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The Blues Project is a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world's first jam bands, along with the Grateful Dead.
In 1964, Elektra Records produced a compilation album of various artists entitled, The Blues Project, which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album's release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles' arrival in the United States earlier in the year signified the end of the folk and acoustic blues movement that had swept the US in the early 1960s.
Kalb's first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on the Blues Project moniker as an allusion to Kalb's first foray on record. After a brief hiatus in the summer of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals.
The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he played on the "Like a Rolling Stone" recording session for Bob Dylan's album, Highway 61 Revisited. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately. Soon thereafter, the Blues Project gained a recording contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965.
Entitled Live at The Cafe Au Go Go the album was finished with another week of recordings in January 1966. By that time, Flanders had left the band and, as a result, he appeared on only a few of the songs on this album.
The album was a moderate success and the band toured the US to promote it. While in San Francisco, California in April 1966, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York's answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities.(Source: Rock Family Trees - television program)
Returning to New York, the band recorded their second album in the fall of 1966, and it was released in November. Projections contained an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock.[1] The centerpiece of the album was an 11-and-a-half minute version of "Two Trains Running," which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental "Flute Thing", written by Kooper and featuring Kulberg on flute.
Soon after the album was completed, though, the band began to fall apart. Kooper quit the band in the spring of 1967, and the band without him completed a third album, Live At Town Hall. Despite the name, only one song was recorded live at Town Hall, while the rest was made up of live recordings from other venues, or of studio outtakes with overdubbed applause to feign a live sound. One song in the latter category, Kooper's "No Time Like the Right Time," would be the band's only charting single.
The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone. Kooper had formed his own band and played at the festival as well. Katz left soon thereafter, followed by Kalb. A fourth album, 1968's Planned Obsolescence, featured only Blumenfeld and Kulberg from the original lineup, but was released under the Blues Project name at Verve's insistence. Future recordings by this lineup would be released under a new band name, Seatrain.
In 1968, Kooper and Katz joined forces to fulfill a desire of Kooper's to form a rock band with a horn section. The result was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not take part in any subsequent releases. Katz, on the other hand, remained with the band into the 1970s.
The Blues Project, with a modified line-up, reformed briefly in the early 1970s, releasing three further albums: 1971's Lazarus, 1972's The Blues Project, and 1973's The Original Blues Project Reunion In Central Park (which featured Kooper but not Flanders). These albums did little to excite the public and since then, the group's activity has been confined to a few sporadic reunion concerts such as when the Blues Project played a fundraising concert at Valley Stream Central High School in New York promoted by Bruce Blakeman with the proceeds going to the Youth Council and the US Olympic Committee.[2] In the period between 2001 and 2007, Roy Blumenfeld has been drumming in the Barry Melton Band (Melton of Country Joe & the Fish fame). The band plays in the Northern California area.
THE BLUES PROJECT MATRIX,S.F. SEPT,1966
AL KOOPER
STEVE KATZ
ROY BLUMENFELD
ANDY KULBERG
DANNY KALB
August 30-September 6 1966
Blues Project, Robbie Basho
September 7-15, 1966
Blues Project
CD1
01.INTROS
02.LOUISIANA BLUES
03.STEVE'S SONG
04.I CAN'T KEEP FROM CRYING
05.CARESS ME BABY
06.FLUTE THING 1
07.WAKE ME SHAKE ME
08.THE WAY MY BABY WALKS
09.LOVE WILL ENDURE
10.JELLY JELLY
CD2
01.CHERYL'S GOING HOME
02.YOU CAN'T CATCH ME
03.TALK
04.SHAKE THAT THING
05.TALK
06.CATCH THE WIND
07.YOU CAN'T JUDGE A BOOK
08.TALK
09.FLUTE THING 2
10.HOOCHIE COOCHIE MAN
11.IF YOU DON'T COME BACK
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The Sons of Champlin is an American rock band, formed in the late 1960's and hailing from the San Francisco-Bay area. They are fronted by vocalist/keyboardist/guitarist Bill Champlin, who is also a member of the rock band Chicago.
Champlin started his musical career in high school as a member of a popular local band, The Opposite Six. One of his teachers encouraged Champlin to drop out of school and pursue music full-time. In 1965 the draft claimed the drummer and bass player of the Opposite Six, and Champlin joined forces with guitarist Terry Haggerty, sax player Tim Cain, bassist John Prosser (who played with the Warlocks,and the The Grateful Dead, joined the military serving as a corpman and then becoming a physician and now plays lead bass for the band "ON CALL" which consists of physicians,nurses, a videographer, and an attorney) and drummer Jim Meyers in the band that became the Sons of Champlin. By late 1967 the lineup had changed to include keyboardist/saxman Geoff Palmer, trumpeter Jim Beem, bassist Al Strong, and drummer Bill Bowen to create a funky Hammond B-3-and-horns sound that was distinctive from the rest of the Bay Area’s psychedelic guitar bands (one bandsman referred to the music as "acid jazz").
The Sons recorded their first album in 1967 for Trident Records, owned by Kingston Trio manager Frank Werber. They released a single, "Sing Me a Rainbow," (B-side "Fat City") which got airplay in the Bay Area but did not crack the national charts. The plan was to follow this release with another song from the album, a Barry Mann/Cynthia Weil composition called "Shades of Grey." Unfortunately for The Sons, the Monkees released their version of the very same song before this could happen. The album was not released and the Sons left Trident Records. A few years ago this collection was released under the title, "Fat City," and is now available on CD.
During the late sixties The Sons of Champlin performed regularly at the legendary San Francisco venues, the Avalon Ballroom and the Fillmore West. They shared billing with, among many others, the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, Country Joe and the Fish and The Youngbloods.
In 1968 the Sons of Champlin signed with Capitol Records, releasing "Loosen Up Naturally" in January, 1969. Two more Capitol albums followed, "The Sons," and "Follow Your Heart." In 1970 the band broke up and Bill Champlin moved to Santa Cruz, where he joined Moby Grape guitarist Jerry Miller in a short lived project called The Rhythm Dukes.
The Sons reformed in 1971 as a five piece band with Bill Vitt on drums and David Schallock on bass. Briefly, the group went by the name Yogi Phlegm, as which they played one of the last last concerts at Bill Graham's Fillmore West, June 30, 1971. In 1972 James Preston replaced Bill Vitt on drums, and the band once again went by the name Sons of Champlin.
After recording their 1972 Columbia album, "Welcome to the Dance," as a five piece, The Sons once again added a horn section, which included Mark Isham, now a well known film scorer and composer, on trumpet and synthesizer.
In 1974 The Sons recorded "The Sons of Champlin" in their own studio and released it on their own label, Goldmine Records. This was purchased and re-released by Ariola America. The next two albums, "Circle Filled With love," and "Loving is Why" were also released on Ariola.
In 1977 the Sons of Champlin played what many assumed to be their last gig at Kirkwood Meadows ski resort.
The Sons released seven albums between 1969 and 1977, including Loosen Up Naturally, Welcome to the Dance, and Circle Filled With Love. The albums were generally well-reviewed, but were low sellers. In 1977, Champlin went solo, recording Single and Runaway before joining Chicago in 1981.
In 1997, the Sons got together for a series of reunion gigs, then recorded and released their first live CD in 1998. In 2002, Champlin said it was, "too good not to continue," and the Sons have since put out several new CDs that please fans, Hip L'il Dreams and Secret among them (they have also remastered much of their back catalogue).
As of this writing, Champlin appears with original members Palmer, Schallock, and Preston. Guitarist Carmen Grillo has replaced Haggerty, and Tower of Power alumnus Mic Gillette handles trumpet, trombone, and tuba parts. The Sons generally feature guest artists on alto and tenor saxophone.
(Winterland 10/24/69)
01. It's Time
02. For The Love Of A Woman
03. We Got To Leave Tomorrow Behind
04. You Can Fly
05. Get High
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Vanilla Fudge is an American rock band. The band's original lineup - vocalist/organist Mark Stein, bassist/vocalist Tim Bogert, lead guitarist/vocalist Vince Martell, and drummer/vocalist Carmine Appice - recorded five albums during the years 1966-69, before disbanding in 1970. The band has reunited in various configurations over the years, and is currently operating with its four original members. The band has been cited as, "one of the few American links between psychedelia and what soon became heavy metal.
History
Stein and Bogert played in a local band called Rick Martin & The Snowmen and were so impressed by the sound of The Rascals (swinging and floods of organ) that they decided to form their own band with Martell and Rick Martin's drummer, Joey Brennan. Originally calling themselves The Pigeons, they changed the name to Vanilla Fudge in 1966, after the replacement of Brennan by Appice. A recording of the Pigeons was released in Germany in 1973 under the title of 'While the World was Eating Vanilla Fudge'. The group was then "discovered" and managed by reputed Luchese crime-family member, Phillip Basile, who operated several famous L.I. clubs — the Action House, Speaks, Channel 80, Industry — three of which were the same club (on Austin Boulevard, in Island Park, New York) with different names.
They had a number of popular songs, their biggest being their hit cover of "You Keep Me Hangin' On", a slowed-down, hard rocking version of the song originally recorded by The Supremes. This version also featured Appice's energetic drumming. One follow-up to this hit, "Take Me For A Little While", had a quite different lyric message from the former.
The members of Vanilla Fudge were great admirers of The Beatles, and covered several of their songs including "Ticket to Ride", as well as "Eleanor Rigby".
Their rendition of "Bang Bang (My Baby Shot Me Down)" was featured in the 2007 film Zodiac.
On March 14, 1970, Vanilla Fudge played a farewell concert at the Phil Basille's Action House. After that, Bogert & Appice departed to form another group, Cactus (In 1972, they left Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck). Stein, left on his own, tried to keep the group going with two new players, Sal D'Nofrio (bass) and Jimmy Galuzzi (drums) (both of whom had been members of a Poughkeepsie, New York group known as 'Dino & The Cavemen'). But when nothing came from this, Stein ended up forming a new group, Boomerang, instead with Galuzzi.
Following the band's breakup in 1970, the band has reunited several times. In 1982, they reunited in support of the Atco release, Best of Vanilla Fudge. This resulted in another album of fresh material in 1984 called Mystery. Martell was not included in this initial reunion and Ron Mancuso played guitar on Mystery instead, along with Jeff Beck, who guested under the moniker "J. Toad". Two reunion tours followed in 1987/1988. with Paul Hanson on guitar. Lanny Cordola was guitarist when the band took the stage on May 14, 1988 for the Atlantic Records' 40th Anniversary Celebration. After that, the individual members went their separate ways once again to pursue other projects.
In 1991 Appice revived the Vanilla Fudge name for a tour with former Ted Nugent's player Derek St. Holmes (guitar, vocals), Martin Gerschwitz (keyboards, vocals) and Tom Croucier (bass, vocals), which resulted in the album The Best Of Vanilla Fudge - Live.
Then, in 1999, three of the originals (Appice, Bogert & Martell) reunited with vocalist/organist Bill Pascali replacing Mark Stein to record a "greatest hits" album, Vanilla Fudge 2001/ The Return / Then And Now, with all new recordings of previous songs and three new songs. 2002 had bassists Pete Bremy and T.M. Stevens subbing on bass for an ill Bogert and 2003 saw a release of Vanilla Fudge's live album, The Real Deal - Vanilla Fudge Live, recorded on tour in 1987 with Paul Hanson on guitar. Martell overdubbed his guitar and vocals later. That same year (2003) the group toured with Teddy Rondinelli standing in on guitar for Martell. In 2005, Vanilla Fudge reformed with all the original members for a tour with members of The Doors (now touring as Riders On The Storm) and Steppenwolf. Pascali returned in place of Stein for some 2006 shows before leaving to join the New Rascals. In the summer of 2007 HBO's final episode of The Sopranos featured "You Keep Me Hangin' On" (this version included Pascali's lead vocals) as a theme for their cliff hanger, it was a featured soundtrack in three places of the episode.
They were inducted into the Long Island Music Hall of Fame on October 15, 2006, along with Billy Joel and Joan Jett. Fellow Long Islander Felix Cavaliere inducted them into the hall.
The band then went back into the studio to record Out Through the in Door, a Led Zeppelin cover album released in 2007 only in Europe. Led Zeppelin had opened for the band in 1968-1969. The band performed "You Keep Me Hangin' On" for the PBS fundraising program My Music: My Generation - The '60s for the March 2008 pledge drive. In March 2008, the original lineup of Vanilla Fudge embarked on a tour of the United States (mostly in New England). But in the summer of that year, Bogert & Appice left to concentrate on Cactus (which they had reformed in 2006). Stein and Martell continued on as Mark Stein & Vince Martell of Vanilla Fudge with a brief summer/fall tour that was called 'Let's Pray For Peace'. Out Through the in Door was released in the U.S. in 2008.
01. Good Good Livin'
02. Take Me For A Little While
03. Tearing Up My Heart
04. People Get Ready
05. Shotgun
06. Drum Solo
07. Shes Not There
08. Bass Solo
09. Do Ya Think Im Sexy?
10. You Keep Me Hangin On
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This album was recorded in early 1976 but never released. This particular dub was made from an ANA copy given to a record company employee by Beefheart himself. This same tape has been bootlegged on CDR with excessive noise reduction, but this fresh new transfer is completely free of NR. Don't be fooled by the European bootleg "Dust Sucker" which comes from a very poor quality tape, and not the "Captain's original tapes" as the liner notes claim. This copy is the real deal!
The legendary album which has so far not been officially released.
Recorded at the beginning of 1976 by the remains of the 1975 touring Magic Band after Elliot Ingber and Bruce Fowler had left.
A tape of the album (before production on it had been finished) was sent to Virgin Records in the UK to see if they were interested in releasing it. Unfortunately it got caught up in the legal wrangle that Zappa was having with Herb Cohen so the deal fell through. But tapes of the album had already been sent out to reviewers and radio stations. It wasn't long before one or several of these found their way onto vinyl and eventually CD.
Nowadays the rights to the original Bat Chain Puller album are owned by the Zappa Family Trust. They have considered releasing it, and have even gone as far as getting Denny Walley to finish the production work needed but nothing has yet come of this. In fact, it looks likely that the more recent CD releases of the album have decided the ZFT that it's not worth releasing. If that's the case they need a good slap!
Over the years there have been a number of versions of this album available. Here are the ones we know about.
Near the end of the 100-page history that came with the 1999 box set Captain Beefheart & The Magic Band: Grow Fins, there's a heartbreaking story from one-time Beefheart guitarist/manager Gary Lucas, which happened in the early 1980s, close to the end of the Captain's (aka Don Van Vliet) recording career. Lucas and Van Vliet approached the latter's old high school pal and kindred 1960s iconoclast-crank Frank Zappa to retrieve the master tapes of Bat Chain Puller, an album the Magic Band had recorded for Zappa's label in 1976, before a lawsuit with Zappa's then-manager Herb Cohen stopped its release. When asked about taking the masters back, Zappa flatly replied: "I thought there might be a higher market value out there in 'BeefheartLand' if I didn't split up the set." By this point, Zappa had held the tapes for over five years, and the Band needed to fill the side of their last album, 1982's Ice Cream for Crow, so Zappa cut them a deal: "Well, I got a track about 12 minutes long called 'Do You Want a Pepsi?' Don sings on it. I wrote it." Needless to say, they declined.
Zappa passed away in 1993 and Van Vliet retreated to the desert for the last decades of his life; the tapes never emerged. It seemed the hatchet had never been buried between these old friends. When John Fahey's Revenant label approached Zappa's estate to include this missing album as the last disc of the Grow Fins box, they were rebuffed with a ludicrously high fee. So when a review from Edwin Pouncey appeared in a recent issue of The Wire proclaiming the legitimacy of this disc, it still seemed unlikely that these could be the missing tapes. Another bootleg had been released earlier in the decade, a woeful-sounding disc called Dust Sucker, and even with both men gone, the argument seemed forever unresolved.
But lo and behold, this is the real Bat Chain Puller, as recorded in 1976 and released by a subsidiary of the Frank Zappa estate via their website, complete with liner notes (and more importantly, approval) from longtime drummer John "Drumbo" French and guitarist Denny Walley. It was to be the album that would restore Captain Beefheart to critical acclaim after two loathsome cash grabs often attributed to "The Tragic Band" by his spurned devotees. In the lore of lost albums, Bat Chain Puller is the good Captain's Smile, a fragmented text never quite assembled. Six of these songs were reworked for the Captain's "comeback" album, 1978's Shiny Beast (Bat Chain Puller), another three were re-recorded for 1980's barbed Doc at the Radar Station, and two of the darkest tracks resurfaced on swan song Ice Cream for Crow.
For many listeners, Captain Beefheart has always been a hard, even taxing, listen. In the mid-1960s, the Magic Band's tough, aslant blues held promise for commercial success, but by the time of 1969's enigmatic and still-inscrutable double album, Trout Mask Replica, it seemed the kind of thing to be launched into space (whether that reads as a statement to scare off alien invasion or to find sympathetic intergalactic ears depends on your own perception of that album). By the early 1970s, after the playful yet prickly Lick My Decals Off, Baby, Van Vliet couldn't seem to cash in no matter how sweet and sharp his Clear Spot and The Spotlight Kid albums were.
Strangely, the first half of Shiny Beast might have been his most accessible album side, reminding fans of why they signed up with the Captain in the first place while hooking in new listeners with a cunning blend of surrealist lyrics, tricky rhythmic play, and latent melodicism. The title track is vintage Van Vliet, dappled with skronk and splatter, yet at the same time curiously subtle, with dribbles of synthesizer and a rhythm legendarily concocted from his car's windshield wipers. From there, an almost jazzy song called "Seam Crooked Sam" appears, with gentle guitar lines from John French following Van Vliet's poetic vision as closely as possible, no line or melody repeating or resolving. "Harry Irene" is a bittersweet, shuffling near-standard with an accordion solo from Walley, and features Beefheart at his most lyrically straight-ahead and nuanced. A grim spoken-word piece, "81 Poop Hatch", leads into a delicate guitar miniature titled "Flavor Bud Living".
It's only on "Brick Bats", with Van Vliet's adenoidal soprano Ornette shrieks and wails, that we're finally back in "BeefheartLand." The furious "Floppy Boot Stomp", with Jeff "Moris" Tepper's stinging slide guitar, imagines the Devil going down to Georgia years before Charlie Daniels did. And the blues rise up on "Owed t'Alex" with a Tepper solo reminiscent of Mick Taylor's slide work on Sticky Fingers. The disc's most beguiling moment is bonus track "Hobo-Ism", a stunning eight-minute acoustic blues cut with Walley that sounds like the follow-up to Trout Mask's singular-in-the-canon country blues "China Pig". It's that all-too-rare glimpse at the Captain as the bluesman he always was at heart.
Yet historical perspective and what-ifs somewhat alter the perspective of this document. The album that was later re-recorded with a new band, Shiny Beast (Bat Chain Puller), put Beefheart back on the map just fine and was an adventurous blend of tropical swagger and spikiness. It remains one of his best-received albums of that decade. Perhaps the shelving of Bat Chain Puller better positioned Beefheart for the end of the decade, as it rendered him relevant and hinted at paternity to other artistically "bent" late-70s acts like Devo, Pere Ubu, and Public Image Ltd. (Curmudgeon that he was, the Captain naturally disavowed such "children.") And the lean and whetted Doc at the Radar Station showed quirky new wavers how to really shatter notions of rhythm and rhyme (tales abound about rhythmic patterns gleaned from windshield wipers, dropped car keys, and courtside seats at Lakers' games).
Had Bat Chain Puller marked his return with its mix of blues shards and safe play and been greeted with open arms in the marketplace, it might have taken the edge off the man. By being spurned, Beefheart instead gave us three irascible, irreducible albums that marked the end of his discography. That he remains a totemic figure for two generations of our finest pop nonconformists speaks to Beefheart's influence still. It's hard to imagine the discographies of iconic folks like Tom Waits, Jack White, and PJ Harvey (not to mention adventurous sonic knot-makers like Sonic Youth, Pere Ubu, and Deerhoof) without him. Were it not for his cipher of African-American country blues, allowing for a personal absorption of that musical form rather than the regurgitation of 12-bar licks that now passes for the blues, our finest weirdoes might be living in ZappaWorld rather than BeefheartLand.
Captain Beefheart & The Magic Band
Bat Chain Puller
(Unreleased LP)
PERSONEL:
DON VAN VLIET - vocals/tenor sax/soprano sax/bass clarinet
DENNY WALLEY - guitar/slide guitar
JEFF MORIS TEPPER - guitar/slide guitar
JOHN THOMAS - keyboards
JOHN FRENCH - drums/percussion/guitar
QUALITY:
A+ Stereo Studio Recording
01. Bat Chain Puller
02. Seam Crooked Sam
03. Harry Irene
04. Poop Hatch
05. Flavor Bud Living
06. Brickbats
07. Floppy Boot Stomp
08. A Carrot Is As Close As A Rabbit Gets To A Diamond
09. Owed T'Alex
10. Odd Jobs
11. The 1010th Day Of The Human Totem Pole
12. Apes-ma
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The Youngbloods was an American folk rock band consisting of Jesse Colin Young (vocals, bass), Jerry Corbitt (guitar), Lowell Levinger, nicknamed "Banana," (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was "Get Together".
Jesse Colin Young (b. Perry Miller, November 11, 1941, Queens, New York City) was a moderately successful folk singer with two LPs under his belt – Soul of a City Boy (1964) and Youngblood (1965) – when he met fellow folk singer and former bluegrass musician from Cambridge, Jerry Corbitt (b. Tifton, Georgia). When in town, Young would drop in on Corbitt, and the two played together exchanging harmonies.
Beginning in January 1965, the two began performing on the Canadian circuit as a duo, eventually adopting the name "The Youngbloods". Young played bass, and Corbitt played piano, harmonica and lead guitar. Corbitt introduced Young to a bluegrass musician, Lowell Levinger (b. Lowell Levinger III, 1946, Cambridge, Massachusetts). Levinger, known as "Banana", could play the piano, banjo, mandolin, mandola, guitar and bass; he had played in the Proper Bostoners and the Trolls, and played mainly piano and guitar in the Youngbloods. He knew of a fellow tenant who could flesh out the band, Joe Bauer (b. September 26, 1941, Memphis, Tennessee), an aspiring jazz drummer with experience playing in society dance bands.
Once the lineup was set, Jesse Colin Young and the Youngbloods, as the group was then known, began building a reputation from their club dates. (Early demo sides from 1965 were later issued by Mercury Records on the Two Trips album.) Their first concert had been at Gerde's Folk City in Greenwich Village; months later, they were the house band at the Cafe Au Go Go and had signed a recording contract with RCA Records. Young, however, was not satisfied with RCA. "Nobody at [RCA] was really mean or anything; everybody was just kind of stupid," he explained to Rolling Stone magazine. "They never knew what to make of us, and tried to set us up as a bubblegum act... they never knew what we were, and never knew how to merchandise us."
The arrangement did produce one charting single in "Grizzly Bear" (#52, 1967). Several critically praised albums followed: The Youngbloods (1967, later retitled Get Together); Earth Music (1967); and Elephant Mountain (1969), with its track, "Darkness, Darkness".
In 1967, when "Get Together", a paean to universal brotherhood first appeared, it did not sell very well, reaching only No. 62 on the chart. But two years later – after Dan Ingram had recorded a brotherhood promotion for WABC-AM in which the song was used as a bed for the promotion, and after the National Council of Christians and Jews subsequently used the song as their theme song on television and radio commercials – the track was re-released and cracked the Top 5. This disc sold over one million copies, and received a gold record, awarded by the R.I.A.A. on 7 October 1969.
Johnny Carson once reportedly refused to allow the band to perform on The Tonight Show Starring Johnny Carson, saying they were overly demanding during the pre-show soundcheck. In a 2009 interview, Young stated that the band refused to perform because the show reneged on a promise that they would be allowed to play a song from their new album Elephant Mountain, instead demanding that they only play "Get Together".
With Corbitt's departure from the band (for a solo career) in 1969, before the band recorded the Elephant Mountain album, Levinger assumed lead guitar duties and played extensively on Wurlitzer electric piano. The band became adept at lengthy improvisations in their live performances (as captured on the albums Rock Festival and Ride the Wind released after the band moved over to their own Warner Brothers distributed Raccoon label).
In 1971 the group added bassist Michael Kane to their lineup and put out two more albums Good & Dusty (1971), which featured an answer to Merle Haggard's Okie from Muskogee, "Hippie from Olema", and High on a Ridgetop (1972) before disbanding. Young, Levinger and Bauer all went on to solo careers, of which only Young had any notable success. Levinger, Bauer and Kane were part of another group, Noggins, in 1972 that only lasted for one album, Crab Tunes. Bauer died of a brain tumor in September 1982, at the age of 40.
In 1971 Jerry Corbitt and former Youngbloods producer Charlie Daniels formed a band called Corbitt & Daniels and toured.
In 1976 HT Rabin, drummer from Alias, joined the Youngbloods for a brief tour.
Banana supplied guitar, banjo, synthesizer, and back-up vocals to Mimi Fariña's 1985 solo album, Solo, and also toured with her on and off from 1973 until the nineties. The Richard & Mimi Fariña Fan Site
In late 1984 The Youngbloods briefly reunited for a club tour. The 1984 lineup contained Young, Corbitt and Levinger, plus new members David Perper (drums, ex-Pablo Cruise) and Scott Lawrence (keyboards, woodwinds). Once the tour was completed, the group disbanded once again by early 1985.
Following the September 11 terrorist attacks, the media conglomerate Clear Channel Communications included The Youngbloods' recording of "Get Together" on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.
The Youngbloods
March 30, 1969
The Avalon Ballroom, San Francisco, CA.
FM Radio
This short set by the Youngbloods was FM broadcast on KPFA
01. Ride the Wind
02. Sugar Babe
03. Four in the Morning
04. Too much monkey Business
05. Banana's
06. Dolphins
07. The Wine Song
08. Darkness, Darkness
09. Beautiful
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After Eric Bell had left Thin Lizzy, Gary Moore joined for a short while. Moore left in 1974, worked with Colosseum II for a while, and later re-joined Thin Lizzy for another spell.
During Moore's spell with the band, they recorded three BBC sessions, and this torrent contains two of them. Two tracks have been removed from the last session as they appear on an official release on Strange Fruit records, SFRCD
Phil Lynott ; Bass & Vocals
Gary Moore ; Guitars & Vocals
Brian Downey ; Drums
01. 25/02/1974 Little Girl in Bloom
02. 25/02/1974 Little Darling
03. 25/02/1974 Showdown
04. 04/04/1974 Sitamoia
05. 04/04/1974 It's Only Money
06. 04/04/1974 Black Boys on the Corner
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Upon the release of their first album in the late '70s, Tom Petty & the Heartbreakers were shoehorned into the punk/new wave movement by some observers who picked up on the tough, vibrant energy of the group's blend of Byrds riffs and Stonesy swagger. In a way, the categorization made sense. Compared to the heavy metal and art rock that dominated mid-'70s guitar rock, the Heartbreakers' bracing return to roots was nearly as unexpected as the crashing chords of the Clash. As time progressed, it became clear that the band didn't break from tradition like their punk contemporaries. Instead, they celebrated it, culling the best parts of the British Invasion, American garage rock, and Dylanesque singer/songwriters to create a distinctively American hybrid that recalled the past without being indebted to it.
The Heartbreakers were a tight, muscular, and versatile backing band that provided the proper support for Petty's songs, which cataloged a series of middle-class losers and dreamers. While his slurred, nasal voice may have recalled Dylan and Roger McGuinn, Petty's songwriting was lean and direct, recalling the simple, unadorned style of Neil Young. Throughout his career, Petty & the Heartbreakers never departed from their signature rootsy sound, but they were able to expand it, bringing in psychedelic, Southern rock, and new wave influences; they were also one of the few of the traditionalist rock & rollers who embraced music videos, filming some of the most inventive and popular videos in MTV history. His willingness to experiment with the boundaries of classic rock & roll helped Petty sustain his popularity well into the '90s.
Born and raised in northern Florida, Tom Petty began playing music while he was still in high school. At the age of 17, he dropped out of school to join Mudcrutch, which also featured guitarist Mike Campbell and keyboardist Benmont Tench. By 1970, Mudcrutch had moved to Los Angeles with hopes of finding a record contract. The fledgling Shelter Records, founded by Leon Russell and Denny Cordell, offered the group a contract. However, Mudcrutch splintered apart shortly after relocating to L.A. Cordell was willing to record Petty as a solo act, but the singer's reception to the idea was tentative. Over the next few years, Petty drifted through bands, eventually hooking back up with Campbell and Tench in 1975. At the time, the duo were working with bassist Ron Blair and drummer Stan Lynch; soon, Petty became involved with the band, which was then named the Heartbreakers. Petty was still under contract to Shelter, and the group assumed his deal, releasing Tom Petty & the Heartbreakers in 1976.
Initially, the band's debut was ignored in the United States, but when the group supported it in England with a tour opening for Nils Lofgren, the record began to take off. Within a few months, the band was headlining its own British tours and the album was in the U.K. Top 30. Prompted by the record's British success, Shelter pushed the album and the single "Breakdown" in the U.S., this time to success; "Breakdown" became a Top 40 hit and "American Girl" became an album-oriented radio staple. You're Gonna Get It, the Heartbreakers' second album, was released in 1978 and it became the group's first American Top 40 record. Petty & the Heartbreakers were poised to break into the big time when they ran into severe record company problems. Shelter's parent company, ABC Records, was bought by MCA Records, and Petty attempted to renegotiate his contract with the label. MCA was unwilling to meet most of his demands, and halfway through 1979, he filed for bankruptcy. Soon afterward, he settled into an agreement with MCA, signing with their subsidiary Backstreet Records. Released late in 1979, Damn the Torpedoes was his first release on Backstreet.
Damn the Torpedoes was Petty's breakthrough release, earning uniformly excellent reviews, generating the Top Ten hit "Don't Do Me Like That" and the number 15 "Refugee," and spending seven weeks at number two on the U.S. charts; it would eventually sell over two million copies. Though he was at a peak of popularity, Petty ran into record company trouble again when he and the Heartbreakers prepared to release Hard Promises, the 1981 follow-up to Damn the Torpedoes. MCA wanted to release the record at the list price of $9.98, which was a high price at the time. Petty refused to comply to their wishes, threatening to withhold the album from the label and organizing a fan protest that forced the company to release the record at $8.98. Hard Promises became a Top Ten hit, going platinum and spawning the hit single "The Waiting." Later that year, Petty produced Del Shannon's comeback album Drop Down and Get Me and wrote "Stop Draggin' My Heart Around" as a duet for himself and Stevie Nicks. Featured on her album Bella Donna, which was recorded with the Heartbreakers' support, "Stop Draggin' My Heart Around" became a number three hit. Petty & the Heartbreakers returned late in 1982 with Long After Dark, which became their third Top Ten album in a row. Following its release, bassist Ron Blair left the band and was replaced by Howie Epstein, who previously played with John Hiatt.
Petty & the Heartbreakers spent nearly three years making Southern Accents, the follow-up to Long After Dark. Hiring Eurythmics' Dave Stewart as a producer, the band attempted to branch out musically, reaching into new territories like soul, psychedelia, and new wave. However, the recording wasn't easy — at its worst, Petty punched a studio wall and broke his left hand, reportedly in frustration over the mixing. Southern Accents was finally released in the spring of 1985, preceded by the neo-psychedelic single "Don't Come Around Here No More," which featured a popular, pseudo-Alice in Wonderland video. Southern Accents was another hit record, peaking at number seven and going platinum. Following its release, Petty & the Heartbreakers spent 1986 on tour as Bob Dylan's backing band. Dylan contributed to the lead single "Jammin' Me," from the Heartbreakers' next album, Let Me Up (I've Had Enough), which was released to mixed reviews in the spring of 1987. Just after the record's release, Petty's house and most of his belongings were destroyed by fire; he, his wife, and two daughters survived unscathed.
During 1988, Petty became a member of the supergroup the Traveling Wilburys, which also featured Dylan, George Harrison, Roy Orbison, and Jeff Lynne. The Wilburys released their first album at the end of 1988 and its sound became the blueprint for Petty's first solo effort, 1989's Full Moon Fever. Produced by Lynne and featuring the support of most of the Heartbreakers, Full Moon Fever became Petty's commercial pinnacle, reaching number three on the U.S. charts, going triple platinum, and generating the hit singles "I Won't Back Down," "Runnin' Down a Dream," and "Free Fallin'," which reached number seven. In 1990, he contributed to the Traveling Wilburys' second album, Vol. 3. Petty officially reunited with the Heartbreakers on Into the Great Wide Open, which was also produced by Jeff Lynne. Released in the spring of 1991, Into the Great Wide Open sustained the momentum of Full Moon Fever, earning strong reviews and going platinum.
Following the release of 1993's Greatest Hits, which featured two new tracks produced by Rick Rubin, including the Top 20 hit "Mary Jane's Last Dance," Petty left MCA for Warner Bros.; upon signing, it was revealed that he negotiated a $20 million deal in 1989. Drummer Stan Lynch left the Heartbreakers in 1994 as Petty was recording his second solo album with producer Rubin and many members of the Heartbreakers. Like Full Moon Fever before it, 1994's Wildflowers was greeted by enthusiastic reviews and sales, tying his previous solo album for his biggest-selling studio album. In addition to going triple platinum and peaking at number eight, the album spawned the hit singles "You Don't Know How It Feels," "You Wreck Me," and "It's Good to Be King." Petty & the Heartbreakers reunited in 1996 to record the soundtrack for the Edward Burns film She's the One. The resulting soundtrack album was a moderate hit, peaking at number 15 on the U.S. charts and going gold. Echo followed three years later. 2002 saw the release of The Last DJ, a scathing attack on the corporate greed inherent in the music business. It was followed in 2006 by Highway Companion.
Tom Petty and the Heartbreakers
Record Plant Sausalito, CA
April 23, 1977
>>>FM Broadcast<<<
01. Surrender
02. Jaguar & Thunderbird
03. American Girl
04. Fooled Again
05. Luna
06. Listen To Her Heart
07. I Need To Know
08. Strangered In The Night
09. Dogs On The Run
10. Route 66
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This Tommy Bolin show is the only original music I have to contribute to the community. I lived in Stamford CT in the 70s and owned a Kenwood reciever and a Marantz tape cassette tapedeck. WLIR sent live shows across the water from Long Island. I heard this show was going to be re-broadcast and set up the tape deck trying to get the levels perfect for the strength of radio signal. That day I was hosting a few friends in the back yard and was sending the show out the bedroom windows. I timed exaclty when the 90 minute cassette started and made sure to watch the clock. Just befor the TDK SA90 tape hit the 45 minute mark I quickly flipped it over. I kept the tape and played it a few times them stored it. When the 90's rolled around I bought Cool Edit 95 for making training programs, yes the program that once you bought it you would never have to pay for an upgrade again, until of course he asked for more money a few years later.
Anyway I digress. So the 90's came and I could burn CDs. I transfered the Bolin show to wav then did a few modifications with cool edit but I forget which, I think I normalized it is about all.
I also spliced the cassette flip during "Marchimg Powder" so well I can't remember where I did it! I then sent a copy of the show to a person I met over the web that sent it to the Bolin Archives. The Bolin Archives then messed with it some more and published my recording!! (They even gave me credit on the sleeve because the person I traded with gave them my name). I noticed it on their web page and emailed them. They then said they had tried to contact me but I had switched internet providers and moved. They asked if it was ok to use it and I said "sure". Anyway here is the product of my work for all to share! I'm just happy to give to all who want it!! [Notes from the original taper "jfic"]
Tommy Bolin at My Father's Place 05-22-1976 WLIR Radio
WLIR Radio Broadcast
01. Teaser
02. People, People
03. The Grind
04. Stein Solo
05. Wild Dogs
06. Band Intro
07. Delightful
08. I fell In Love
09. Marching Powder
10. Lotus
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* AMAZING sound quality!
* Many people have heard the two tracks from this demo, "House Of Pain" and "Runnin' With the Devil", and have commented that the tone is very different than the WB demos and eventual pressed versions. This is extremely evident throughout this set of demos. Eddie's guitar tone is far from what it was to become and there are several instances of multiple guitar overdubs. In some cases, there are as many as three guitar tracks at one time and some solos are actually laid over one another at times.
* Dave's vocal delivery is dramatically different on many tracks such as "Babe, Don't Leave Me Alone" and "Somebody Get Me a Doctor.
*"Runnin' With the Devil" is slightly different that the version that normally follows "House of Pain" on the other boots. This version starts with the band singing the chorus in the fourth measure of the song, before any of the verses are sang.
*There are a few very slight, almost unnoticeable drop-outs in a couple spots of the disc. Also, there are two strange skips in "Let's Get Rockin'" where about three seconds of a phrase is back tracked and repeated.
*Track 3 is listed as, "House In Pain", on the artwork.
*Track 6 is listed as, "Lady Loose", on the artwork.
*Dave noticeably sings Track 7 as "Big Troubles".
*Track 9 is listed as, "Baby Don't Leave Me Alone", on the artwork.
*All in all, 4.99 out of 5! A recording that puts the WB Demos on "Looney Tunes" and "Blueprint" boots to SHAME! Even the "masterered" tracks on "Looney Tunes" don't have the crisp, clear sound that these tracks have.
ZERO GENE SIMMONS DEMOS (UNRELEASED)
Van Halen when they were young and raw.. trying to get a record deal. Amazing Sound Quality. This was before the guys hit it big and the youthful energy and enthusiasm shows throughout. This is one of the cleaner sounding recordings of early Van Halen available. This is basically a "must hear" recording.
01. On Fire 3:37
02. Woman In Love 3:25
03. House Of Pain 3:27
04. Runnin' With the Devil 3:33
05. She's the Woman 2:53
06. Let's Get Rockin' 3:08
07. Big Trouble 3:35
08. Somebody Get Me a Doctor 3:03
09. Babe, Don't Leave Me Alone 2:55
10. Put Out the Lights 3:3
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High Rezolution Art
Rock Advertising 1970-1971
A poster is any piece of printed paper designed to be attached to a wall or vertical surface. Typically posters include both textual and graphic elements, although a poster may be either wholly graphical or wholly text. Posters are designed to be both eye-catching and informative. Posters may be used for many purposes. They are a frequent tool of advertisers (particularly of events, musicians and films), propagandists, protestors and other groups trying to communicate a message. Posters are also used for reproductions of artwork, particularly famous works, and are generally low-cost compared to original artwork.
According to French historian Max Gallo, "for over two hundred years, posters have been displayed in public places all over the world. Visually striking, they have been designed to attract the attention of passers-by, making us aware of a political viewpoint, enticing us to attend specific events, or encouraging us to purchase a particular product or service." The modern poster, as we know it, however, dates back to 1870 when the printing industry perfected colour lithography and made mass production possible.
"In little more than a hundred years", writes poster expert John Barnicoat, "it has come to be recognized as a vital art form, attracting artists at every level, from painters like Toulouse-Lautrec and Mucha to theatrical and commercial designers." They have ranged in styles from Art Nouveau, Symbolism, Cubism, and Art Deco to the more formal Bauhaus and the often incoherent hippie posters of the 1960s.
Many concerts, particularly rock concerts, have custom-designed posters that are used for advertisement of the event. These often become collectors items as well.
Posters that showcase a person's favorite artist or music group are popular in teenagers' bedrooms, as well as in college dorm rooms and apartments. Many posters have pictures of popular rock bands and artists.
Enjoy, ChrisGoesRock
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The Winterland Ballroom, often referred to as Winterland Arena or simply Winterland, was an old ice skating rink and 5,400 seat music venue in San Francisco, California. Located at the corner of Post Street and Steiner Street, it was converted to exclusive use as a music venue in 1971 by rock promoter Bill Graham. The building has been torn down and apartments have been built on the site.
Winterland was built in 1928 for the then astronomical cost of $1 million. Opening on June 29, 1928, it was originally known as the "New Dreamland Auditorium." Sometime in the late 1930s, the name was changed to Winterland. In its early years it served as an ice skating rink that could be converted to an entertainment venue. Early acts/shows at Winterland included Shipstad and Johnson's Ice Follies. It also was host to opera, boxing, and tennis.
Starting with a 1966 double bill of Jefferson Airplane and the Paul Butterfield Blues Band, Bill Graham began to occasionally rent the venue for larger concerts that his nearby Fillmore Auditorium could not properly accommodate. After closing his New York City venue known as the Fillmore East in 1971, he began to hold regular weekend shows at Winterland. Various popular rock acts played there, including such bands and musicians as Bruce Springsteen, The Rolling Stones, Queen, Cream, The Doors, Jimi Hendrix, Led Zeppelin, Steppenwolf, Lynyrd Skynyrd, Styx, Allman Brothers Band, The Grateful Dead, The Band, Jethro Tull, Pink Floyd, Rush, Genesis, Jefferson Airplane, Traffic, Grand Funk Railroad, Humble Pie, Bob Seger and the Silver Bullet Band, Emerson Lake and Palmer, Sha Na Na, Loggins and Messina, Lee Michaels, Heart, Deep Purple and Elvis Costello, the latter in support of his Armed Forces album. A great number of the best-known rock acts from the 1960s and 1970s played Winterland or played two blocks away across Geary Boulevard at the original Fillmore Auditorium. Peter Frampton recorded parts of the 4th best-selling live album ever, Frampton Comes Alive!, at Winterland. The Grateful Dead made Winterland their home base, and The Band played their famous last show there on Thanksgiving Day 1976. That concert, featuring numerous guest performers including Neil Young, Eric Clapton, Bob Dylan, Joni Mitchell, and many others, was filmed by Martin Scorsese and released in theaters and as a soundtrack under the name The Last Waltz. Winterland was also host to the Sex Pistols' final show on January 14, 1978.
During Winterland's final month of existence, shows were booked nearly every night. Acts included The Tubes, The Ramones, Smokey Robinson, Tom Petty and the Heartbreakers, and on December 15–16, 1978, Bruce Springsteen & the E Street Band. Springsteen's December 15 show was simulcast on local radio station KSAN-FM and Springsteen historians consider that show one of his most legendary. Winterland closed on New Years 1978/79 with a concert by the Grateful Dead, New Riders of the Purple Sage, and The Blues Brothers. The show lasted for over eight hours, with the Grateful Dead's performance — documented on DVD and CD as The Closing of Winterland — lasting nearly six hours itself. The final show was simulcast on radio station KSAN-FM and also broadcast live on the local PBS TV station KQED. Winterland was eventually torn down in 1985, and was replaced by apartments.
GRATEFUL DEAD BUST BENEFIT
WINTERLAND,S.F.
FEB.23,1970
EXCELLENT SOUNDQUALITY
QUICKSILVER MESSENGER SERVICE
01.TUNING/WARMUP JAM
02.BILL GRAHAM INTRO/FRESH AIR
03.PRIDE OF MAN ( FADES IN )
04.MONA
05.GOLD AND SILVER
06.MOJO
07.SUBWAY
08.EDWARD THE MAD SHIRT GRINDER
IT'S A BEAUTIFUL DAY
01.SOAPSTONE MOUNTAIN
02.GOOD LOVIN'
03.DON AND DEWEY
04.TALK
05.LET A WOMAN FLOW
06.HOEDOWN
07.IT COMES RIGHT DOWN TO YOU
08.TUNING
09.WHITE BIRD
10.WASTED UNION BLUES
11.CROWD/TUNING
12.DO YOU REMEMBER THE SUN ?
SANTANA
01.WAITING
02.BATUKA
03.SAVOR
04.JINGO
JEFFERSON AIRPLANE
01.WE CAN BE TOGETHER
02.VOLUNTEERS
03.TUNING
04.GOOD SHEPHERD
05.SOMEBODY TO LOVE
06.NOTHING
07.TUNING
08.GREASY HEART ( END CUTS ) **** MISSING ON VERSION 1 ****
09.EMERGENCY ( CUTS IN )
10.UNCLE SAM BLUES ( CUTS IN )
11.HAVE YOU SEEN THE SAUCERS
12.TUNING
13.MEXICO
14.OTHER SIDE OF THIS LIFE
15.3/5 OF A MILE IN 10 SECONDS
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