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Jethro Tull was a unique phenomenon in popular music history. Their mix of hard rock; folk melodies; blues licks; surreal, impossibly dense lyrics; and overall profundity defied easy analysis, but that didn't dissuade fans from giving them 11 gold and five platinum albums. At the same time, critics rarely took them seriously, and they were off the cutting edge of popular music since the end of the 1970s. But no record store in the country would want to be without multiple copies of each of their most popular albums (Benefit, Aqualung, Thick as a Brick, Living in the Past), or their various best-of compilations, and few would knowingly ignore their newest releases. Of their contemporaries, only Yes could claim a similar degree of success, and Yes endured several major shifts in sound and membership in reaching the 1990s, while Tull remained remarkably stable over the same period. As co-founded and led by wildman-flautist-guitarist-singer-songwriter Ian Anderson, the group carved a place all its own in popular music.
Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart, when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine.
In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular.
Early on, they had to face a problem of image and configuration, however. In the late spring of 1968, managers Terry Ellis and Chris Wright (who later founded Chrysalis Records) first broached the idea that Anderson give up playing the flute, and to allow Mick Abrahams to take center stage. At the time, a lot of blues enthusiasts didn't accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull was just a little too strange in that regard. Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, and he was pushing for a more traditional band configuration, which would've put him and his guitar out front. As it turned out, they were both right. Abrahams' blues sensibilities were impeccable, but the audience for British blues by itself couldn't elevate Jethro Tull any higher than being a top club act. Anderson's antics on-stage, jumping around in a ragged overcoat and standing on one leg while playing the flute, and his use of folk sources as well as blues and jazz, gave the band the potential to grab a bigger audience and some much-needed press attention.
They opened for Pink Floyd on June 29, 1968, at the first free rock festival in London's Hyde Park, and in August they were the hit of the Sunbury Jazz & Blues Festival in Sunbury-on-Thames. By the end of the summer, they had a recording contract with Island Records. The resulting album, This Was, was issued in November. By this time, Anderson was the dominant member of the group on-stage, and at the end of the month Abrahams exited the band. The group went through two hastily recruited and rejected replacements, future Black Sabbath guitarist Tony Iommi (who was in Tull for a week, just long enough to show up in their appearance on the Rolling Stones' Rock 'N Roll Circus extravaganza), and Davy O'List, the former guitarist with the Nice. Finally, Martin Barre (b. Nov. 17, 1946), a former architecture student, was the choice for a permanent replacement.
It wasn't until April of 1969 that This Was got a U.S. release. Ironically, the first small wave of American Jethro Tull fans were admiring a group whose sound had already changed radically; in May of 1969, Barre's first recording with the group, "Living in the Past," reached the British number three spot and the group made its debut on Top of the Pops performing the song. The group played a number of festivals that summer, including the Newport Jazz Festival. Their next album, Stand Up, with all of its material (except "Bouree," which was composed by Johann Sebastian Bach) written by Ian Anderson, reached the number one spot in England the next month. Stand Up also contained the first orchestrated track by Tull, "Reasons for Waiting," which featured strings arranged by David Palmer, a Royal Academy of Music graduate and theatrical conductor who had arranged horns on one track from This Was. Palmer would play an increasingly large role in subsequent albums, and finally join the group officially in 1977.
Meanwhile, "Sweet Dream," issued in November, rose to number seven in England, and was the group's first release on Wright and Ellis' newly formed Chrysalis label. Their next single, "The Witch's Promise," got to number four in England in January of 1970. The group's next album, Benefit, marked their last look back at the blues, and also the presence of Anderson's longtime friend and former bandmate John Evan — who had long since given up the drums in favor of keyboards — on piano and organ. Benefit reached the number three spot in England, but, much more important, it ascended to number 11 in America, and its songs, including "Teacher" and "Sossity, You're A Woman," formed a key part of Tull's stage repertory. In early July of 1970, the group shared a bill with Jimi Hendrix, B.B. King, and Johnny Winter at the Atlanta Pop Festival in Byron, GA, before 200,000 people.
By the following December, after another U.S. tour, Cornick had decided to leave the group, and was replaced on bass by Anderson's childhood friend Jeffrey Hammond-Hammond. Early the following year, they began working on what would prove to be, for many fans, the group's magnum opus, Aqualung. Anderson's writing had been moving in a more serious direction since the group's second album, but it was with Aqualung that he found the lyrical voice he'd been seeking. Suddenly, he was singing about the relationship between man and God, and the manner in which — in his view — organized religion separated them. The blues influences were muted almost to non-existence, but the hard rock passages were searing and the folk influences provided a refreshing contrast. That the album was a unified whole impressed the more serious critics, while the kids were content to play air guitar to Martin Barre's high-speed breaks. And everybody, college prog rock mavens and high-school time-servers alike, seemed to identify with the theme of alienation that lay behind the music.
01. My Sunday Feeling
02. Martin's Tune
03. To Be Sad Is A Mad Way To Be
04. Back To The Family
05. Dharma For One
06. Nothing Is Easy
07. A Song For Jeffrey
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This is a remastered version of two similar boots, Mt. Fillmore: Live At The Fillmore East 1971 and Closing The Fillmore East. It is a significant improvement to both. CTFE suffered from high frequency loss and low volume level. The source for this new version, Mt.Fillmore, had superior sound but ran more than 5% fast and suffered somewhat from digital distortion, particularly in Dreams Of Milk And Honey. Both of those problems have been corrected and some minor dips in volume have been adjusted.
Also absent is the nifty reminder during Roll Over Beethoven on CTFE that we are listening to radio station KLOS. Both versions suffered from a two minute cut in the middle of Dreams Of Milk And Honey. After carefully matching volume and EQ, the missing part has been patched with the same segment from FLOWERS OF EVIL. You can find the patch at 7:51 when the guitar shifts to the center channel due to the different mix, ending at 9:51. In addition, the Outside The Fillmore interviews and California Jam track from CTFE have replaced the two commercially available bonus tracks on MT. FILLMORE.
Dreams Of Milk And Honey and Roll Over Beethoven were used on the official release, FLOWERS OF EVIL. That version dropped an introduction and made a minor cut in Dreams Of Milk And Honey. Here these tracks are complete and unedited in a slightly different mix. In comparison, FLOWERS OF EVIL now sounds somewhat anemic.
MT. FILLMORE lists the date of this show as June 26 and CTFE lists it as June 28. June 27 was the final night of the Fillmore's closing run. The same lineup (Albert King, Mountain, The J. Geils Band and The Allman Brothers Band) played on each of the last two nights, so the 26th is possible. But this tape is from a radio broadcast and it's likely that such a broadcast would have been on the final night. Also, the circulating Allman Brothers tape of these last shows is from the 27th, and it would seem logical that was the same broadcast. [Source Unknown]
Mountain
"Last Night At The Fillmore East"
Fillmore East, New York City
Radio Broadcast
June 27, 1971
Mountain:
Leslie West - guitar, vocals
Felix Papalardi - bass, vocals
Corky Lang - drums
Steve Knight - organ
01. Intro by Bill Graham
02. Never In My Life
03. Theme For An Imaginary Western
04. Roll Over Beethoven
05. Dreams Of Milk And Honey
06. Silver Paper
07. Mississippi Queen
08. Outside of the Fillmore
09. Nantucket Sleighride (Bonus track from California Jam 1974)
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The Dictators are a rock and roll band formed in New York City in 1973.
Critic John Dougan said that they were "one of the finest and most influential proto-punk bands to walk the earth."[2]The Dictators' debut album, The Dictators Go Girl Crazy! (1975) was perhaps the first album released by a New York punk group. They found relatively little commercial success, and their smart-guys-playing-dumb shtick would be further refined by later punkers -- notably The Ramones.
The Dictators are represented in the "Punk Wing" of the Rock and Roll Hall Of Fame, in Cleveland, Ohio. Steven Van Zandt called them"The connective tissue between the eras of The MC5, Stooges, NY Dolls, and the punk explosion of the mid to late 1970's".
The original recording lineup consisted of bassist/vocalist Andy (aka "Adny") Shernoff, lead guitarist Ross "The Boss" Friedman (aka Ross Funicello), rhythm guitarist Scott "Top Ten" Kempner, and drummer Stu Boy King (who was, in fact, the band's fourth drummer since forming in 1973). It was this lineup - along with roadie/occasional vocalist and "Secret Weapon" Handsome Dick Manitoba - which recorded the band's 1975 debut album, The Dictators Go Girl Crazy for Epic Records, produced by Sandy Pearlman and Murray Krugman (best known for their work with Blue Öyster Cult). Although the album sold poorly at the time, today it is considered one of the most important albums ever recorded by a New York punk band of the period, and still stands as arguably one of the funniest records ever made.
Frustrated by the lack of sales, the band broke up for a few months in late 1975, but reconvened in early 1976, with bassist Mark "The Animal" Mendoza replacing Shernoff. After a few months Shernoff was persuaded to return to the group as the group's keyboardist. This lineup soon secured a contract with Asylum Records (at least partly due to the notoriety the group had developed following a well-publicized brawl between Manitoba and Wayne County) and released their second album, Manifest Destiny, in 1977. The album - again produced by Pearlman and Krugman - is usually considered the weakest of the group's first three albums, and featured a considerably more mainstream sound. The band resisted playing songs from Manifest Destiny for several years because the album hadn't been re-released on CD.
During this period the band was christened with their nickname, "The 'Taters." This culminated in an incident during a tour with Uriah Heep and Foreigner in which Foreigner's roadies strung a net filled with potatoes above the stage and released it during the Dictators' set.
By 1978 Mendoza had left the band (he soon joined Twisted Sister) and Shernoff had returned to his original position on bass guitar. It was this lineup of Manitoba, Shernoff, Friedman, Kempner, and Rich Teeter which recorded Bloodbrothers (yet again produced by Pearlman and Krugman). At the time it was - and still is - generally considered to be a stronger album than Manifest Destiny. It was the first album to feature Manitoba as the group's vocalist on all the songs, though Bruce Springsteen - a big fan of the group to this day - can be heard counting "1-2-1-2-3-4" during the album's opening track, "Faster and Louder." The album's "Baby, Let's Twist" was a minor hit on a number of east coast radio stations, but the lack of mainstream success caused the band to split the following year. Shortly before the split drummer Mel Anderson had left Twisted Sister and joined The Dictators, replacing Teeter. After the breakup, Manitoba drove a cab, Shernoff worked as a producer, and Friedman became something of a gun-for-hire; working first with the French hard rock band Shakin' Street, then becoming a founding member of Manowar in 1982, and producing the first demo for Anthrax.
Although Friedman had spoken to the press with some bitterness about The Dictators during the early Manowar period, he and the other members of the band began reuniting occasionally in 1981, and later that year ROIR released the cassette-only Fuck 'Em If They Can't Take a Joke, which featured numbers from all three of the group's studio albums, covers of the Velvet Underground's "What Goes On" and Mott the Hoople's "Moon Upstairs," and two new Shernoff numbers; "Loyola" and "New York New York."
Other than occasional reunion shows, little was heard from The Dictators during the next five years. However, in late 1986 Shernoff and Manitoba (along with guitarist Daniel Rey) formed Wild Kingdom, releasing a version of "New York New York" on the 1988 soundtrack to Mondo New York. By the time of the band's 1990 MCA Records debut, ...And You? (by which time they were now billed as Manitoba's Wild Kingdom), Rey had left the group and had been replaced by Friedman, making it - for all practical purposes - the fourth Dictators album (the group was rounded out by drummer J.P. Patterson). ...And You? - clocking in at a whopping 25 minutes in length - received excellent reviews, with Rolling Stone calling it "the first great punk rock album of the '90s." Following a club tour that year Kempner (who had been previously occupied by his work with the Del Lords during much of the 1980s) joined the group and Manitoba's Wild Kingdom was replaced by The Dictators.
The ...And You? album cover was a source of some controversy at the time since it was lifted from a Nazi recruiting poster dating back to World War II. It was not the first time members of the band (most of whom, ironically, were Jewish) had been associated with charges of this sort since Go Girl Crazy had featured the songs "Master Race Rock" and "Back to Africa."
By the 1990s much about the lives of the band's members had changed markedly.
Shernoff had recorded and briefly toured with The Fleshtones, become a wine expert, and written with Joey Ramone.
Manitoba opened a successful East Village bar called Manitoba's, and currently sings lead vocals with the surviving members of the MC5, and is a Sirius Satellite Radio DJ on Little Steven's Underground Garage channel.
Kempner had developed a certain degree of respect from roots-rock audiences due to his 1980s work with The Del-Lords. In 1992 he released his highly acclaimed solo album Tenement Angels and joined The Brandos in 1993.
Friedman's work with Manowar and Brain Surgeons had given him a certain cachet with heavy metal audiences.
However, the group - first with Frank Funaro on drums, then again with Patterson - began recording a fourth Dictators album in the late 1990s, which was eventually released as D.F.F.D. in 2001. The album was well-received, and a couple of the songs - particularly "Who Will Save Rock 'n' Roll" and "I Am Right" - should be regarded as legitimate classics of the band's catalog. However, Shernoff has remarked that it will probably be the group's final studio album of new material since he finds writing rock songs to be more difficult as time goes on. He is currently compiling an album of demos, rarities, and unreleased songs recorded at various times over the band's thirty-plus year career. However, even following Kempner's move to California in 2002 and his departure from the group, The Dictators continue to perform to a devoted audience, and released a new live album, VIVA Dictators (with Kempner on rhythm guitar) in 2005.
Since February 2005, Manitoba has been singing lead with The MC5, a Detroit pre-punk rock and roll band. Manitoba also has his own show, "The Handsome Dick Manitoba Program" on Little Steven Van Zandt's Underground Garage channel, on Sirius Satellite Radio. Manitoba's, a New York City rock n' roll bar on 99 Ave B (btwn 6th & 7th St) NYC: Lower East Side, was opened by Manitoba on January 14, 1999
01. New York New York
02. Haircut and Attitude
03. Master Race Rock
04. I want You Tonight
05. Faster and Louder
06. Baby Let's Twist
07. I'm Right
08. Call me Animal (MC5)
09. The Party Starts Now
10. I stand Tall
11. Science Gone Too Far
12. Had it Coming
13. Search and Destroy (Stooges)
14. The Next Big Thing
15. Stay With Me
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Iggy Pop & The Stooges
Azkena Rock Festival; Vitoria, Spain
2006.08.31
During the psychedelic haze of the late '60s, the grimy, noisy and relentlessly bleak rock & roll of the Stooges was conspicuously out of time. Like the Velvet Underground, the Stooges revealed the underside of sex, drugs and rock & roll, showing all of the grime beneath the myth. The Stooges, however, weren't nearly as cerebral as the Velvets. Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate and vulgar. Iggy Pop became notorious for performing smeared in blood or peanut butter and diving into the audience. Ron and Scott Asheton formed a ridiculously primitive rhythm section, pounding out chords with no finesse — in essence, the Stooges were the first rock & roll band completely stripped of the swinging beat that epitomized R&B and early rock & roll. During the late '60s and early '70s, the group was an underground sensation, yet the band was too weird, too dangerous to break into the mainstream. Following three albums, the Stooges disbanded, but the group's legacy grew over the next two decades, as legions of underground bands used their sludgy grind as a foundation for a variety of indie rock styles, and as Iggy Pop became a pop culture icon.
After playing in several local bands in Ann Arbor, Michigan, including the blues band the Prime Movers and the Iguanas, Iggy Pop (b. James Osterberg) formed the Stooges in 1967 after witnessing a Doors concert in Chicago. Adopting the name Iggy Stooge, he rounded up brothers Ron and Scott Asheton (guitar and drums, respectively) and bassist Dave Alexander, and the group debuted at a Halloween concert at the University of Michigan student union in 1967. For the next year, the group played the Midwest relentlessly, earning a reputation for their wild, primitive performances, which were largely reviled. In particular, Iggy gained attention for his bizarre on-stage behavior. Performing shirtless, he would smear steaks and peanut butter on his body, cut himself with glass and dive into the audience. The Stooges were infamous, not famous — while they had a rabidly devoted core audience, even more people detested their shock tactics. Nevertheless, the group lucked into a major-label record contract in 1968 when an Elektra talent scout went to Detroit to see the MC5 and wound up signing their opening act, the Stooges, as well.
Produced by John Cale, the Stooges' primitive eponymous debut was released in 1969, and while it generated some attention in the underground press, it barely sold any copies. As the band prepared to record their second album, every member sank deeper into substance abuse, and their excess eventually surfaced in their concerts, not only through Iggy's antics, but also in the fact that the band could barely keep a simple, two-chord riff afloat. Fun House, an atonal barrage of avant-noise, appeared in 1970 and, if it was even noticed, it earned generally negative reviews and sold even fewer copies than the debut. Following the release of Fun House, the Stooges essentially disintegrated, as Iggy sank into heroin addiction. At first, he did try to keep the Stooges afloat. Dave Alexander left the band and Ron Asheton moved to bass as James Williamson joined as guitarist, but this incarnation wasn't able to land a record deal, despite recording a handful of demos. For the next two years, the band was in limbo, as Iggy weaned himself off heroin and worked various odd jobs. Early in 1972, Pop happened to run into David Bowie, then at the height of his Ziggy Stardust popularity. Bowie made it his mission to resuscitate Iggy & the Stooges, as the band was now billed. With Bowie's help, the Stooges landed a management deal and a contract with Columbia, and he took control of the production of the group's third album, Raw Power.
Released in 1973 to surprisingly strong reviews, Raw Power had a weird, thin mix due to various technical problems. Although this would be the cause of much controversy later on — many Stooges purists blamed Bowie for the brittle mix — its razor-thin sound helped kickstart the punk revolution. At the time, however, Raw Power flopped, essentially bringing the Stooges' career to a halt. Iggy stuck with Bowie, who helped him shake heroin and establish a solo career with the 1977 albums The Idiot and Lust for Life. The Ashetons formed New Order, which quickly fell apart, leaving Ron to join Destroy All Monsters. Toward the late '70s, when Pop separated from Bowie, James Williamson began working with the vocalist, playing on a number of records and tours. By the mid-'80s, a decade after the group's demise, the Stooges were hailed as one of the first punk rock bands, and there was legions of underground groups replicating their sound, as well as several others — such as Sonic Youth and Mudhoney — who expanded and updated that sound, making it one of the cornerstones of alternative rock. Meanwhile, the Stooges lived on in countless semi-legal releases and repackagings of live shows, demos and outtakes, all of which were consumed avidly by a still-devoted cult. In 2003, to the surprise of many, Iggy Pop organized a Stooges reunion, recruiting Ron Asheton and Scott Asheton to perform four songs on his album Skull Ring, and taking the brothers on the road for a short but enthusiastically received tour, with Mike Watt standing in for the late Dave Alexander in a show devoted almost entirely to material from The Stooges and Fun House.
01. Loose
02. Down on the street
03. 1969
04. I wanna be your dog
05. TV eye
06. Dirt
07. Real cool time
08. 1970
09. Funhouse
10. Skull ring
11. Little doll
12. Little electric chair
13. I wanna be your dog
14. Not right
15. Dead rock star
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Rick Derringer (born Richard Zehringer, August 5, 1947, in Fort Recovery, Ohio) is an American guitarist, vocalist, and entertainer. He is perhaps best known for the songs "Rock and Roll, Hoochie Koo" and "Real American". Derringer was also "Weird Al" Yankovic's producer and additional guitarist for five years, before rhythm guitarist Jim West became sole guitarist.
When he was seventeen years old, his band The McCoys recorded "Hang on Sloopy" in the summer of 1965, which became the number one song in America before "Yesterday" by The Beatles knocked it out of the top spot.
Derringer also recorded and played with a version of Johnny Winter's band called "Johnny Winter And ..." and both Edgar Winter's White Trash and The Edgar Winter Group. Derringer also had a successful solo career, and his solo version of "Rock and Roll, Hoochie Koo" was a hit single. He also recorded extensively with Steely Dan, playing lead guitar on songs such as "Show Biz Kids".
Along with Judas Priest, Derringer opened for Led Zeppelin on their last American tour.
01. Radio Intro
02. Still Alive and Well
03. Let Me In
04. Teenage Love Affair
05. Sittin' By The Pool
06. One Eyed Jack
07. Sailor
08. Beyond The Universe
09. Rock and Roll Hoochie Koo (inluding You Really Got Me)
10. Roll With Me
11. Rebel Rebel
12. Keep On Makin' Love
13. Let's Make It
14. Radio Outro
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While most bands undergo a number of changes over the course of their careers, few groups experienced such radical stylistic changes as Fleetwood Mac. Initially conceived as a hard-edged British blues combo in the late '60s, the band gradually evolved into a polished pop/rock act over the course of a decade. Throughout all of their incarnations, the only consistent members of Fleetwood Mac were drummer Mick Fleetwood and bassist John McVie -- the rhythm section that provided the band with its name. Ironically, they had the least influence over the musical direction of the band. Originally, guitarists Peter Green and Jeremy Spencer provided the band with its gutsy, neo-psychedelic blues-rock sound, but as both guitarists descended into mental illness, the group began moving toward pop/rock with the songwriting of pianist Christine McVie. By the mid-'70s, Fleetwood Mac had relocated to California, where they added the soft rock duo of Lindsey Buckingham and Stevie Nicks to their lineup. Obsessed with the meticulously arranged pop of the Beach Boys and the Beatles, Buckingham helped the band become one of the most popular groups of the late '70s. Combining soft rock with the confessional introspection of singer/songwriters, Fleetwood Mac created a slick but emotional sound that helped 1977's Rumours become one of the biggest-selling albums of all time. The band retained its popularity through the early '80s, when Buckingham, Nicks, and Christine McVie all began pursuing solo careers. The band reunited for one album, 1987's Tango in the Night, before splintering in the late '80s. Buckingham left the group initially, but the band decided to soldier on, releasing one other album before Nicks and McVie left the band in the early '90s, hastening the group's commercial decline.
The roots of Fleetwood Mac lie in John Mayall's legendary British blues outfit, the Bluesbreakers. Bassist John McVie was one of the charter members of the Bluesbreakers, joining the group in 1963. In 1966 Peter Green replaced Eric Clapton, and a year later drummer Mick Fleetwood joined. Inspired by the success of Cream, the Yardbirds, and Jimi Hendrix, the trio decided to break away from Mayall in 1967. At their debut at the British Jazz and Blues Festival in August, Bob Brunning was playing bass in the group, since McVie was still under contract to Mayall. He joined the band a few weeks after their debut; by that time, slide guitarist Jeremy Spencer had joined the band. Fleetwood Mac soon signed with Blue Horizon, releasing their eponymous debut the following year. Fleetwood Mac was an enormous hit in the U.K., spending over a year in the Top Ten. Despite its British success, the album was virtually ignored in America. During 1968, the band added guitarist Danny Kirwan. The following year, they recorded Fleetwood Mac in Chicago with a variety of bluesmen, including Willie Dixon and Otis Spann. The set was released later that year, after the band had left Blue Horizon for a one-album deal with Immediate Records; in the U.S., they signed with Reprise/Warner Bros., and by 1970, Warner began releasing the band's British records as well.
Fleetwood Mac released English Rose and Then Play On during 1969, which both indicated that the band was expanding its music, moving away from its blues purist roots. That year, Green's "Man of the World" and "Oh Well" were number two hits. Though his music was providing the backbone of the group, Peter Green was growing increasingly disturbed due to his large ingestion of hallucinogenic drugs. After announcing that he was planning to give all of his earnings away, Green suddenly left the band in the spring of 1970; he released two solo albums over the course of the '70s, but he rarely performed after leaving Fleetwood Mac. The band replaced him with Christine Perfect, a vocalist/pianist who had earned a small but loyal following in the U.K. by singing with Spencer Davis and the Chicken Shack. She had already performed uncredited on Then Play On. Contractual difficulties prevented her from becoming a full-fledged member of Fleetwood Mac until 1971; by that time she had married John McVie.
Christine McVie didn't appear on 1970's Kiln House, the first album the band recorded without Peter Green. For that album, Jeremy Spencer dominated the band's musical direction, but he had also been undergoing mental problems due to heavy drug use. During the band's American tour in early 1971, Spencer disappeared; it was later discovered that he left the band to join the religious cult the Children of God. Fleetwood Mac had already been trying to determine the direction of their music, but Spencer's departure sent the band into disarray. Christine McVie and Danny Kirwan began to move the band towards mainstream rock on 1971's Future Games, but new guitarist Bob Welch exerted a heavy influence on 1972's Bare Trees. Kirwan was fired after Bare Trees and was replaced by guitarists Bob Weston and Dave Walker, who appeared on 1973's Penguin. Walker left after that album, and Weston departed after making its follow-up, Mystery to Me (1973). In 1974, the group's manager, Clifford Davis, formed a bogus Fleetwood Mac and had the band tour the U.S. The real Fleetwood Mac filed and won a lawsuit against the imposters -- after losing, they began performing under the name Stretch -- but the lawsuit kept the band off the road for most of the year. In the interim, they released Heroes Are Hard to Find. Late in 1974, Fleetwood Mac moved to California, with hopes of restarting their career. Welch left the band shortly after the move to form Paris.
Early in 1975, Fleetwood and McVie were auditioning engineers for the band's new album when they heard Buckingham-Nicks, an album recorded by the soft rock duo Lindsey Buckingham and Stevie Nicks. The pair were asked to join the group and their addition revived the band's musical and commercial fortunes. Not only did Buckingham and Nicks write songs, but they brought distinctive talents the band had been lacking. Buckingham was a skilled pop craftsman, capable of arranging a commercial song while keeping it musically adventurous. Nicks had a husky voice and a sexy, hippie gypsy stage persona that gave the band a charismatic frontwoman. The new lineup of Fleetwood Mac released their eponymous debut in 1975 and it slowly became a huge hit, reaching number one in 1976 on the strength of the singles "Over My Head," "Rhiannon," and "Say You Love Me." The album would eventually sell over five million copies in the U.S. alone.
While Fleetwood Mac had finally attained their long-desired commercial success, the band was fraying apart behind the scenes. The McVies divorced in 1976, and Buckingham and Nicks' romance ended shortly afterward. The internal tensions formed the basis for the songs on their next album, Rumours. Released in the spring of 1977, Rumours became a blockbuster success, topping the American and British charts and generating the Top Ten singles "Go Your Own Way," "Dreams," "Don't Stop," and "You Make Loving Fun." It would eventually sell over 17 million copies in the U.S. alone, making it the second biggest-selling album of all time. Fleetwood Mac supported the album with an exhaustive, lucrative tour and then retired to the studio to record their follow-up to Rumours. A wildly experimental double album conceived largely by Buckingham, 1979's Tusk didn't duplicate the enormous success of Rumours, yet it did go multi-platinum and featured the Top Ten singles "Sara" and "Tusk." In 1980, they released the double-album Live.
Following the Tusk tour, Fleetwood, Buckingham, and Nicks all recorded solo albums. Of the solo projects, Stevie Nicks' Bella Donna (1981) was the most successful, peaking at number one and featuring the hit singles "Stop Draggin' My Heart Around," "Leather and Lace," and "Edge of Seventeen." Buckingham's Law and Order (1981) was a moderate success, spawning the Top Ten "Trouble." Fleetwood, for his part, made a world music album called The Visitor. Fleetwood Mac reconvened in 1982 for Mirage. More conventional and accessible than Tusk, Mirage reached number one and featured the hit singles "Hold Me" and "Gypsy."
After Mirage, Buckingham, Nicks, and Christine McVie all worked on solo albums. The hiatus was due to a variety of reasons. Each member had his or her own manager, Nicks was becoming the group's breakaway star, Buckingham was obsessive in the studio, and each member was suffering from various substance addictions. Nicks was able to maintain her popularity, with The Wild Heart (1983) and Rock a Little (1985) both reaching the Top 15. Christine McVie also had a Top Ten hit with "Got a Hold on Me" in 1984. Buckingham received the strongest reviews of all, but his 1984 album Go Insane failed to generate a hit. Fleetwood Mac reunited to record a new album in 1985. Buckingham, who had grown increasingly frustrated with the musical limitations of the band, decided to make it his last Fleetwood Mac project. When the resulting album, Tango in the Night, was finally released in 1987, it was greeted with mixed reviews but strong sales, reaching the Top Ten and generating the Top 20 hits "Little Lies," "Seven Wonders," and "Everywhere."
Buckingham decided to leave Fleetwood Mac after completing Tango in the Night, and the group replaced him with guitarists Billy Burnette and Rick Vito. The new lineup of the band recorded their first album, Behind the Mask, in 1990. It became the band's first album since 1975 to not go gold. Following its supporting tour, Nicks and Christine McVie announced they would continue to record with the group, but not tour. Vito left the band in 1991, and the group released the box set 25 Years -- The Chain the following year. The classic Fleetwood Mac lineup of Fleetwood, the McVies, Buckingham, and Nicks reunited to play President Bill Clinton's inauguration in early 1993, but the concert did not lead to a full-fledged reunion. Later that year, Nicks left the band and was replaced by Bekka Bramlett and Dave Mason; Christine McVie left the group shortly afterward. The new lineup of Fleetwood Mac began touring in 1994, releasing Time the following year to little attention. While the new version of Fleetwood Mac wasn't commercially successful, neither were the solo careers of Buckingham, Nicks, and McVie, prompting speculation of a full-fledged reunion in 1997. Say You Will, the first Fleetwood Mac studio album in 15 years, appeared in April 2003. It also marked the group's first set without Christine McVie since 1997's live effort, The Dance.
Trodd Nossel Studios
Wallingford, CT
September 23, 1975
FM Broadcast
01. Station Man - 6:14
02. Spare me a Little - 4:52
03. Rhiannon - 6:39
04. Why - 4:10
05. Landslide - 3:38
06. Over My Head - 3:06
07. I'm So Afraid - 5:02
08. Oh Well - 2:57
09. Green Manalishi - 5:46
10. World Turning - 8:40
11. Blue Letter - 3:59
12. Hypnotized - 7:06
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Neil Young was on a creative high in 1975. By the end of the summer, Zuma was finished, though still not released.
Yet Neil carried on recording his new songs. Sometimes he recorded solo and sometimes with Crazy Horse.
Lots of these songs would remain unheard by the public until quite a while later, but by late ’75, Neil had already written and recorded versions of such future classics as Like A Hurricane, Powderfinger, Sedan Delivery, Pocahontas and Ride By Llama.
He carried on recording in 1976. More great songs were put down on tape, such as Will To Love, Stringman and Campaigner.
Some of us may feel that the Long May You Run album with Stephen Stills robbed us of the natural successor to Zuma, but Stills always suspected that Neil was holding back his best stuff for his solo album.
That solo album was a work in progress throughout this period. Titles were reported in the press: Ride My Llama, In My Neighborhood, American Stars ‘N Bars, Chrome Dreams.
When American Stars ‘N Bars was released in 1977, Neil had scrapped most of the material he’d been recording since late ’75, replacing much of it with a series of rough hewn cowboy songs.
Fun stuff to be sure, but had Neil committed the latest in a series of difficult to explain career suicides? Who else, except maybe Bob Dylan, would sit on a stash of such quality songs and not let the public hear them?
Tracks 1 to 12 of this compilation are thought to be the unreleased Chrome Dreams album, readied for release weeks before Neil recorded those country hoedowns and rethought his strategy.
Some of these song titles will be more than familiar to you, but the actual performances may surprise you.
Powderfinger is performed as an unadorned solo acoustic song; Sedan Delivery, a second song destined for Rust Never sleeps, is presented in its pre-punked up arrangement and, in many people’s opinion, sounds all the better for that.
You’ll also find the definitive Stringman, a song not given an official airing until Neil’s Unplugged set, heard here in a 1976 live performance enhanced by subtle yet beautiful studio vocal and guitar overdubs;
Hold Back The Tears is another solo performance, longer and more ghostly that its later remake for American Stars ‘N Bars;
Pocahontas is the same performance as the one that made Rust Never Sleeps, but in its original "Naked Mix;" Too Far Gone wouldn’t be officially released until the Freedom album in 1989, yet here’s a version from 14 years earlier with Poncho Sampedro adding a tasty mandolin part.
The other six songs from the album were released unchanged on the albums American Stars ‘N Bars, Comes A Time and Hawks And Doves, yet you may still be able to pick out slight differences in the mixes.
Homegrown, for one, would seem to have a little more fire in the guitars. Have a listen and see what you think.
We’ve chosen a select batch of bonus cuts to give you a further taste of just how creative Neil was during this fertile period.
If the version of White Line (here retitled River Of Pride, maybe because Neil forgot to sing the actual White Line lyric) didn’t make the Chrome Dreams shortlist, then its continued circulation among collectors is something of a mystery.
Maybe it was pressed onto acetate as a possible contender for Decade, which Neil was also preparing at this time.
Whatever the truth, it’s a stupendous version of the song, recorded in 1975 with a loose and joyful Crazy Horse.
Neil’s remake for Ragged Glory in 1990 may have been fine but it doesn’t quite capture the spirit of this earlier version.
Campaigner did make Decade, but not before losing one of its verses. You can hear the full-length version here.
Three live cuts follow. No One Seems To Know is an aching piano ballad that Neil once described as Part 2 of A Man Needs A Maid, it’s first class but remains unreleased;
Give Me Strength dates from an earlier ill-fated album called Homegrown (an album that would have also featured Star Of Bethlehem, the oldest cut in this collection) and is another lost classic;
Peace Of Mind is heard as an electric rock song played with the Horse and very different from the version Neil released on Comes A Time.
And, as a nod to Zuma, we close with Crosby Stills Nash & Young. Human Highway was recording during the Stills-Young sessions in 1976. The song was always meant to be a CSNY track, but Neil had run out of patience by the Comes A Time LP.
Now you can have a glimpse of what might have been, which, come to think of it, is also true of the whole collection.
Neil Young - Chrome Dreams (Rust Edition)
Tracklist:
01. Pocahontas
02. Will To Love
03. Star Of Bethlehem
04. Like A Hurricane
05. Too Far Gone
06. Hold Back The Tears
07. Homegrown
08. Captain Kennedy
09. Stringman
10. Sedan Delivery
11. Powderfinger
12. Look Out For My Love
Bonus Tracks:
13. River Of Pride ('White Line', Unreleased Studio Version, 27 NOV 75)
14. Campaigner (Unedited, Unreleased Studio Version, Summer 1976)
15. No One Seems To Know (Live, Tokyo, Japan, 10 Mar 76)
16. Give Me Strength (Live, Chicago, IL, 15 Nov 76)
17. Peace Of Mind (Live, Chicago, IL, 15 Nov 76)
18. Human Highway (CSNY, Unreleased Studio Version, April 76)
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Bitrate: 320
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Johnny Winter My Fathers Place 10/4-1980 Fm Radio.
John Dawson "Johnny" Winter III (born on 23 February 1944 in Beaumont, Texas, USA) is an American blues guitarist, singer and producer. He is the first son of John and Edwina Winter who were very much responsible for both Johnny's and younger brother Edgar Winter's early musical awareness. Both Johnny and Edgar have albinism.
Johnny began performing at an early age with Edgar. His recording career began at the age of 15, when their band Johnny and the Jammers released "School Day Blues" on a Houston record label. During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B. B. King and Bobby Bland.
In 1968, Winter began playing in a trio with bassist Tommy Shannon and drummer Uncle John Turner. An article in Rolling Stone magazine written by Larry Sepulvado helped generate interest in the group. The album Johnny Winter was released near the end of that year. In 1969 they performed at numerous rock festivals including Woodstock. Contrary to urban legend, however, Johnny did not perform with Jimi Hendrix and Jim Morrison on the infamous Hendrix bootleg recording "Woke up this Morning and Found Myself Dead" done at New York City's Scene Club. He has said, "Oh, I never even met Jim Morrison! There's a whole album of Jimi and Jim and I'm supposedly on the album but I don't think I am `cause I never met Jim Morrison in my life! I'm sure I never, never played with Jim Morrison at all! I don't know how that [rumour] got started."
Winter struggled with a heroin addiction in the early part of his career. After eventually recovering from the addiction, in 1973, he returned to the music scene in classic form with Still Alive and Well, a song written by Rick Derringer saluting Winter for overcoming his addiction.
In live performances, Winter often tells the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters. In 1977, he accomplished this goal and produced the Muddy Waters album Hard Again. In 1978, he experienced continued success with the production of Waters' I'm Ready. He followed this in 1980, by producing Muddy's final effort, the album King Bee. Their partnership produced a number of Grammy-winning recordings throughout, and he recorded the album Nothing but the Blues with members from Muddy Waters' band.
There are quite a few Johnny Winter albums that are considered "non-official." A majority of these albums were produced by the late Roy Ames, owner of Home Cooking Records/ Clarity Music Publishing. According to a Houston Press article dated Aug 28, 2003, Johnny Winter left town for the express purpose of getting away from him. Roy Ames died on August 14, 2003 of natural causes at age 66. As Ames left no obvious heirs, the ownership rights of the Ames master recordings remains unclear.
As Johnny stated in an interview when the subject of Roy Ames came up, "This guy has screwed so many people it makes me mad to even talk about him."
Disc 1:
01 Hideaway
02 Messin' With The Kid
03 The Crawl
04 Big Ball Blues
05 Talk Is Cheap
Disc 2:
01 Mother In Law Blues
02 Johnny B Good
03 New York,New York
04 Rolling And Tumbling
05 Don't Hide Your Love
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Various Grateful Dead Performance in excellent soundquality. 531 MB.
Grateful Dead - 1966-02-25 Live in Los Angeles (@320) (Bootleg)
Grateful Dead - 1966-03-25 Troupers Hall Los Angeles @320) (Bootleg)
Grateful Dead - 1966-05-19 Avalon Ballroom (@320) (Bootleg)
Grateful Dead - 1966-07-03 Fillmore Auditorium (@320) (Bootleg)
Grateful Dead - 1966-07-29 Vancouver FM Broadcast (@320) (Bootleg)
Enjoy, ChrisGoesRock
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No Artwork
Golden Gate Studios
San Francisco, California
Autumn Records Demo, as "The Warlocks"
1965:
On May 5th, 1965, a new band called The Warlocks debuts at a pizza parlor on the peninsula south of San Francisco. It includes Jerry Garcia (a former bluegrass banjo player), Ron 'Pigpen' McKernan (a blues harmonica player), Bob Weir (a folk guitarist), Bill Kreutzmann (an R & B drummer), and, soon after, Phil Lesh, a jazz trumpeter and classical composer, on bass. They begin working at a variety of area bars, but as fall passes, their music, influenced by John Coltrane-style improvisation and the psychedelic experience, grows much stranger. In November the Warlocks change their name to the Grateful Dead, and in December they hook up with friends by the name of Ken Kesey and the Merry Pranksters, who are experimenting with LSD in social environments called the Acid Tests, where the division between performer and audience vanishes. By year's end, they aren't anybody's idea of a regular rock band anymore.
1966:
The Acid Tests crest in size at the three-day (January 21-23) Trips Festival at Longshoreman?s Hall in San Francisco, where thousands of people experience Rimbaud?s ?systematic derangement of the senses.? With their new soundman and backer, Owsley Stanley, the Dead settle for some months in Los Angeles to woodshed, then return home in June to find a thriving rock scene centered on Bill Graham?s Fillmore Auditorium and Chet Helms? Avalon Ballroom. After an idyllic summer at a house called Olompali (in Novato) and a former summer camp in Lagunitas (both in Marin County), they settle in late September at 710 Ashbury St., in the Haight-Ashbury neighborhood of San Francisco. The Haight is an extension of the Acid Tests in which several thousand people are experimenting with music, art, theater, psychedelics, and freedom, to create a new sort of community, commonly called ?hippie.? For a while, it works, and the Dead are at the center of it all.
1967:
Hippies across Northern California come together to celebrate all of life and nothing special at the Be-In in Golden Gate Park on January 14, 1967. Almost all of the major SF rock bands, plus Beat poets who act as spiritual elder brothers, join in a very special afternoon's delight. The Dead record their first album, The- Grateful Dead, for Warner Bros. in January ' it's rather rushed, but a start. In June they travel east for the first time and present themselves to New York City. On their return, they take part in the mid-June Monterey Pop Festival, which introduces the psychedelic bands of SF and London to the world. In September, the band adds a new member, Mickey Hart, on percussion, and this new energy propels them into a major new level of creativity, with important new songs like 'Dark Star' and 'The Other One' added to their repertoire.
1968:
The Dead always seek independence for themselves, and they begin the year with a self-organized tour ('The Great Northwest') and then in March take over the Carousel Ballroom, running it on their own for some months. They also take charge of their music, leaving the conventional recording world (along with their producer) behind as they try to fuse studio and live recordings in a flawed, magnificent, very strange masterpiece called Anthem of the Sun, out in July. They are wildly free, at times playing radically crazy gigs such as being smuggled onto the Columbia University campus (shut down due to a strike) in a bread truck, to briefly splintering into another group entirely, Mickey and the Hart Beats, in the fall. In November they add Phil's old friend Tom 'T.C.' Constanten on keyboards, and continue their rapid growth as they begin work on the cutting edge of technology, 16-track recording.
Notes:
1. Caution fades out at 3:10
2. shntool confirms tracks on sector boundaries
3. small spikes at the start of some tracks were silenced using Cool Edit
01. Can't Come Down 03:05
02. Mindbender 02:42
03. The Only Time Is Now 02:52
04. Caution 03:21
05. I Know You Rider 02:42
06. Early Morning Rain 03:21
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Bitrate: 320
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No Artwork, sorry
Iron Butterfly is an American psychedelic rock band best known for the 1968 hit "In-A-Gadda-Da-Vida". Their heyday was the late 1960s, but the band has been reincarnated with various members. In-A-Gadda-Da-Vida is the 31st best-selling album in the world, selling more than 25 million copies.
The band formed in 1966 in San Diego and in early 1968 released their debut album Heavy after signing a deal with ATCO, an Atlantic Records subsidiary. The original members were Doug Ingle (vocals, keyboards), Jack Pinney (drums), Greg Willis (bass), and Danny Weis (guitar). They were soon joined by singer/frontman Darryl DeLoach.
Jerry "The Bear" Penrod and Bruce Morris replaced Willis and Pinney after the band relocated to Los Angeles in 1966 and Ron Bushy then came aboard when Morris' tenure proved to be a short one. All but Ingle and Bushy left the band after recording the first album in late 1967; the remaining musicians, faced with the possibility of the record not being released, quickly found replacements in bassist Lee Dorman and guitarist Erik Brann (aka Erik Braunn) and resumed touring.
Weis and Penrod went on to form the group Rhinoceros.
The 17-minute "In-A-Gadda-Da-Vida", the title track of their second album, became a Top Thirty hit in the US and made the number 9 spot on the Dutch Top 40. The members when In-A-Gadda-Da-Vida was recorded were Doug Ingle (keyboards and vocals), Lee Dorman (bass guitar), Ron Bushy (drums), and 17-year-old Erik Brann. The album sold over three million copies by the end of 1970, and was awarded a gold disc by the R.I.A.A. in December 1968.
The band had been booked to play at Woodstock but got stuck at an airport. When their manager called the promoters of the concert they explained the situation and asked for patience. However, the manager demanded that the Butterfly be flown in by helicopter, whereupon they would "immediately" take the stage. After their set they would be paid and flown back to the airport. The manager was told that this would be taken into consideration and he would be called back. In truth, his demands were never given a second thought. Dorman later expressed regret at this turn of events, feeling the band's career may have gone further had they played the festival. According to drummer, Ron Bushy, "We went down to the Port Authority three times and waited for the helicopter, but it never showed up."
The next album, Ball, topped the charts, but more lineup changes followed. In 1970, with Erik Brann gone, Iron Butterfly released their fourth studio album, Metamorphosis with two new members, guitarist / vocalist / songwriter Mike Pinera (whose Blues Image had opened for the Butterfly's Vida tour and who later led Ramatam and played with Alice Cooper) and guitarist Larry "Rhino" Reinhardt. The album only managed to get into the top twenty. The band broke up after playing a final show on May 23, 1971. Dorman and Reinhardt would subsequently found Captain Beyond, releasing three albums with that band during 1972–77.
The band reformed in 1974 with Ron Bushy and Eric Brann joined by bassist Philip Taylor Kramer and keyboardist Howard Reitzes. (Kramer later made news with his 1995 disappearance and the discovery of his bones and minivan at the bottom of Decker Canyon in 1999). The albums released during this lineup: Scorching Beauty in January 1975 with Reitzes and Sun and Steel in October 1975 with Bill DeMartines replacing Reitzes.
From 1977 on Dorman took over the Iron Butterfly moniker and has led several lineups since then (see below for a chronology of IB's lineups) with former members (Bushy, Ingle, Brann, etc.) coming and going. Other than another brief break between late 1985 and early 1987, the group has continued to this day with Dorman & Bushy currently leading the charge.
Iron Butterfly's In-A-Gadda-Da-Vida line-up of Ingle/Brann/Bushy/Dorman reunited for the Atlantic Records 40th Anniversary concert and celebration, appearing on stage along with the surviving members of Led Zeppelin, and with Aretha Franklin among many other acts of the company's roster on May 14, 1988. The reunited foursome also played a 30 city tour that same year.
On October 3, 2002 original guitarist/vocalist Darryl DeLoach died of liver cancer at the age of 56.
On July 25, 2003 Erik Brann died of heart failure at the age of 52. He was working on a new solo album at the time of his death. The album to date remains unreleased, although friends and family of Braunn are working on releasing the album.
In early 2010 it was announced that Iron Butterfly would receive the Lifetime Achievement Award at the 20th Annual San Diego Music Awards, set to take place on Sept. 12, 2010. The award is to be presented by San Diego Mayor Jerry Sanders
01. Real Fright
02. Possession
03. Filled With Fear
04. Fields Of Sun
05. It's Up To You
06. Gloomy Day To Remember
07. Got To Ignore Evil Temptions
08. So-Lo
09. Gentle As It May Seem
10. Lonely Boy
11. Iron Butterfly Theme
12. You Can't Win
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