s, Eddie Kramer stated there were a few overdubs to correct the most obvious mistakes: strings breaking or off-key notes, for instance. However, in recent years, Kramer has stated that the only original live recording on the album is Ace Frehley's guitar. In a recent televised interview, he also stated the only original live recording on the album is Peter Criss' drums. In addition, on the recent VH1 special of the story of Kiss, the band members themselves make it more known that the album was severely doctored in the studio, and various musicians comment on the album in this special, revealing how disappointed they were to find out their heroes doctored the supposed "live" album in the studio.

Paul Stanley has noted that there's a bass mistake in the choruses of "C'mon and Love Me." He's also made comments that even though there have been live albums recorded later that make Alive! sound like it was recorded in a washroom, he has no qualms about it.

01. "Deuce" Gene Simmons Gene Simmons 3:32
02. "Strutter" Paul Stanley, Simmons Paul Stanley 3:12
03. "Got to Choose" Stanley Stanley 3:35
04. "Hotter Than Hell" Stanley Stanley 3:11
05. "Firehouse" Stanley Stanley 3:42
06. "Nothin' to Lose" Simmons Simmons, Peter Criss 3:23
07. "C'mon and Love Me" Stanley Stanley 2:52
08. "Parasite" Frehley Simmons 3:21
09. "She" Simmons, Stephen Coronel Simmons, Stanley 6:42
10. "Watchin' You" Simmons Simmons 3:51
11. "100,000 Years" Stanley, Simmons Stanley 12:10
12. "Black Diamond" Stanley Criss, intro by Stanley 5:50
13. "Rock Bottom" Frehley, Stanley Stanley 4:59
14. "Cold Gin" Frehley Simmons 5:43
15. "Rock and Roll All Nite" Stanley, Simmons Simmons 4:23
16. "Let Me Go, Rock 'n' Roll" Stanley, Simmons Simmons 5:45

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Eugene Carnan - Selftitled (Very Rare Hardrock UK 1972)

Size: 67 MB
Bitrate: 256
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Eugene Carnan were a 3-piece rock band from the Rhonda Valley in South Wales who has a short lived career in the early 1970’s ;

Lead Guitar & Vocals - Adrian Llewellyn
Bass Guitar - Mickey Williams
Drums - Mick Evans

The band were part of a movement that saw rock start to morph into metal. A typical live set would feature cover songs by hot bands
of the time - Black Sabbath, Rory Gallagher’s Taste and Wishbone Ash as well as the bands arrangements of ‘rock standards’ such as House of the Rising Sun and Rock Me Baby. However, from the band’s very beginning they started writing and performing their own songs which can best be described as melodic riff-based rock.

These songs became the core of the groups live performances and were always well received and the band started to build a small but keen fan base and in early 1972 they went into a small studio and put down on tape some demo’s of their own songs.

However, it was only a few months later that the bass guitarist decided to leave and despite auditioning several possible contenders a suitable replacement could not be found and effectively the band split.

Largely as a souvenir of the bands existence the tapes from the recording session were make into just 4 “white- label “Acetate LP’s. - one for each of the band and one of the roadies.

01. Confusion - Eugene Carnan (4:35)
02. Found Out - Eugene Carnan (3:28)
03. Black as Night - Eugene Carnan (3:24)
04. People in The City - Eugene Carnan (5:06)
05. Blues Thing - Eugene Carnan (4:02)
06. On Your Mind - Eugene Carnan (4:09)
07. Mountain - Eugene Carnan (5:03)

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1 More Picture of the day

Fender Guitar 1973



Picture of the day

To find more retro pictures: http://www.flickr.com/groups/goldenageofadvertising/pool/page001/

Caravan - Selftitled (Classic 1st Album UK 1968)

Size: 146 MB
Bitrate: 256
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Source: Japan 24-Bit Remaster

Following the dissolution of their former band, Wilde Flowers, David Sinclair, Richard Sinclair, Pye Hastings and Richard Coughlan formed Caravan in 1968. The band became the first British act to sign for American record label, Verve, who subsequently released the band's debut LP, Caravan, later the same year. After this Verve closed their rock and pop division, causing Caravan to move to Decca Records for the release of If I Could Do It All Over Again, I'd Do It All Over You in 1970, from which the title track gained the band an appearance on Top Of The Pops, and then Deram (Decca's progressive subsidiary) for 1971's In the Land of Grey and Pink.

After the third album's release David Sinclair chose to leave the group, to be replaced by Steve Miller. The change in keyboardist caused a change in musical direction, and the band's next album, Waterloo Lily, was distinctly more jazz influenced than earlier work. This caused some unrest for followers of the group[citation needed] and the band disintegrated soon after Waterloo Lily's release, leaving just Hastings and Coughlan. The duo recruited viola player Geoffrey Richardson, bassist Stu Evans and keyboardist Derek Austin and toured extensively. This line-up did not make any recordings before Evans was replaced by John Perry and Dave Sinclair rejoined the group in 1973. The resulting album For Girls Who Grow Plump in the Night was well-received critically. Perry left soon afterwards and was replaced by Mike Wedgwood.

The band's chart performance in the UK and US was minimal, charting one album, Cunning Stunts at US#124. In the UK, Cunning Stunts (#50) and Blind Dog at St. Dunstan's (#53) were their only hits. A loyal following has ensured steady back catalogue sales and a lengthy live career for the band, who continue to this day featuring founder members Pye Hastings (guitar, vocals, songwriting) and Richard Coughlan (drums). Caravan's best-known recording is the 1971 set In the Land of Grey and Pink, their second album for Decca. 30 years after its release this album finally received a platinum disc for sales of over 100,000.

01."Place of my Own" – 4:00
02."Ride" – 3:41
03."Policeman" – 2:45
04."Love Song with Flute" – 4:09
05."Cecil Rons" – 4:05
06."Magic Man" – 4:01
07."Grandma's Lawn" – 3:23
08."Where but for Caravan Would I?" (Sinclair, Hastings, Coughlan, Sinclair, Hopper) – 9:01
+ Bonus Tracks

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Caravan - If i Could Do It All Over Again (Great Album UK 1969)

Size: 122 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Incuded
Japan SHM-CD Remaster

If I Could Do It All Over Again, I'd Do It All Over You is a 1970 release by Canterbury scene rock band Caravan. According to Allmusic, "If I Could Do It All Over Again contains significant progressions over the first album." It was the second album by the band, the predecessor to their most well-known album In the Land of Grey and Pink. The album is known as the epitome of Canterbury rock, featuring representative organ solos and melodic vocals typical of the band's style. The album was released on Decca Records, as was the title track as a single release.

This record began to define what became the best-known Caravan sound that was heard on most releases through 1975. "For Richard" (the 14:21 medley) became a staple of Caravan shows and was typically heard as the closer. A fully orchestrated, live version can be heard on the 1974 release Caravan and the New Symphonia.

Caravan followed up their eponymous debut with the cryptically titled If I Could Do It All Over Again I'd Do It All Over You in the fall of 1970. If I Could Do It All Over Again contains significant progressions over the first album. These include the intricacy with which compositions are sculpted around some of the finest instrumental improvisation in British rock at the time — or arguably since. Caravan's uncanny ability to create a montage that effortlessly maneuvers through acoustic folk and electric progressive rock is best exemplified on the "With an Ear to the Ground" suite. The extended instrumental passages weave in and out of each other, creating a hypnotic and otherwise psychedelic soundscape that would become a trademark of the European progressive rock movement. Another epic, "For Richard" quickly found solid standing as the Caravan live performance closer for decades after first appearing on this album. Juxtaposed against these pieces are several shorter works, which in essence clear the palette for the longer ones. The title track, as well as "Hello, Hello" are perfect examples of how Caravan was able to one-up many of their progressive contemporaries, creating shorter and more accessible songs for radio airplay — resulting in a guest appearance on BBC TV's Top of the Pops program.

01."If I Could Do It All Over Again, I'd Do It All Over You" – 3:07
02."And I Wish I Were Stoned / Don't Worry" – 8:20
03."As I Feel I Die" – 5:06
04."With an Ear to the Ground You Can Make It / Martinian / Only Cox / Reprise" – 9:54
05."Hello Hello" – 3:45
06."Asforteri" – 1:21
07."Can't Be Long Now / Francoise / For Richard / Warlock" – 14:21
08."Limits" – 1:35

Bonus tracks
09."A Day in the Life of Maurice Haylett" – 5:40
10."Why? (And I Wish I Were Stoned) – 4:22
11."Clipping the 8th (Hello Hello)" – 3:13
12."As I Feel I Die" – 4:39

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Caravan - Waterloo Lily (Great Album UK 1972)

Size: 109 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Japan SHM-CD Remaster

Waterloo Lily is a 1972 released album by Caravan on the Deram label. It is the only album made by Caravan with Stephen Miller as the keyboard player. He brought a jazzier feel to the sound of Caravan than had been heard on the previous album. The stand out track is "The Love in Your Eye" which has been featured as a live track for many years by the band.

Before the recording of Waterloo Lily, David Sinclair departed Caravan to join forces with Soft Machine skinsman Robert Wyatt and form Matching Mole. With the subsequent arrival of former Delivery member Steve Miller and an overwhelming jazz influence, the edgier progressive rock and folk elements that were so prevalent on their previous albums are somewhat repressed. The band's performance level did not suffer in the transition. In fact, the addition of Miller only punctuates Caravan's previously honed improvisational skills. Beginning with Waterloo Lily's leadoff title track, there is a sound more akin to the jazzier efforts of Traffic. Miller's "Nothing at All" incorporates the jazz fusion even further as the long instrumental introduction more than hints at Steely Dan circa Katy Lied. The up-tempo staccato bop featuring Miller's electric piano accents, when juxtaposed with Pye Hastings' liquid-toned electric guitar could easily be mistaken for that of Walter Becker and Donald Fagan.

The remainder of the album centers on a couple of pieces that evoke the sound and spirit of the previous Caravan outings. Most reminiscent of the classic sound is Hastings' epic "The Love in Your Eye" suite. The track recalls the laid-back intensity and phenomenal improvisational synergy of earlier tracks such as "For Richard" and "Where, but for Caravan Would I," while wisely incorporating Miller's formidable jazz chops to give the instrumental sections sustained substance throughout. The remastered CD offers three additional compositions circa the Waterloo Lily sessions. "Pye's June Thing" and "Ferdinand" are two of Hastings' acoustic demos. A considerably more complete "Looking Left, Looking Right" is a treasured recovery from the vaults. Originally vaulted due to the time limitations of vinyl, this track, along with "Pye's Loop" — which acts as a coda to "Looking Left..." — mark their debut release here.

01. "Waterloo Lily" 6:47
02. "Nothing At All/It's Coming Soon/Nothing At All(Reprise)" 10:25
03. "Songs And Signs" 3:39
04. "Aristocracy" 3:03
05. "The Love In Your Eye/To Catch Me A Brother/Subsultus/Debouchement/Tilbury Kecks" 12:31
06. "The World is Yours" 3:40
+ Bonus

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Caravan - In the Land of Grey & Pink (Progressive Rock UK 1971)

Size: 143 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

In the Land of Grey and Pink is an album by progressive rock band Caravan, released in 1971. According to Allmusic, "it is considered by many to be the pinnacle release from Caravan." It has remained in the catalogue ever since its original release in 1971.

Along with the Soft Machine, Caravan were a leading exponent of what became known as "the Canterbury sound" - a concoction of styles including jazz, classical and traditional English influences.

In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band's premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground."

These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album's title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair's lyrics are of particular note, especially the middle-earth imagery used on "Winter Wine" or the enduring whimsy of "Golf Girl." The remastered version of this album includes previously unissued demos/alternate versions of both tracks under the titles: "It's Likely to Have a Name Next Week" and "Group Girl," respectively. The remastered disc also includes "I Don't Know Its Name (Alias the Word)" and "Aristocracy," two pieces that were completed, but shelved in deference to the time limitations imposed during the days of wine and vinyl. The latter composition would be reworked and released on Caravan's next album, Waterloo Lily. The 12-page liner notes booklet includes expanded graphics, memorabilia, and an essay penned specifically for the reissue.

01. "Golf Girl" R. Sinclair 5:05
02. "Winter Wine" R. Sinclair 7:36
03. "Love to Love You (And Tonight Pigs Will Fly)" P. Hastings 3:04
04. "In the Land of Grey and Pink" R. Sinclair 5:00
05. "Nine Feet Underground"
I. "Nigel Blows a Tune"
II. "Love's a Friend"
III. "Make It 76"
IV. "Dance of the Seven Paper Hankies"
V. "Hold Grandad by the Nose"
VI. "Honest I Did!"
VII. "Disassociation"
VIII. "100% Proof"

Bonus tracks:
06. "Frozen Rose" (miscredited as "I Don't Know Its Name (Alias The Word)") R. Sinclair 6:12
07. "Aristocracy" P. Hastings 3:42
08. "It's Likely to have a Name Next Week" (Winter Wine Instrumental) R. Sinclair 7:48
09. "Group Girl" (first version of Golf Girl with different lyrics) R. Sinclair 5:04
10. "Dissassociation/100% Proof" (new mix) D. Sinclair 8:35

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