Leslie West - The Great Fatsby (Classic Album US 1975)

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Leslie West first gained recognition as the lead guitarist for the Vagrants, a locally popular 1960s Long Island group. One of that group's singles was produced by Felix Pappalardi, a bass player who also produced Cream. After the Vagrants and Cream split up, Pappalardi played bass on and produced West's debut solo album, Mountain (July 1969). Following its release, the two teamed up with drummer Norman Smart (soon replaced by Corky Laing) and keyboard player Steve Knight to form the band Mountain, which cut the albums Climbing! (February 1970) (a gold-selling LP featuring the Top 40 single "Mississippi Queen"), Nantucket Sleighride (January 1971) (which also went gold), and Flowers of Evil (November 1971). In 1972, Pappalardi left Mountain to return to being a producer. (Posthumous record releases included Mountain Live (The Road Goes on Forever) [April 1972] and The Best of Mountain [February 1973].) West and Laing joined with former Cream bassist Jack Bruce to form West, Bruce & Laing.

The trio recorded two studio albums, Why Dontcha (October 1972) and Whatever Turns You On (July 1973). (A live album, Live 'N' Kickin', was released in April 1974.) Bruce quit in the summer of 1973, and West and Laing briefly formed Leslie West's Wild West Show. Then West, Pappalardi, Alan Schwartherg (drums), and Bob Mann (keyboards) re-formed Mountain, recording a double live album, Twin Peaks (February 1974), in Osaka, Japan, in August 1973. This was followed by a Mountain studio album, Avalanche (July 1974), made by West, Pappalardi, Laing, and Knight. Then Mountain split again, and West formed the Leslie West Band, releasing The Great Fatsby (April 1975) (which featured Mick Jagger) and The Leslie West Band (1976) (which featured Mick Jones, later of Foreigner).

Bedeviled by substance abuse problems, West retired from music for a time, then cleared up and again re-formed Mountain with Laing and bassist Mark Clarke (Pappalardi had died in 1983) for Go for Your Life (March 1985). The group broke up again, and West made Theme (1988), again teaming with Jack Bruce. West then participated in the Guitar Speaks (1988) and Night of the Guitar (1989) recordings of legendary rock guitarists for IRS Records' Illegal subsidiary. His next solo album was Alligator (August 1989), followed by Dodgin' the Dirt (1994). In 1994, West and Laing teamed with ex-Jimi Hendrix Experience bassist Noel Redding in another edition of Mountain, recording two tracks for the compilation Over the Top (1995). The solo As Phat as It Gets followed in 1999. After an album for Voiceprint, Guitarded, in 2004, West released two blues-inflected albums for Blues Bureau International, 2005's Got Blooze and 2006's Blue Me.

01.Don't Burn Me
02.House of the Rising Sun
03.High Roller
04.I'm Gonna Love You Thru the Night
05.E.S.P.
06.Honky Tonk Women
07.If I Still Had You
08.Doctor Love
09.If I Were a Carpenter
10.Little Bit of Love

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Nor to be missed: Leslie West - The Leslie West Band (Classic Album US 1975)

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The Leslie West Band is the third album released by American rock guitarist Leslie West. The album, recorded at Electirc Lady Studios in New York City, was released on Bud Prager's Phantom Records in 1976 and features Mick Jones on guitar.

Leslie West first gained recognition as the lead guitarist for the Vagrants, a locally popular 1960s Long Island group. One of that group's singles was produced by Felix Pappalardi, a bass player who also produced Cream. After the Vagrants and Cream split up, Pappalardi played bass on and produced West's debut solo album, Mountain (July 1969). Following its release, the two teamed up with drummer Norman Smart (soon replaced by Corky Laing) and keyboard player Steve Knight to form the band Mountain, which cut the albums Climbing! (February 1970) (a gold-selling LP featuring the Top 40 single "Mississippi Queen"), Nantucket Sleighride (January 1971) (which also went gold), and Flowers of Evil (November 1971). In 1972, Pappalardi left Mountain to return to being a producer. (Posthumous record releases included Mountain Live (The Road Goes on Forever) [April 1972] and The Best of Mountain [February 1973].) West and Laing joined with former Cream bassist Jack Bruce to form West, Bruce & Laing. The trio recorded two studio albums, Why Dontcha (October 1972) and Whatever Turns You On (July 1973).

(A live album, Live 'N' Kickin', was released in April 1974.) Bruce quit in the summer of 1973, and West and Laing briefly formed Leslie West's Wild West Show. Then West, Pappalardi, Alan Schwartherg (drums), and Bob Mann (keyboards) re-formed Mountain, recording a double live album, Twin Peaks (February 1974), in Osaka, Japan, in August 1973. This was followed by a Mountain studio album, Avalanche (July 1974), made by West, Pappalardi, Laing, and Knight. Then Mountain split again, and West formed the Leslie West Band, releasing The Great Fatsby (April 1975) (which featured Mick Jagger) and The Leslie West Band (1976) (which featured Mick Jones, later of Foreigner). Bedeviled by substance abuse problems, West retired from music for a time, then cleared up and again re-formed Mountain with Laing and bassist Mark Clarke (Pappalardi had died in 1983) for Go for Your Life (March 1985). The group broke up again, and West made Theme (1988), again teaming with Jack Bruce. West then participated in the Guitar Speaks (1988) and Night of the Guitar (1989) recordings of legendary rock guitarists for IRS Records' Illegal subsidiary. His next solo album was Alligator (August 1989), followed by Dodgin' the Dirt (1994). In 1994, West and Laing teamed with ex-Jimi Hendrix Experience bassist Noel Redding in another edition of Mountain, recording two tracks for the compilation Over the Top (1995). The solo As Phat as It Gets followed in 1999. After an album for Voiceprint, Guitarded, in 2004, West released two blues-inflected albums for Blues Bureau International, 2005's Got Blooze and 2006's Blue Me.

01.Money (Whatcha Gonna Do)
02.Dear Prudence
03.Get It Up (No Bass - Whatsoever)
04.Singapore Sling
05.By The River
06.The Twister
07.Setting Sun
08.Sea Of Heartache
09.We'll Find A Way
10.We Gotta Get Out Of This Place

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Leslie West - Leslie West Mountain (Classic Hardrock US 1969)

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Leslie West (born October 22, 1945) is an American rock guitarist, singer and songwriter.

Frequently classified as the first album by the group Mountain, which was named after it, Leslie West's initial solo album featured bass/keyboard player Felix Pappalardi, who also produced it and co-wrote eight of its 11 songs, and drummer N.D. Smart II. (This trio did, indeed, tour under the name Mountain shortly after the album's release, even performing at Woodstock, though Smart was replaced by Corky Laing and Steve Knight was added as keyboard player for the formal recording debut of the group, Mountain Climbing!, released in February 1970.)

Pappalardi had been Cream's producer, and that power trio, as well as the Jimi Hendrix Experience, were the models for this rock set, which was dominated by West's throaty roar of a voice and inventive blues-rock guitar playing. Though West had led the Vagrants for years and cut a handful of singles with them, this was his first album release, and it made for an auspicious debut, instantly establishing him as a guitar hero and setting the style of Mountain's subsequent recordings. [Originally released in July 1969 as Windfall 4500.]

West was born Leslie Weinstein in New York City, and grew up across Long Island, in East Meadow, Forest Hills and Lawrence. After his parents divorced, he changed his surname to West. His musical career began with The Vagrants, an R&B/Blue-eyed soul-rock band influenced by the likes of The Rascals that was one of the few teenage garage rock acts to come out of Manhattan itself (as opposed to the Bohemian Greenwich Village scene of artists, poets and affiliates of the Beat Generation, which produced bands like The Fugs and The Velvet Underground). The Vagrants had two minor hits in the Eastern US: 1966's "I Can't Make a Friend" and a cover of Otis Redding's " Respect" the following year.

Some of the Vagrants' recordings were produced by Felix Pappalardi, who was also working with Cream (he produced the seminal Disraeli Gears). In 1969, West and Pappalardi would form the pioneering hard rock act Mountain, also the title of West's solo debut album. 1969's Mountain did not feature a keyboardist, but one was later added to the band to keep them from seeming like a Cream imitation.

The band's original incarnation saw West and Pappalardi sharing vocal duties and playing guitar and bass, respectively, and Corky Laing on drums with keyboardist Steve Knight. They had success with "Mississippi Queen", which reached #21 on the Billboard charts. It was followed by the Jack Bruce-penned "Theme For an Imaginary Western". Mountain made up one of the bands considered to be a forerunner of and predecessor to heavy metal music.

After the breakup of Mountain, West and Laing would produce two studio albums and a live release with Cream bassist Jack Bruce under the name West, Bruce and Laing. Mountain reformed in 1974 only to break up a few years later, but since 1985 has continued to tour and record.

West also recorded with The Who during the 1971 Who's Next sessions on a cover of Marvin Gaye's "Baby Don't You Do It". Though the track was not originally included on the album, it appeared on the 1995 and 2003 reissues. He also contributes to the demos of what became one of the group's signature songs, "Won't Get Fooled Again" .

West also played guitar for the track "Bo Diddley Jam" on Bo Diddley's 1976 20th Anniversary of Rock 'n' Roll all-star album.

West contributed the music and co-wrote the lyrics to the song "Immortal" on Clutch's 2001 album Pure Rock Fury, which was a reworked cover of the song "Baby I'm Down" on Leslie West's first album.

In 2005 he contributed to Ozzy Osbourne's Under Cover album, performing guitar on a remake of "Mississippi Queen"

In addition to fronting Mountain, West continues to record and perform on his own. His latest solo album, entitled Blue Me, was released in 2006 on the Blues Bureau International label. In 2007 Mountain released Masters of War on Big Rack Records, an album featuring 12 Bob Dylan covers that sees Ozzy Osbourne providing guest vocals on a rendition of the title track.

West was inducted into the Long Island Music Hall of Fame on October 15th, 2006.

West is renowned for helping pioneer the Gibson Les Paul Jr. guitar, along with the use of Sunn Amplifiers, to create a tone which became his trademark sound. There were at least two of them in his collection, one "TV Yellow" and the other a sunburst. He used these guitars straight into Sunns from 1969 to 1975. In addition to the two Les Paul Jrs, he used a modified Gibson Flying V (with the neck pickup removed and a P90 fitted at the bridge position) circa 1971-1972, and a clear Dan Armstrong Ampeg lucite for slide guitar. Currently, he favours guitars equipped with dual humbuckers, plugged into Marshall amps. From 1977 to 1982, he used a signature on-board effects MPC model guitar, created by the Japanese company Electra. Another signature guitar model is manufactured by Ed Roman Guitars, entitled the "Leslie West Rocket". He currently also has a signature model from Dean Guitars, a USA Soltero Leslie West Signature fitted with a custom-designed DiMarzio pickup known as the Megadrive. In 2005, West received a sponsorship with Carlsbro amplifiers, and can frequently be seen playing through "Carlsbro 50 Top" valve heads. His studio amplifier is a Marshall JMP. For live performances he utilizes Marshall JCM 900s. He is well-regarded for his use of octaver, chorus and delay effects.

01. Blood of the Sun 2:37
02. Long Red 3:17
03. Better Watch Out 2:50
04. Blind Man Collins, 3:56
05. Baby, I'm Down 4:04
06. Dreams of Milk and Honey 3:35
07. Storyteller Man 3:07
08. This Wheel's on Fire 3:20
09. Look to the Wind 2:45
10. Southbound Train 3:01
11. Because You Are My Friend 3:11

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Mountain - Twin Peaks (Classic Album US 1974)

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Twin Peaks is a live album by hard rock band Mountain. Their first release following their 1972 breakup and subsequent reformation, the lineup consisted of original member Leslie West and Felix Pappalardi joined by guitarist/keyboardist Bob Mann and drummer Alan Schwartzberg. The revamped Mountain toured Japan, from which the album's material is culled. The original release was a double album consisting of a whole album (31 minute, 49 second) LP version of "Nantucket Sleighride."

Mountain is an American blues-rock and hard rock band that formed in Long Island, New York in 1969. Originally comprising vocalist and guitarist Leslie West, bassist Felix Pappalardi and drummer N. D. Smart, the band broke up in 1972 before reuniting in 1974 and remaining active until today. Arguably best known for the song "Mississippi Queen", Mountain is one of many bands to be commonly credited as having influenced the development of heavy metal music in the 1970s.

The band was formed shortly after Leslie West, formerly of the Long Island R&B band The Vagrants, recorded a solo album titled Mountain with bassist and former Cream collaborator Felix Pappalardi producing. The album also featured former Remains drummer N.D. Smart. It was decided to name the band Mountain after Leslie West's immense size. West's raw vocals and melodic, bluesy guitar style, and Pappalardi's heavy and elegant bass lines were the elements of Mountain's distinctive sound. Though heavily inspired by seminal British blues-rock band Cream (with which Pappalardi had been a frequent collaborator: he produced Disraeli Gears, Goodbye and Wheels of Fire, also contributing viola, brass, bells and organ to the latter), keyboardist Steve Knight was added to avoid Mountain being perceived as a simple imitation. Cream drummer Ginger Baker held a brief stint as manager of the band during their early years.

They played their fourth live concert at the 1969 Woodstock Festival in Bethel, New York (celebrating the experience in their song "For Yasgur's Farm," performed at the festival), but the band did not appear in the film of the event nor was their performance included on volume 1 of the festival's live album. It was however included on the second volume. Soon after, Smart was replaced by Laurence "Corky" Laing. Their debut, Climbing!, was released in 1970 and featured the band's signature song, "Mississippi Queen", which reached the middle of the top 40 charts. The album itself reached the top 20 on the US album charts.

The follow-up album Nantucket Sleighride, released in 1971, also reached the top 20 but failed to yield a hit single. The title track was used in the United Kingdom as the theme to ITV's Sunday political program Weekend World. After these early releases the band continued to receive a certain measure of critical acclaim but never again achieved great commercial success.

After Nantucket Sleighride, the band produced Flowers of Evil consisting of one side of studio material and one live side, culled from a concert at New York City's legendary Fillmore East. The following year, Mountain broke up. Shortly after, West and Laing formed West, Bruce and Laing with former Cream bassist Jack Bruce, producing two studio albums and a live release over the next two years.

In 1973 West and Pappalardi reformed Mountain with Allan Schwartzberg on drums and Bob Mann (of pioneering jazz rock band Dreams) on keyboards and guitar – a tour yielded the double live album Twin Peaks. The studio work Avalanche, with rhythm guitarist David Perry and Corky Laing once again on drums, was the last heard from the band for over a decade.

On April 17, 1983, Gail Collins Pappalardi, Felix's wife and songwriting partner who had designed many of the band's album covers, shot Pappalardi in the neck in their fifth-floor East Side Manhattan apartment. He was pronounced dead at the scene and Collins was charged with second-degree murder. Later cleared of that charge, she was convicted of the lesser criminally negligent homicide and sentenced to 16 months to four years in prison. After her release from jail, she vanished into private life.

Reformed in 1985 as a duo of West and Laing, Mountain released Go For Your Life. Their next studio effort, Man's World was made over 10 years later and as a trio with Mark Clarke on bass. The band have continued to record and tour, with various bassists including Richie Scarlet (known for his work with Ace Frehley, Sebastian Bach and his multiple solo records) to round out the line-up. In 2002 the band released Mystic Fire. Their most recent album is 2007's Masters Of War, featuring 12 Bob Dylan covers and a guest appearance from Ozzy Osbourne.

In 2003 West and Laing authored a book of recollections entitled "Nantucket Sleighride and Other Mountain on-the-Road Stories" detailing their time with the band at its peak and their subsequent careers.

Mountain's video game debut came late fall 2007 on RedOctane's Guitar Hero III featuring "Mississippi Queen" as a playable track. The song is also featured in the Harmonix video game Rock Band, although the version featured is a cover of the studio recording.

The band headed out on the road during October and November, 2008, on a North American tour opening for Joe Satriani and with former Michael Schenker Group member Rev Jones on bass. A review of the San Diego House of Blues date covered the Mountain set -- including Blowing In The Wind from the Masters of War album -- with enthusiasm. Of the Satriani set, the reviewer was also pleased with the blues influence he felt Mountain brought to the evening, and with Leslie West joining in a Satriani-led, closing "Stormy Monday" and "Going Down" blues jam.

Disc 1:
01."Never In My Life" - 4:16
02."Theme For An Imaginary Western" - 5:01
03."Blood Of The Sun" - 3:04
04."Guitar Solo" - 5:41
05."Nantucket Sleighride" - 31:49
06."Crossroader" - 5:56
07."Mississippi Queen" - 4:17
08."Silver Paper" - 6:15
09."Roll Over Beethoven" - 2:24

Disc 2:
01."Nantucket Sleighride" - 32:29

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Mountain - (Live) The Road Goes Ever On (Classic Album US 1972)

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This is one of the best "Live" recordings of all time for rock and roll. Lelsie West is still one of the greatest guitar players ever. Felix's sound on bass is very unique and Cory Laings drums are top notch. Poor Steve Knight on keyboards, no respect! This is a must for Mountain fans! Even if you are not a huge fan,this is one to have in your collection. Pure rock and roll at its finest!

Yes this CD only has four songs on it but it is Timeless Mountain for sure. Having been a musician and knowing Felix Pappalardi personally Mountain was a big inspiration to me as much as The Beatles were to many. The talent in this band is Mountainous.

I had been looking for this album on CD for years and when I saw it here at Amazon I didn't think twice I purchased it immediately. Savoring the tracks from the smooth melodic Long Red to the timeless Rock mastepiece Nantucket Sleighride with a rarely heard nicely done keyboard solo from Steve Knight.

Mountain's natural thick sound of Leslie West's rip roaring guitar chords and licks, Felix Pappalardi's bumble bee sounding bass, Steve knight's melodic keyboards and Corky Laing's thunder can all be heard live. This CD is truly Timeless Mountain.

01. Long Red
02. Waiting to Take You Away
03. Crossroader
04. Nantucket Sleighride

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Mountain - Flowers of Evil (Classic Hardrock US 1971)

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Counting Leslie West's July 1969 solo album, Flowers of Evil was the fourth album in 28 months for West and Felix Pappalardi's Mountain, and the pace was catching up with them: Flowers of Evil was only half of a studio album with five new songs, its second side filled up with a live 25-minute rock & roll medley and encore of Mountain's sole Top 40 hit, "Mississippi Queen." This was unmistakable evidence that Mountain had run their course. There would be live albums, compilations, and reunions over the succeeding years, but Flowers of Evil marked the creative end of a surprisingly short-lived enterprise. [Originally released in November 1971 as Windfall 5501.]

The breakup of Cream in late 1968 had consequences that rippled across the rock music world — in its wake were formed directly such bands as Blind Faith (whose tragedy was they never had a chance to actually become a band) and Ginger Baker's Air Force, as well as the rich solo careers of members Eric Clapton and Jack Bruce. And it yielded — by way of Cream associate and producer Felix Pappalardi — something of a successor band in 1969, in the form of Mountain.

The band's history all started with a Long Island-based psychedelic/garage band called the Vagrants, who'd acquired a serious local following and always seemed poised to break out, without ever actually doing so. Their lead guitarist, Leslie West, was a physically outsized figure as well as a musician extraordinaire whose playing had been completely transformed by his experience of hearing Clapton's playing in Cream. The Vagrants and West first crossed paths with Pappalardi in 1968, when he saw their potential and got them signed to Atlantic Records, where he was working as a producer. He had already made a name for himself producing Cream's Disraeli Gears album, and had played numerous background instruments on their follow-up, Wheels of Fire (and on the studio tracks that would form their Goodbye album). He did produce some of the best work that the Vagrants ever released, but none of it sold; and when West left the band in late 1968 to do a solo album, titled Mountain, Pappalardi produced it for him, as well as played keyboards and bass on the record.

The results were the most impressive of West's career up to that time, a solid, blues-based hard rock workout, showing off just how profoundly he incorporated Clapton's playing into his own style — Mountain sounded a great deal like the now-disbanded Cream, and was satisfying enough for the two to form a partnership, also called Mountain. Their first lineup was built around the one used on the album, with N.D. Smart on drums, and Steve Knight added on keyboards, while Pappalardi concentrated on playing the bass. Following a debut performance at the Fillmore West in July 1969, the group played its fourth live performance ever at Woodstock, in front of an audience of several hundred thousand, on a bill with the likes of Jimi Hendrix, the Who, the Jefferson Airplane, Janis Joplin, Creedence Clearwater Revival, and — also getting their first national exposure at the same festival — Crosby, Stills, Nash & Young. The event was an auspicious one, even though it was followed by a personnel shift, as Smart was replaced by Corky Laing, West's oldest friend.

The group was signed to the Windfall label and released their debut LP, Mountain Climbing!, in the spring of 1970, accompanied by their debut single, "Mississippi Queen," which reached number 21 in June of 1970. That chart placement doesn't begin to delineate the impact of that single, a hard rock boogie that was a killer showcase for West's guitar and an unlikely piece of Southern-fried rock & roll, coming from the pens of the Queens- and Brooklyn-born West and Pappalardi, and the Canadian-born Laing — it was as improbable as the California-born John Fogerty authoring "Born on the Bayou" or "Green River," and almost as enduring in popular culture. The single may not have reached the Top 20, but the album it was on peaked at number 17, driven by listeners drawn to the single but wanting more from the band behind it, and the high-energy mix of hard rock and blues they generated. And the debut album offered some surprises, such as the quartet's successful digression into progressive rock with "Theme from an Imaginary Western" (co-authored by Cream's Jack Bruce, which only further emphasized the indirect connections and musical debt owed the other band). The latter got lots of play on FM radio, as did "Never in My Life."

Equally important to the band's fortunes, they were able to deliver on-stage what they promised on their records — indeed, their records were a surprisingly accurate representation of their actual sound, except that Mountain was even louder live than they were in the studio. The group scored another hit at the Atlanta International Pop Festival in 1970, alongside the Allman Brothers, Cactus. and others. Mountain's second album, Nantucket Sleighride, was equally successful commercially and unveiled the title track, which would take on epic proportions in concert. Flowers of Evil followed in November of 1971, just ten months after its predecessor, and it began to clearly show the strain of the pace the band had been keeping up since July of 1969 — half of it consisted of lackluster studio originals, while the other half was a live medley and a concert version of "Mississippi Queen." Lackluster sales and reviews were inevitable, and the impression of a band running on empty was reinforced by their next release, Mountain Live (The Road Goes Ever On) (1972), which had only four cuts on it, all of them characterized by extended solos. Hardcore fans appreciated the record as an extension of their recordings, but many listeners and most critics found it lacking musical cohesion.

The group broke up soon after the release of that album, due in part to Pappalardi's concerns about his hearing, which been damaged by the high volume the band generated in concert. He returned to production, while West and Laing — staying close to their hard rock roots, as well as the orbit whence Pappalardi had come — teamed up with ex-Cream bassist Jack Bruce as West, Bruce & Laing, a hard rock power trio that cut a brief but memorable swathe of their own across the musical landscape in the early/mid-'70s. Meanwhile, a Best of Mountain LP released in the wake of the breakup helped to sustain interest in the group. And later in 1973, Mountain was back together, West and Pappalardi reactivating the band with Bob Mann on keyboards and guitar and Allan Schwartzberg on drums for a tour of Japan. This resulted in the live double LP Twin Peaks (1974), a much better representation of the group's concert sound, including a 32-minute version of "Nantucket Sleighride." During 1974, in the wake of the second live album, West, Laing, and Pappalardi revived Mountain again to record a studio LP, Avalanche. In subsequent years, West and Laing revived the group for live shows, sometimes joined by Pappalardi; West also performed with his own Leslie West Band. Sadly, Pappalardi was shot and killed by his wife in 1983. Two years later, West and Laing regrouped with Mark Clarke on bass and recorded an album before once again calling it quits. Laing served as PolyGram's A&R vice president in Canada between 1989 and 1995. In 1996, he reunited with West and Clarke for a new Mountain album, Man's World. West and Laing teamed up again in 2002 for another album as Mountain, Mystic Fire.

01. Flowers of Evil 4:52
02. King's Chorale 1:04
03. One Last Cold Kiss 3:54
04. Crossroader C4:53
05. Pride and Passion 7:11
06. Dream Sequence: Guitar Solo/Roll Over Beethoven/Dreams of Milk and Hone 25:03
07. Mississippi Queen 3:49

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Mountain - Climbing (Outstanding 1st Album US 1970)

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Climbing!, also known as Mountain Climbing!, is the official debut studio album by American blues-rock band Mountain. Released on March 7, 1970, the album featured the 'classic' Mountain lineup of Leslie West (guitar, vocals), Felix Pappalardi (bass, piano) and Corky Laing (drums, percussion), and followed the West solo album Mountain featuring Pappalardi and drummer Norman Smart, released in 1969 and often credited to the band. Produced by Pappalardi, the album reached number 17 on the American Billboard 200 albums chart and featured the band's best-known song "Mississippi Queen".

Mountain was the combined forces of Leslie West, a gigantic guitarist/vocalist who had played with New York garage-psych rockers the Vagrants, and Felix Pappalardi. Pappalardi had a slightly more impressive track record, coming from the modern East Coast folk-rock movement (the Youngbloods), before he applied his production skills to Cream. Through this, Felix never really stopped playing and eventually formed Mountain. Often billed as a junior-league version of Cream, Climbing!, Mountain's debut, had a lot of things going for it as well.

Indeed, West was a changed man from the moment he saw Clapton play, and Pappalardi was able to help him achieve the exact same tone Clapton employed on Disraeli Gears. The hit off Climbing!, "Mississippi Queen" is a boogie classic, and it paved the way for countless imitators such as J. Geils Band, Foghat, and others. There are a lot of other great tracks here, such as "Never in My Life," which was an FM radio staple at the time.

01. "Mississippi Queen" Corky Laing, Felix Pappalardi, David Rea, Leslie West 2:30
02. "Theme for an Imaginary Western" Pete Brown, Jack Bruce 5:10
03. "Never in My Life" Gail Collins, Laing, Pappalardi, West 4:50
04. "Silver Paper" Collins, G. Gardos, Steve Knight, Laing, Pappalardi, West 3:17
05. "For Yasgur's Farm" Collins, Gardos, Laing, Pappalardi, Rea, Gary Ship 3:20
06. "To My Friend" West 3:36
07. "Laird" Collins, Pappalardi 4:35
08. "Sittin' on a Rainbow" Collins, Laing, West 2:20
09. "Boys in the Band" Collins, Pappalardi 3:35
10. "For Yasgur's Farm" Collins, Gardos, Laing, Pappalardi, Rea, Ship 2:30

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Mountain - Nantucket Sleighride (Classic Album US 1971)

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Following the success of Climbing! and appearances at Woodstock and other outdoor festivals of the day, Mountain recorded more of the same for Nantucket Sleighride. The title track is a nice mixture of classical-leaning intertwined with moderate rock; both "Don't Look Around" and "The Animal Trainer and the Toad" continue on the hard rock path so well-worn by this band. Not groundbreaking, but it is well worth listening to.

Mountain is an American blues-rock band that formed in Long Island, New York in 1969. Originally comprising vocalist and guitarist Leslie West, bassist Felix Pappalardi and drummer N. D. Smart, the band broke up in 1972 before reuniting in 1974 and remaining active until today. Arguably best known for the song "Mississippi Queen", Mountain is one of many bands to be commonly credited as having influenced the development of heavy metal music in the 1970s.

The band was formed shortly after Leslie West, formerly of the Long Island R&B band The Vagrants, recorded a solo album titled Mountain with bassist and former Cream collaborator Felix Pappalardi producing. The album also featured former Remains drummer N.D. Smart. It was decided to name the band Mountain after Leslie West's immense size. West's raw vocals and melodic, bluesy guitar style, and Pappalardi's heavy and elegant bass lines were the elements of Mountain's distinctive sound. Though heavily inspired by seminal British blues-rock band Cream (with which Pappalardi had been a frequent collaborator: he produced Disraeli Gears, Goodbye and Wheels of Fire, also contributing viola, brass, bells and organ to the latter), keyboardist Steve Knight was added to avoid Mountain being perceived as a simple imitation. Cream drummer Ginger Baker held a brief stint as manager of the band during their early years.

They played their fourth live concert at the 1969 Woodstock Festival in Bethel, New York (later chronicling the experience in their song "For Yasgur's Farm"), but the band did not appear in the film of the event nor was their performance included on volume 1 of the festival's live album. It was however included on the second volume. Soon after, Smart was replaced by Laurence "Corky" Laing. Their debut, Climbing!, was released in 1970 and featured the band's signature song, "Mississippi Queen", which reached the middle of the top 40 charts. The album itself reached the top 20 on the US album charts.

The follow-up album Nantucket Sleighride, released in 1971, also reached the top 20 but failed to yield a hit single. The title track was used in the United Kingdom as the theme to ITV's Sunday political program Weekend World. After these early releases the band continued to receive a certain measure of critical acclaim but never again achieved great commercial success.

After Nantucket Sleighride, the band produced Flowers of Evil consisting of one side of studio material and one live side, culled from a concert at New York City's legendary Fillmore East. The following year, Mountain broke up. Shortly after, West and Laing formed West, Bruce and Laing with former Cream bassist Jack Bruce, producing two studio albums and a live release over the next two years.

01."Don't Look Around" - 3:47
02."Taunta (Sammy's Tune)" - 1:00
03."Nantucket Sleighride (To Owen Coffin)" - 5:55
04."You Can't Get Away" - 3:28
05."Tired Angels (To J.M.H.)" - 4:42
06."The Animal Trainer And The Toad" - 3:29
07."My Lady" - 4:35
08."Travellin' In The Dark (To E.M.P.)" - 4:26
09."The Great Train Robbery" - 5:50
10."Travellin' In The Dark (To E.M.P.) [Live Bonus Track]" 5:14

1. https://rapidshare.com/files/4196441084/Mountain_1971.rar
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2. http://uploadmirrors.com/download/LI89LLOQ/Mountain_1971.rar
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Jonesy - No Alternative (Progressive Rock UK 1972)

Size: 107 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Trevor remembers:"Bernie, Terry, John and I did what felt like a very long tour of Germany. Sadly, there was a lot of tension in the band and when Jonesy returned to England two of the guys decided to go their own way. Bernie had been offered a really good gig in a band called Tranquility and Terry retired from music completely to settle down to a much saner lifestyle in retail management."

Trevor and John auditioned for new musicians and recruited Jamie Kaleth (joint lead vocals and mellotrons) and David Potts (drums). However, the two brothers still found themselves arguing about the direction of the band and Trevor was not a happy bunny.

‘I had started the thing in order to continue the music I was playing in Sweaty Betty, specifically progressive rock, but John wanted to include white funk (listen, for example, to Ricochet on the first album No Alternative). By contrast, I was writing very different songs. During this period, for example, I wrote the first version of 'Inside the Dark Room' which was about early experiments in sensory deprivation which I was studying as a psychology student at London University. We had very heated arguments about musical direction and eventually I sat down with John and had an in depth discussion along the following lines: "Listen! We’re brothers and we are sharing the same house. If we continue like this we are going to end up hating each other. We have different musical tastes. Also, I'm enjoying being a psychology student and I've been offered a residency in the West End (of London) playing with Charlie Charles (see Ian Drury's Blockheads) who is a great drummer . I've decided to leave the band."

Shortly after, David Potts parted company with the band and John found himself auditioning for a new rhythm section.

It was an exciting line-up but the tensions remained. Following friction between David and Jim on the one hand and John on the other, David and Jim were replaced by Richard "Plug" Thomas (drums) and Nick Greenwood (vocals and bass). Meanwhile, Trevor and Charlie Charles were making silly money working as musicians in a strip-joint in Soho. Just before Christmas, the guitarist and keyboard player left, and Trevor asked John and Jamie if they'd like to make some very good money for 3 weeks work. They agreed and the four musicians really enjoyed working with each other.

There were still arguments happening in Jonesy between John and Nick. John asked Trevor to rejoin the band.

Trevor remembers: "At first I was not convinced that this was a good idea. Working with Charlie Charles was easy there was no stress, just good musicianship. I was aware of the political, tensions within the band and wasn't immediately attracted to re-joining Jonesy. On the other hand, it was extremely tempting to continue the concept I had originated. What finally made up my mind was the fact that Alan Bown was joining the band. I’d long been a fan of the Alan Bown Set and loved his whole stage persona. Also, when I met him I discovered that he was the same off-stage. So I re-joined Jonesy. If I remember right, John and I had a punch-up on one of the very first gigs of the new lineup! I think this really freaked out the rest of the band"

BERNIE HAGLEY: saxes, flute, harmony vocals
TERRY CUTTING: drums
TREVOR: lead vocals, bass
JOHN: lead guitar, harmony vocals

01. No Alternative
02. Heaven
03. Mind of the Century
04. 1958
05. Pollution
06. Ricochet

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Jonesy - Keeping Up (Progressive Rock UK 1973)

Size: 84.4 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Jonesy is one of the most overlooked and underrated progressive rock bands to come out of the early 70s. Eclectic is the best word to describe this band's style. This CD features a lot of upfront Mellotron ala King Crimson, as well as clever pop passages backed by a string quartet in a Beatles style. Add to that some bluesy hippie funk that recalls Buddy Miles and Edgar Winter, as well as some Miles Davis influenced psychedelic jazz and lots of high speed rock guitar solos played without effects that recall Wishbone Ash or early Yes.

As usual the weak point with Jonsey is the vocals. They're not particularly bad, but not great which is a dissapointment because their instrumental passages rate them up there with the greats of early 70s rock. To their credit their lyrics seem to be very urgent and extremely heartfelt. Unfortunately this CD did not come with a lyric sheet, but it sounds like the lyrics deal with the pain of war or violent social unrest. One is left with the feeling that the members of this band are not speaking in an abstract sense, but instead are dealing with these issues on a very personal level.

I don't think that the members of Jonesy ever attended art school, instead they come across as unpretentious working class types who probably didn't take a fancy to some of progressive rock's more excessive displays.

The CD I own contains some very nice bonus tracks. The song Can You Get that Together starts off as a high speed jazz fusion romp with great trumpet and guitar solos and then abruptly merges into Waltz for Yesterday, a well-written Beatles style ballad with a long repeating chorus and nice string arrangements. Know Who Your Friends Are is a Wishbone Ash style rocker with an odd middle section that could have come from a 60s exotic lounge record.

I always get the impression that things were never easy for the members of Jonesy, maybe some day they will get the recognition they deserve. [Review by Easy Money, progarchives]

JOHN: Guitar, backing vocals
TREVOR: Lead vocals, bass
JAMIE KALETH: Lead vocals, keyboard
ALAN BOWN: Electric horns
RICHARD "PLUG" THOMAS: Drums and percussion
RAY RUSSELL: String arrangements

01. Masquerade (6:07)
02. Sunset and Evening Star (3:40)
03. Preview (2:00)
04. Questions and Answers (5:15)
05. Critique (With Exceptions) (9:32)
06. Duet (0:49)
07. Song (3:33)
08. Children (9:02)

1. https://rapidshare.com/files/2786092000/Jonesy_1973.rar
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2. http://uploadmirrors.com/download/LWPCMQRQ/Jonesy_1973.rar
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Not to be missed: Yard Trauma - Face to Face (US Garage Psychedelia 1984)

Size: 117 MB
Bitrade: 256
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Ripped By: ChrisGoesRock
Artwork Included

Lee Joseph's name ought to be pretty familiar to people who've been following the garage punk scene through the eighties. He's the guy who runs Dionysis Records, one of the better indie labels in the country today, and he's also played in a number of bands including the Unclaimed and Thee Forgiven, but most importantly Yard Trauma. I hooked up with Lee for a phone interview late in the summer and pumped him for details for a good long time; the conversation dealt primarily with Yard Trauma but we also talked about his label affairs quite a bit.

Yard Trauma have been around a long time and have gone through a huge evolution during their existence. If you haven't heard them in the last two years, it's time to try again, because the band sounds totally different. The current line up is a hard driving monster with a huge guitar sound and some intense songs, most of which rock like crazy and are catchy as hell.

But it wasn't always like this at all. Yard Trauma started in Tucson at the end of 1982, with just Lee and singer/guitar player Joe Dodge. They'd been playing in another band called Johnny 7 and had achieved some level of popularity. But hardcore was starting to gain hold, and as a reaction to that, Yard Trauma played a lot of noisy stuff with rhythm machines played through fuzzboxes and shortwave radios and tape loops with poetry read over the top of it. They did a couple shows like that as a two piece and then added a drummer and borrowed a keyboard player from another band. They put out a single with "Some People" and "No Conclusions", and kept on like that until January of 1984 when they played their last gig. The next day they recorded an album that Lee calls The Red Album, and then Lee moved to Los Angeles.

After the album came out there was a good amount of positive response, so the band decided that they should do another record. They developed material by swapping tapes in the mail, and eventually they all congregated in a studio in Phoenix and hammered out the Must Have Been Something I Took lp. Following this, Joe moved to Los Angeles and he and Lee tried to make a go of the band there. Says Lee: "We had a lot of rough stuff, getting members, having members quit. Joe wasn't really that social, so he didn't really do much in the way of helping to get other people in the band and what not. We borrowed members; the guy in the Untold Fables, we borrowed Rich Coffee, and we played some pretty lousy shows and then...didn't really break up; we broke up in the physical sense but not in the spiritual sense, because there were all these records that came out in Europe, posthumous records. We were alive in paper because we were getting all this press in Europe. It was pretty funny; while the band wasn't functioning we were getting this press."

Lee kept up the image of the band as a functioning unit, continuing to do fanzine interviews and pushing the band while he looked for new members. Finally, at the end of 1988 they found a drummer. "A weird kid from Texas", says Lee. "He had played with GG Allin. He was going to the DIT; that stupid Drum Institute Of Technology. Moronic stuff he was learning. But he was a good drummer. He was weird enough to where it was OK. We let him in the band. But he'd come over to our house and drink one beer and pass out on the floor, or leave without telling anybody. He recorded that Face to Face album, and we didn't have a fourth member so we borrowed all these people. In fact, on the first side of that album the lead solos are each done by a different person. I did some, Brett from Bad Religion did one, Danny who used to be in the Unclaimed with me played, Rich Coffee played on it. And we did some shows as a three piece. Joe's a pretty great rhythm player but he couldn't play lead. So we played these songs as a three piece. We did some OK shows, but then the drummer split and never told us. We didn't see him for two weeks, so one day Joe called his parents up in Texas and he answers the phone. What a mess, huh?"

"Yard Trauma has gone through times that would break most bands up. We could go through what would break most bands up three or four time in a week and stay together. We've got road nightmare stories and breakdowns, but the most recent story is that we almost lost half the band...Joe and Dave, their normal job is to work on airplanes. And somebody that didn't normally work where they worked and was hired out by some guy, didn't put a hydraulic brake on and dropped a jet, and the jack went through the wing dumping inches of highly explosive fuel all over. It covered everything, all the electrical outlets and everything. That's why you'd never survive an airplane crash, because that fuel is so highly explosive. Nothing happened...luckily. They were both in there working on the plane. They had to call the hazardous waste people in, but that whole place could've gone sky high...the stuff went into the drain. The firemen were really surprised that it didn't."

On Face To Face you can hear Yard Trauma starting to head towards the sound they've got today. It's not as fast as they've come to be, and although the guitar leads are done haphazardly, they're done well throughout. The record's tight and rocking and the songs are real good. The record shows the cool sense of vocal harmony that the best Yard Trauma stuff all has.

But this three piece version of Yard Trauma wasn't meant to be. They picked up another drummer who used to play with Lee in the Unclaimed; his name was Scotty. Then they found Walter to add to the guitar attack...he still plays with them today and has a lot to do with their harder, gutsier sound. This line up didn't last long, though...soon Scott had quit and through an ad in an LA fanzine they found their current drummer, Dave. He'd been in hardcore bands in New York City in the early 80s, but said he was sick of that and wanted to do something different. He may have backed off from his old style, but for Yard Trauma the net result was definitely an increase in the speed and intensity of the music. Dave plays with a wild hammering approach that gives the band a feeling of being on the edge of control during live shows, and on record he gives them an extra punch that pushes them to a new level.

"It's funny how things change like that", says Lee. "We're playing a lot faster than we used to. And the funny thing is that when Dave joined the band he was totally sick of all the hardcore stuff. We had no intention of sounding like we sound right now. It just kind of happened."

This is not to say that Yard Trauma have become thrashy...they certainly are not that. Listen to their Lose Your Head album and you'll get the same feeling of melody that's in their early stuff, but the speed is just jacked up a few notches and if anything, everything's tighter and more precise. It's really cool. Best thing yet is their new single with "Pressure" and "Alibi", two really driving songs that feature the best ingredients of Yard Trauma songs. Lee really likes this one, too...he says it's the best thing they've done.

This fall, in fact probably before this issue prints, Yard Trauma are due to record a new album with the same lineup. It should include the new single, and if their recent live shows are an indication, it's going to be their most driving record to date.

As keeps happening with good US independent bands, Yard Trauma have found it hard to get together much of a tour in the US, but they've gotten over to Europe and had a successful tour there. Lee in fact has been there three times; he's also been there with Thee Forgiven and the Unclaimed.

But with their continuing improvement the band is starting to produce a good LA following and things are getting better in the US. "LA was such a fucking struggle", says Lee. "We're not a bunch of socialites, and there's so many bands in LA that if you don't hang out and have a lot of friends nobody comes to see you. So we had a problem for years with people not coming to see us. Either people thought we sucked because of a bad show that they saw in our older incarnation, or they just didn't know who we were. I probably go out more than anybody else, and I don't go out that often because between the label and the mailorder I work twelve hours a day, so when a lot of people are having fun I'm sitting behind a computer."

"But in the last year we've been starting to get a good following. It used to be a thing where we'd do a weeknight show and play for two people. When we were in Europe we decided we wouldn't do any more weeknight shows. Except that we did one a few months ago; Bad Religion booked a last minute show at Al's Bar. That was cool. The funny thing is that this was at Al's Bar, and Bad Religion had just sold the Palladium out a few months before that. I was sitting there with Jay the bass player and he said, "Well we need a show", because their singer goes to college on the east coast and he was in town so they could record an album and they were going to tour. And Jay says "We need a show, even a small club", so I gave him the number of Al's Bar. So they call Al's Bar and the guy answers the phone and Jay goes "I want to book my band there". And the guy says "Send a tape". So Jay goes "Well don't you want to know who we are"? And the guy goes "Who are you?". And Jay goes "Uh, we're Bad Religion". And the guy goes "Send a tape!". And then the guy goes "Where have you played", and Jay says "Well, we just sold out the Palladium"."

"And the guy goes "Send a tape!"."

"But then the other booker called back and booked the show, and it was a cool show. I was expecting a riot, 'cos Al's doesn't hold that many people and it's downtown. But it worked out pretty good. I thought their following was going to eat us alive, too, but they really liked us."

Yard Trauma songs are readily identified by Joe Dodge's vocal style...he has an ultra-American accent; he sings the way Europeans or Australians sound when they try to imitate Americans speaking. But his voice also has a good feeling for melody. The lyrics are often fairly brief and rather than being complete sentences might be snatches of phrases stacked up in succession. I had the impression that maybe lyrics weren't that important from the way they went together, but Lee wasn't having any part of that: "I'd disagree with that...like "Eyes" is about being an insomniac. Each one of our songs represents a piece of our life. Like "Alibi" is about people destroying the environment and "Pressure" is about living in LA. Each song represents something. Some of the songs have goofier lyrics like "Gator Bite" or "Mondo Bondo", but even "Mondo Bondo" is a true story. It's about some woman in a big Cadillac that was tailgating Joe on the freeway going about 70 miles an hour. So the lyrics and the melody play pretty important roles."

The second part of the Lee Joseph story is about his record label, Dionysis. The roots of Dionysis were in a tape label that Lee ran in Tucson, putting out local music. Through his job in a record store there he had contacts with indie distributors like Rough Trade and worked out deals so that his tapes were sold out of state. The first Dionysis record was the first Yard Trauma single in 1983. When Lee moved to Los Angeles he got to know Bomp! Records mogul Greg Shaw, and Shaw set him up with a deal where he could put out records using Bomp's credit, and distribute with Bomp's distribution. This got the label rolling, and in 1985 Lee switched to Mordam for distribution as a result of his connections with a former Rough Trade employee who had moved over there. The first record through them was the Untold Fables album. Since then, Dionysis has put out about 38 singles and 22 albums, and that doesn't count other labels that Lee runs to put out reissues of 60s garage music. Despite all this, the thing that really makes Lee his living is a mailorder business, much of which he stocks by trading the fruits of his own label to other small indie labels. So Lee is obviously a very busy guy, especially since he's in yet another band with his wife.

I asked Lee to list off his favorite Dionysis releases. "Oh, the latest Yard Trauma single for sure", he said. "The Girltrouble mini lp. The Lance Kaufmann "They Dug Up Elvis" single. The Axel Grinders single. I like the Zebra Stripes album a lot. I like the first Forgiven album. The Wretched Ones single...I actually like most everything I've put out a lot. With my budget I can't afford to put out something I don't like that much."

Forthcoming releases you can look forward to are a new Marshmallow Overcoat lp, an American Ruse CD, and an lp by Treehouse, and of course, the latest by Yard Trauma themselves.

01 I'm A Man
02 Ave. 339
03 Creeps On T.V.
04 Fast Pace
05 In My Head
06 Bit By Bit
07 Your Trash, My Treasure
08 See Your Face
09 One Way Ticket
10 Kick It In
11 Some People
12 I Got A Girl
13 Just A Dream
14 Over And Over
15 No Conclusions
16 City Of People
17 The Way It Will Be
18 Yard Trauma - Little Girl(Who Left)

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Not to be missed: Yard Trauma - Oh My God (Superb Garagerock US 1991)

Size: 57.9 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included

The Meat Puppets weren't the only rock band to emerge from Arizona during the '80s, as proven by the emergence of another act, Tucson's Yard Trauma. Founding members Joe Dodge (guitar, vocals) and Lee Joseph (bass) had previously done time together in a precursor band, Johnny 7, before forming Yard Trauma at the end of 1982. Although hardcore punk was taking hold locally at the time, Yard Trauma decided to experiment with such odd sounds as drum machines played through fuzzboxes, shortwave radios, and tape loops merged with poetry read on top of the wall of noise. After doing a few shows as a duo, a real drummer and a keyboard player were added to the lineup in time for a debut single, "Some People" b/w "No Conclusions," as well as a full-length, The Red Album, before splitting up in January of 1984 when Joseph relocated to Los Angeles.

But after the album received favorable reviews in the underground press, Dodge and Joseph began having second thoughts. This led to the pair to writing songs by sending demos back and forth in the mail, before they reunited in Phoenix to record a sophomore effort, Must Have Been Something I Took. Dodge then followed Joseph back to Los Angeles, as the duo tried in vain to find a permanent drummer. Although they were unsuccessful (going through numerous skin beaters, including one who was briefly a member of one of G.G. Allin's many bands), Yard Trauma began building a following in Europe solely on the strength of the press attention given to their albums. 1988 saw the release of the band's third album overall, Face to Face, which included guest appearances on lead guitar by several other artists, including Brett Gurewitz from Bad Religion. Further albums followed, including 1990's Lose Your Head and 1994's Oh My God (during which time Joseph created and ran the independent label, Dionysis Records), before the duo decided to call it a day.

01.Best You Can
02.Oh My God
03.I Am, You Are
04.Full Circle
05.Pressure
06.Blink of an Eye
07.Not Fair
08.Shroud
09.I've Got a Problem
10.Alibi

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