Incredible String Band - Air Studios 1970 FM Broadcast (Bootleg)

Size: 117 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork

One of the most engaging groups to emerge from the esoteric '60s was the Incredible String Band. Basically the duo of Mike Heron and Robin Williamson, its sound was comprised of haunting Celtic folk melodies augmented by a variety of Middle Eastern and Asian instruments. Heron was a member of several rock bands in England in the early '60s, while Williamson and Clive Palmer played as a bluegrass and Scottish folk duo. Heron was asked to join as rhythm guitarist, and the trio named itself the Incredible String Band. 

The band was spotted at a club by Joe Boyd, who was opening a British wing of Elektra Records. The trio gave Boyd a demo tape of mostly American bluegrass standards with a few original songs, which impressed him more than the standards. The Incredible String Band, released in 1966, featured mostly original numbers enthusiastically played in American and Celtic folk styles. Following the album's release, Williamson spent several months studying music in Morocco, and Palmer left the group to travel to Afghanistan. For the String Band's second album, The 5000 Spirits or the Layers of the Onion, exotic touches such as the Middle Eastern oud, Indian sitars, and tambouras began to permeate the group's sound. The band's lyrics also became more whimsical; highlights include Williamson's tale of insomnia "No Sleep Blues" and Heron's amorous "Painting Box."

The press raved about the Incredible String Band, and their next album, The Hangman's Beautiful Daughter, was the band's brief flirtation with stardom. Although the music was less commercial than its predecessor, the LP reached the Top Ten in the British album charts and was also the group's highest Billboard chart placing in America, reaching number 161. The songs became less structured, as on the opening, "Koeeoaddi There," which changed tempo frequently as it cascaded joyously with sitars and jaw harp. The album's centerpiece, "A Very Cellular Song," was a suite of short pieces sewn together with the folk song "Bid You Goodnight." For Wee Tam and the Big Huge, the Incredible String Band were augmented by Williamson and Heron's girlfriends, Licorice McKechnie and Rose Simpson.

The group also began to electrically amplify its instruments. This expanded lineup performed at the Woodstock festival in 1969, but due to circumstances it was not one of the band's most memorable performances. The Incredibles' slot was originally to be Friday night after Joan Baez; however, due to heavy rain, the band opted not to perform. Folksinger Melanie took The Incredibles' place and went down extremely well, writing her big hit "Candles in the Rain" about that moment. the Incredible String Band got a lukewarm reception the next afternoon between Creedence Clearwater Revival and Canned Heat. 

At the turn of the '70s, the Incredible String Band began to lose some of their momentum. The album Changing Horses was not as engaging as the band's previous collections, and the group's eclecticism became a liability rather than an asset. Bassist and pantomimist Malcolm LeMaistre joined in 1971 for U, a well-received stage show that did not translate as easily to record. The band made the transition to electric rock & roll in 1972. 

In 1974, following the album Hard Rope & Silken Twine, the Incredible String Band disbanded. Both founding members had prolific solo careers; Heron's took him in a rock direction, while Williamson explored his Celtic roots. For several years the band was seen as a dated anachronism. Recently, with the resurgence in interest in the psychedelic '60s as well as world music, the Incredible String Band's music has been rediscovered by new audiences won over by its mystical charm. A double CD of rare tracks, studio outtakes, and live performances, Tricks of the Senses, was released by Hux Records in 2009.

Incredible String Band
Air Studio
New York 
1970 
FM Broadcast

01. Intro > Dream The World
02. You've Been That Friend To Me 
03. Oh Spirit Beautiful 
04. Evolution Of The Sea
05. Turqouise Blue
06. Bright Morning Stars Are Rising
07. You're My Cosmic Boy
08. Instrumental
09. Darling Bell (1 glitch) > James >
10. We Regret
11. Long Time Sunshine

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It's A Beautiful Day - Pacific High Studios 1971 FM Broadcast (Bootleg)

Size: 126 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork

It's a Beautiful Day was a band formed in San Francisco, California in 1967, the brainchild of violinist David LaFlamme.

LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members were his wife Linda (keyboards), Pattie Santos (vocals), Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from the Summer of Love, It’s a Beautiful Day never quite achieved the success of their contemporaries such as The Grateful Dead and Santana, with whom they had connections. It’s A Beautiful Day created a unique blend of rock, jazz, folk, classical and world beat styles during the seven years the band was officially together.

The group's original manager, Matthew Katz, had previously been fired by both Jefferson Airplane and Moby Grape. Much to the surprise of the group, Katz was at first unable to get any paying gigs for It's A Beautiful Day in San Francisco. Their first paying gig was out of town, in Seattle, Washington.

The group's signature song "White Bird" was inspired by the experiences David and Linda LaFlamme had while living in Seattle. For the month of December 1967 the group members lived in the attic of an old house owned by Katz while playing and rehearsing at Seattle's Encore Ballroom. In an ironic twist on the band's name, the song was partly inspired by Seattle's rainy winter weather. In a later interview David LaFlamme said:

Where the 'white bird' thing came from ... We were like caged birds in that attic. We had no money, no transportation, the weather was miserable. We were just barely getting by on a very small food allowance provided to us. It was quite an experience, but it was very creative in a way.

The band's debut album, It's a Beautiful Day, released in 1969, featured the tracks "White Bird", "Hot Summer Day", "Time Is" and "Bombay Calling". The intro of the last was used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its In Rock album. The vocals and violin playing of David LaFlamme plus Pattie Santos' singing attracted attention including FM radio play, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at #118.

By 1970 the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb. The following album, Marrying Maiden, released in 1970, included memorable tracks and was also a chart hit. In that year, the group also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, Netherlands and at the UK Bath Festival.

The band continued on to record Choice Quality Stuff/Anytime in 1971 and the live album Live At Carnegie Hall in 1972, touring until 1974 when they split up. In 1976, LaFlamme's solo version of "White Bird" finally cracked the Hot 100 Chart, peaking at #89. Pattie Santos was killed in a car crash on December 14, 1989.

It's a Beautiful Day reunited in 1997 under the name "David LaFlamme Band" as well as "It's a Beautiful Day" as Katz briefly let his copyright of the name go un-renewed. The band features founder David LaFlamme and original drummer Val Fuentes. Other band members are LaFlamme's current wife, Linda Baker LaFlamme (vocals), Toby Gray (basses & producer), Gary Thomas (keyboards & producer), Rob Espinosa (guitars), Michael Prichard (percussion) and continue performing today (2009) having toured with Jefferson Starship in 2007, and LaFlamme contributed to Jefferson Starship's 2008 release, Jefferson's Tree of Liberty. This line up is the longest continual band that has ever performed the IABD material.

A version of "White Bird" by violinist Vanessa-Mae was released in 2001 and reached number 66 in the UK Singles Chart. and has also been recorded by Blue Grass virtuoso Sam Bush as well as countless other regional acts over the years.

It's A Beautiful Day
03-20-71
Pacific High Recording Studios
SF, CA
KSAN FM Broadcast 95.5 

01. Tom Donohue - Intro
02. Don & Dewey
03. Creed of Love
04. Hot Summer Day
05. Bitter Wine
06. Bye Bye Baby
07. Hoe Down 
08. Good Lovin'
09. Let A Woman Flow
10. The Dolphins 
11. White Bird

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Not to be missed: Jason Bonham - Cat Club NY 1989-11-27 FM Broadcast (Bootleg)

Size: 140 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork

Jason Bonham (born July 15, 1966) is an English drummer and son of the late Led Zeppelin drummer John Bonham, by the latter's wife, Pat Phillips.

Bonham was born in the town of Dudley, Worcestershire. He first began playing drums at the age of four, and appeared with his father in the film The Song Remains the Same, drumming on a scaled-down kit. At 17, he joined his first band, Airrace. In 1985, he joined Virginia Wolf, making two albums and touring the U.S. supporting The Firm.

In 1988, Bonham joined former Led Zeppelin guitarist Jimmy Page for his Outrider album and tour. In May of the same year, Bonham appeared with the three surviving members of Led Zeppelin for a performance at Atlantic Records 40th Anniversary concert in New York. John Paul Jones believes Bonham's performance was outstanding that night.

In 1989, Bonham appeared as a special guest at the Moscow Music Peace Festival, performing the song "Rock and Roll" with many major rock stars of the day. That same year, he formed his own band, Bonham, whose Zeppelin-inflected first release The Disregard of Timekeeping had a hit single, "Wait for You". However, after a lukewarm reception for their 1992 release, Mad Hatter, the band was dissolved, and Bonham concentrated on session work and guest appearances.

In May 1990, Bonham married Jan Charteris, in Stone, Kidderminster. His wedding reception included a jam with Jimmy Page, Robert Plant, and John Paul Jones. The Bonhams have two children, a son named Jager (not named after Mick), and a daughter, Jaz.

Bonham drummed for Paul Rodgers on the Grammy nominated Muddy Water Blues: A Tribute to Muddy Waters project. A year later with Slash and Paul Rodgers, he appeared at Woodstock II in 1994. Bonham reformed his band with a new lead vocalist, Marti Frederiksen, replacing Daniel MacMaster. Renamed Motherland, they released the album Peace 4 Me later in 1994. However, his down-to-earth nature always showed—on one occasion making an encore drumming appearance for local Led Zeppelin tribute band Fred Zeppelin.

In 1995, Jason represented his father when Led Zeppelin was inducted into the Rock and Roll Hall of Fame, with his sister Zoe by his side. Bonham soon put together another solo project which culminated in In the Name of My Father - The Zepset, which featured the songs of Led Zeppelin. Proceeds from the album went to charity. The album followed up with When You See the Sun.

Bonham drummed for Healing Sixes from 1999–2003 and appeared in the film Rock Star, which starred Mark Wahlberg. The band in the movie, Steel Dragon actually recorded the songs featured in the movie and the soundtrack. Following an album and tour with his aunt Debbie Bonham, Jason Bonham was invited to drum for hard rock group UFO. In 2006, he recorded with Joe Bonamassa.

Bonham starred with Ted Nugent, Evan Seinfeld (Biohazard), Sebastian Bach (Skid Row), and Scott Ian (Anthrax) on the VH1 reality television show, SuperGroup, in May 2006. The musicians formed a band called Damnocracy (after ditching the names FIST, God War, and Savage Animal) for the show, during which they lived in a mansion in Las Vegas for twelve days and created music. Jason also played drums live with Foreigner from 2004 to 2007 and part of 2007 to 2008.

On 12 September 2007, it was announced that Jason Bonham would step into his father's shoes and play drums for a Led Zeppelin reunion concert. This took place on 10 December 2007 at London's O2 arena as part of an all-star tribute to Ahmet Ertegün. By many accounts, he was more than up to the task, and superbly carried on his father's tradition.

Bonham has recently been touring (supporting) with the rock band Thunder on their farewell tour. Bonham is currently working with a new band called Black Country.

The legacy of Led Zeppelin lives on in Jason Bonham, British drummer and son of Zep's legendary John Bonham. Inheriting the best of his father's skills while mastering his own distinctive and dynamic technique, Bonham blasted onto the world stage at age 17 with the band Air Race, opening for huge draws like Queen, Meat Loaf and AC/DC. 

In 1988, Bonham took his father's spot in the televised, first-ever Led Zeppelin reunion at the Atlantic Records 40th Anniversary Concert. Later that year, Bonham toured with Jimmy Page and recorded his album, Outrider.

Earning a gold record on the track "Wait for You" from his solo album The Disregard of Timekeeping, Bonham went on to team up with Paul Rodgers, Slash, David Gilmour and Jeff Beck to record the Grammy-nominated album, Tribute to Muddy Waters.

Bonham has made a career of entertaining audiences around the world, touring with The Healing Sixes and Foreigner and rejoining his late father’s band members for the most anticipated concert of all time, 2007's Led Zeppelin reunion at London’s O2 Arena. In 2006, Bonham recorded the year’s top Billboard blues album, You and Me with Joe Bonamassa 

November 27, 1989 (Monday)
Cat Club, New York, New York, USA. FM Broadcast

Daniel MacMaster (Vocals)
Ian Hatton (Guitars, BG Vocals)
John Smithson (Bass, Keyboards, Violin, BG Vocals)
Jason Bonham (Drums, Percussion, BG Vocals)

01. The Disregard Of Timekeeping
02. Wait For You
03. Holding On Forever
04. Cross Me And See
05. Bringing Me Down
06. Guilty
07. Playing To Win 
08. Come Together 
09. Dreams

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Jeff Beck Group - Paris Theatre London 1972-06-29 FM (Bootleg)

Size: 126 MB
Bitrate: 320
mp3
Found Far Out in OuterSpace
No Artwork

The Jeff Beck Group were an English rock band formed in London in January 1966 by ex-Yardbirds guitarist Jeff Beck. Their innovative approach to heavy-sounding blues was a major influence on popular music during the late 1960s and early 1970s.

The first Jeff Beck Group formed in London in early 1967 and included Jeff Beck (guitar), vocalist Rod Stewart, rhythm guitarist Ronnie Wood, bassist Dave Ambrose and drummer Jet Harris. The lineup went through months of personel changes (no less than four drummers), before teaming up with drummer Aynsley Dunbar, and switching Wood to the Bass. This lineup spent most of '67 playing the London and nearby club circut, while appearing several times on BBC radio. Beck had signed a personal management contract with record producer and manager Mickie Most, who had no interest in the group, only Beck as a solo artist. Three singles were released in Europe (2 in the U.S.) that year; the most sucessful of which was "Hi Ho Silver Lining". Although lead singer for the band, Stewart was only to be heard on the 'B' sides of two of these. Frustrated with the band's direction (as were the rest of the members, including Beck), Dunbar left, was briefly replaced by Roy Cook then finally by Mick Waller; a bandmate of Stewart's from Steampacket. It was at this time, according to Beck, the group was on its last leg. He was anxious to leave Most, who had lost interest, but for some unknown reason Most would not agree... One of Most's more ambitious employee's Peter Grant (tour manager) even tried to step in and buy Beck's contract, to no avail.

Grant had been U.S. tour manager for The New Vaudeville Band and was aware of a new concert and album trend developing in the States, whereby a band could be launched through concerts and the increasing popularity of FM Radio. Beck's outfit was custom made for this market, and to his credit, Grant managed to bring them to New York in early '68. Their debut was as second on the bill to The Grateful Dead at The Fillmore East Unfortunately billed only as "Jeff Beck". The following day however, The New York Times ran an article proclaiming "Beck Debut Upstages Grateful Dead" Again to his credit, Peter Grant used this to secure the group a contract with Columbia/Epic Records. Beck claims they were down to one clothing change each- (indeed, live photos from this period show them shirtless as often as not). They finished a successful six week tour of the US. at The Fillmore West, and returned to England to record their seminal masterpiece Truth, which reached #15 in the U.S. charts, and would go on to be a "touchstone" for countless Heavy Blues and Metal bands. The tracks were recorded within a mere two weeks, with overdubs added in several days the following month. Fortunately- the "singles" minded Most was busy with three projects at the time, and delegated most of the work to Ken Scott, engineer for The Beatles, and David Bowie, who was smart enough to just capture the band basically doing their live set... Musicians of note who appeared on the album were: John Paul Jones Hammond Organ: "Old Man River","You Shook Me" (which he was to repeat later with Led Zeppelin, Keith Moon Drums: Beck's Bolero, Timpani: "Old Man River", and Nicky Hopkins Piano: "Blues Deluxe" and "Morning Dew".

To coincide with the release of "Truth", the band returned to the U.S., this time as headliners, being billed as The Jeff Beck Group. The tour was wildly sucessful, with the band causing near riots in Boston. It was also at this time, long-time Beck fan Jimi Hendrix, now living in New York, took to "jamming" with the band, late into the night at The Cafe Wah, where Hendrix had gotten his start... On their third tour, (12/68) they were a bona-fide hit, and were joined by Nicky Hopkins; who laments to this day that "we lost one of the greatest groups of all time to foolishness... pure foolishness." Meanwhile, Peter Grant, who had unfairly lost his chance at The Beck Group, bought the contract of another of Most's acts[dubious – discuss], The Yardbirds, who were definitely in decline... There are many "he said/she said" stories about the birth of Led Zeppelin, and Jimmy Page being around the Beck Group, especially during the 2nd tour... Suffice to say he and Peter Grant were quick on the ball, and by the end of '68, early '69, they were definitely in competition with the Beck Group in the States.

Supposedly threatened by Zeppelin nipping at his heels, Beck insisted the band cancel the fourth tour, go back to England, and record a "heavier" album. Mick Waller was fired in favor of a new "powerhouse" drummer, Tony Newman, and Ron Wood was fired, only to be re-hired almost immediately. However, "Truth" having been a sucess proved to be a double-edged sword. It had re-, or just plain ignited new interest from Mickie Most, who decided to take a very "hands on" approach to the new L.P.; a chore many think he was completely ill-equipped for. Around this time, he also had them do a session with Donovan, (another Most act), on his single Barabajagal(Love is hot) With the release of their second L.P. Beck-Ola The Beck Group once again toured the US in May '69 (for the last time with Hopkins, due to health problems), and again in July '69, playing the Newport Jazz Festival. Beck Ola also reached #15 on the Billboard Chart, but by this time, Beck claims the vibes in the Group were so awful, he ended it all on the eve of the Woodstock Festival at which they were scheduled to appear. He claims he couldn't have stood failure at an event of that magnitude. A decision he now regrets. It is truly a shame that there is so little remaining from a Band of this stature. Even though the early BBC tapes exist, they have yet to be released, there is virtually no film of the band (something Woodstock could have rectified), no decent live recordings, and barely even any photographs... Even more of a shame, when you consider that these superstars were at the peak of their powers, pioneering a form and style that would open the door for a flood of imitators behind them.

The second Jeff Beck Group
Late in 1970 Jeff Beck reformed The Jeff Beck Group with vocalist Alex Ligertwood, keyboardist Max Middleton, drummer Cozy Powell and bassist Clive Chaman. During June 1971 Beck signed a record deal with CBS and was looking for a new singer, because the record label bosses had rejected the previous vocals by Ligertwood. After hearing Bobby Tench perform with his band Gass, "Upstairs" at Ronnie Scott's club in Soho London,[5] Beck employed him as vocalist and second guitarist.

Tench was given only a few weeks to write new lyrics and add his vocals to the album Rough and Ready, before mixing resumed on tracks previously recorded in London by Beck and the other band members. The album was finished in July 1971 and they toured Finland, Holland, Switzerland and Germany. Rough and Ready was released in UK on October 25 1971,[6] with the US release following during February 1972. A sixteen day promotional tour in USA followed[7]and the album eventually reached #46 in the album charts.

In January 1972 the band travelled to USA, to join Beck at TMI studios in MemphisTenessee. This is where they recorded the album Jeff Beck Group,[8] using Steve Cropper as producer. Jeff Beck Group was released in UK on June 9 1972. The promotional tour which followed included an appearance on the BBC Radio 1 "In Concert" series, which was recorded on June 29 1972. During this session they played "Definitely Maybe" which featured Bobby Tench playing guitar[10], a rare occasion whilst Tench was associated with Beck.

On July 24 1972 The Jeff Beck Group was officially disbanded and Beck's management put out this statement: "The fusion of musical styles of the various members has been succesful, within the terms of individual musicians, but they didn't feel it had led to the creation of a new musical style with the strength they had originally sought".

(((FM Broadcast)))

01. Intro
02. Ice Cream Cake(s)
03. Morning Dew
04. Piano Solo
05. Going Down
06. Definitely Maybe
07. Ain't No Sunshine (When She's Gone)
08. Out Of A Book
09. Goodbye Pork Pie Hat (banned track removed)
10. She's A Woman (banned track removed)
11. New Ways
12. Got The Feeling
13. Let Me Love You

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Johnny Winter - Texas International Pop Festival 1969 (Bootleg)

Size: 99.9 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included

The Texas International Pop Festival was a music festival held at Lewisville, Texas, on Labor Day weekend, August 30 to September 1, 1969. It occurred two weeks after Woodstock. The site for the event was the newly-opened Dallas International Motor Speedway, located on the east side of Interstate Highway 35E, across from the Round Grove Road intersection.

The festival was the brainchild of Angus G. Wynne III, son of Angus G. Wynne, the founder of the Six Flags Over Texas Amusement Park. Wynne was a concert promoter who had attended the Atlanta International Pop Festival on the July Fourth weekend. He decided to put a festival on near Dallas, and joined with the Atlanta festival's main organizer, Alex Cooley, forming the company Interpop Superfest.

Artists performing at the festival were: Led Zeppelin, B.B. King, Canned Heat, Chicago (then called Chicago Transit Authority), Delaney and Bonnie and Friends, Freddie King, Grand Funk Railroad, Herbie Mann, Incredible String Band, James Cotton, Janis Joplin, Johnny Winter, Nazz, Rotary Connection, Sam and Dave, Santana, Shiva's Headband, Sly and the Family Stone, Space Opera, Spirit, Sweetwater, Ten Years After and Tony Joe White.

North of the festival site was the campground on Lewisville Lake, where hippie attendees skinny-dipped and bathed. Also on the campground was the free stage, where some bands played after their main stage gig and several bands not playing on the main stage performed. It was on this stage that Wavy Gravy, head of the Hog Farm commune, acquired his name. (At Woodstock, he was Hugh Romney.)

The Merry Pranksters, Ken Kesey's group, was in charge of the free stage and camping area. While Kesey was neither at the Texas event nor at Woodstock, his right hand man, Ken Babbs, and his psychedelic bus, Further (Furthur) were. The Hog Farm provided security, a trip tent, and free food.

Attendance at the festival remains unknown, but is estimated between 120,000 and 150,000. As with Woodstock, there were no violent crimes reported. There was one death, due to heatstroke, and one birth.

High-quality soundboard bootleg recordings of almost the entire festival are circulated on the internet.[8] Led Zeppelin's set is one of the most popular Led Zeppelin bootlegs due to the high technical and musical quality of the performance.

Texas International Pop Festival, Dallas, TX, 01st September 1969

Johnny Winter: Vocals, Guitar
Tommy Shannon: Fender Bass
Uncle John Turner: Drums

01. Introduction
02. Mean Town Blues
03. Black Cat Bone
04. Mean Mistreater
05. Talk To Your Daughter
06. Leland Mississippi Blues (titled: Look Up)
07. I Can Love You Baby) (faded out)

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Johnny Winter And - Stockholm 1971-02-01 (Bootleg)

Size: 99.4 MB
Bitrate: 320
mp3
Found in OuterSpace 
No Artwork

When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition.

He was born John Dawson Winter III in Leland, Mississippi, on February 23, 1944, and as an infant moved to Beaumont, Texas, where his brother Edgar Winter was born on December 28, 1946; both brothers were albinos. They turned to music early on, Johnny Winter learning to play the guitar, while Edgar Winter took up keyboards and saxophone. Before long they were playing professionally, and soon after that recording singles for small local record labels. Both of them were members of Johnny & the Jammers, whose 45 "School Day Blues"/"You Know I Love You" was released by Dart Records in 1959. Other singles, either credited to Winter or some group pseudonym, were released over the next several years, including "Gangster of Love"/"Eternally," initially issued by Frolic Records in 1963 and picked up for national distribution by Atlantic Records in 1964, and "Gone for Bad"/"I Won't Believe It," also a 1963 Frolic single that was licensed by MGM Records in 1965. Winter had his first taste of chart success with a version of "Harlem Shuffle," recorded by the Traits, which was released by Universal Records, then picked up by Scepter Records and spent two weeks in the Billboard Hot 100 in November 1966. 

In 1968, Winter decided to focus exclusively on blues-rock, and he formed a trio with Tommy Shannon on bass and John "Red" Turner on drums. He signed with the Austin, Texas, label Sonobeat Records, and in August cut The Progressive Blues Experiment, released locally. His life was changed irrevocably with the publication of the December 7, 1968, issue of Rolling Stone magazine, which contained an article by Larry Sepulvado and John Burks about the Texas music scene. "The hottest item outside of Janis Joplin," they wrote, "… remains in Texas. If you can imagine a hundred and thirty-pound cross-eyed albino with long fleecy hair playing some of the gutsiest fluid blues guitar you have ever heard, then enter Johnny Winter." Among those who read the article was New York club owner Steve Paul, who hopped a plane to Texas and convinced Winter to hire him as manager. Paul set up a bidding war among major record labels that was won in February 1969 by CBS Records, which signed Winter for an advance of $600,000, the largest sum the label had ever paid to a new solo artist. 

Winter quickly went into a recording studio with his band to cut his debut for CBS' Columbia label, but in the meantime other labels discovered that he had made a lot of recordings in his youth, and they began buying or leasing the early material. Imperial Records bought The Progressive Blues Experiment from Sonobeat and re-released it in March 1969; it entered the charts and peaked at number 40. Winter's Columbia debut, titled Johnny Winter, was released on April 15 and peaked at number 23. In August, GRT Records released The Johnny Winter Story, consisting of material recorded in the early ‘60s; it got to number 111. In October, Buddah Records followed with First Winter, and Janus Records released About Blues in November. (Unfortunately, repackagings of Winter's early recordings continued to litter his discography throughout his career.)

Meanwhile, Winter appeared at the Woodstock festival in August 1969. (In 2009, The Woodstock Experience, an album of his performance, was released.) His second Columbia album, Second Winter, was released in November 1969 and reached number 55. In the spring of 1970, he disbanded his trio and enlisted the former members of the McCoys to back him: Rick Derringer (guitar), Randy Jo Hobbs (bass), and Randy Z. (drums). The group was dubbed "Johnny Winter And." Their self-titled album was released in September and peaked at a disappointing number 154, but they followed with a concert collection, Live Johnny Winter And, released in February 1971, and it reached number 40; in 1974, it was certified gold. (In 2010, Collectors' Choice Music released another concert recording from the Johnny Winter And band, Live at the Fillmore East 10/3/70.)

Winter was not able to capitalize on the career momentum generated by the success of Live Johnny Winter And. He had become addicted to heroin and suffered from suicidal depression, as a result of which he suspended his career and went home to Beaumont. In this age before rehabilitation clinics, he was hospitalized, initially in Beaumont and then, for nine months, at River Oaks Hospital in New Orleans. His next appearance on disc was as a guest on Roadwork, the live album released by Edgar Winter's White Trash in March 1972, which was preceded by Edgar Winter's introduction in which he said people kept asking him, "Where's your brother?" Johnny Winter was not able to return to action full-time until the release of his comeback album, Still Alive and Well, in March 1973. The album, which featured "Silver Train," a song specially written for Winter by Mick Jagger and Keith Richards, peaked at number 22. 

Winter returned to touring. His next album, Saints & Sinners, appeared in February 1974 and peaked at number 42. Before the year was out, he had another one ready, and John Dawson Winter III, featuring "Rock & Roll People," a song specially written for Winter by John Lennon, was released in November, peaking at number 78. For Captured Live!, Winter was transferred to a Steve Paul-created custom label within CBS, Blue Sky Records. The album was released in February 1976 and peaked at number 93. Edgar Winter was also on Blue Sky, and the brothers combined for a live album, Together, released in June, which peaked at number 89. 

Veteran bluesman Muddy Waters was signed to Blue Sky, and Winter became his producer on a comeback LP, Hard Again, released in February 1977. It won the Grammy Award for Best Blues Album. Winter toured with Waters' band, then took them into the studio for his next album, Nothin' But the Blues, released in July 1977. It peaked at number 146. Another Winter-produced Waters album, I'm Ready, came out in February 1978 and was another Grammy winner. Winter returned to working with his usual band for his next album, White, Hot & Blue; the album, released in July 1978, got to number 141. Raisin' Cain, recorded in more of a rock mode, appeared in March 1980 and failed to chart, concluding Winter's CBS contract. 

Winter signed to the independent blues label Alligator Records, for which he made Guitar Slinger, released in May 1984. It returned him to the charts, and its follow-up, Serious Business (September 1985) was another chart entry. He completed his commitment to Alligator with 3rd Degree (November 1986). He was then signed by Voyager Records, distributed by MCA Records, for The Winter of '88 (October 1988). The album represented an attempt to take him in the more commercial direction of ZZ Top's synthesized blues-boogie, but the attempt backfired, and the album did not chart. Winter returned to more of a straight-ahead blues approach after signing to Virgin Records' Point Blank/Charisma imprint on his next album, Let Me In (July 1, 1991). He followed it with Hey, Where's Your Brother? (November 3, 1992). 

Winter focused more on concert work than recording after the early '90s. For Live in NYC 1997 (March 10, 1998), he had fans vote on the tracks to be included. Six years passed before the release of I'm a Bluesman (June 15, 2004). Winter inaugurated a series of archival concert collections on Friday Music with Live Bootleg Series, Vol. 1 (October 9, 2007), which was followed by Vol. 2 (March 4, 2008), Vol. 3 (July 29, 2008), Vol. 4 (February 10, 2009), and Vol. 5 (June 30, 2009). Meanwhile, a concert appearance resulted in his first new album in five years, Live at the 2009 New Orleans Jazz & Heritage Festival, released by Munck Mix on December 15, 2009. On January 12, 2010, he released Live Bootleg Series, Vol. 6. In September 2010, he announced that he had signed to Megaforce Records. His label debut, Roots, appeared in 2011.

Johnny Winter And
Konserthuset, Stockholm, Sweden  02/01/1971

Johnny Winter: Guitar, Vocals  
Rick Derringer: Guitar  
Randy Hobbs: Bass  
Bobby Caldwell: Drums.

01.  Good Morning Little School Girl 4:26
02.  Rock´n Roll Hootchie Coo 5:24
03.  Be Careful With A Fool> It's My Own Fault 18:10
04.  Jumping Jack Flash 5:18
05.  Great Balls of Fire> Whole Lotta Shaking Going On[fade out] 20:57

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Kiss - Houston Texas, September 2, 1977 (Bootleg)

Size: 182 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the '70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry ice, smoke bombs, elaborate lighting, blood spitting, and fire breathing that captured the imaginations of thousands of kids. But Kiss' music shouldn't be dismissed — it was a commercially potent mix of anthemic, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars, cloying melodies, and sweeping strings. It was a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late '80s. Kiss was the brainchild of Gene Simmons (bass, vocals) and Paul Stanley (rhythm guitar, vocals), former members of the New York-based hard rock band Wicked Lester; the duo brought in drummer Peter Criss through his ad in Rolling Stone and guitarist Ace Frehley responded to an advertisement in The Village Voice. Even at their first Manhattan concert in 1973, the group's approach was quite theatrical; Flipside producer Bill Aucoin offered the band a management deal after the show. Two weeks later, the band was signed to Neil Bogart's fledgling record label, Casablanca. 

Kiss released their self-titled debut in February of 1974; it peaked at number 87 on the U.S. charts. By April of 1975, the group had released three albums and had toured America constantly, building up a sizable fan base. Culled from those numerous concerts, Alive! (released in the fall of 1975) made the band rock & roll superstars; it climbed into the Top Ten and its accompanying single, "Rock 'N' Roll All Nite," made it to number 12. Their follow-up, Destroyer, was released in March of 1976 and became the group's first platinum album; it also featured their first Top Ten single, Peter Criss' power ballad "Beth." A 1977 Gallup poll named Kiss the most popular band in America. Kiss mania was in full swing and thousands of pieces of merchandise hit the marketplace. The group had two comic books released by Marvel, pinball machines, makeup and masks, board games, and a live-action TV movie, Kiss Meet the Phantom of the Park. The group was never seen in public without wearing their makeup and their popularity was growing by leaps and bounds; the membership of the Kiss Army, the band's fan club, was now in the six figures. 

Even such enormous popularity had its limits, and the band reached them in 1978, when all four members released solo albums on the same day in October. Simmons' record was the most successful, reaching number 22 on the charts, yet all of them made it into the Top 50. Dynasty, released in 1979, continued their streak of platinum albums, yet it was their last recorded with the original lineup — Criss left in 1980. Kiss Unmasked, released in the summer of 1980, was recorded with session drummer Anton Fig; Criss' permanent replacement, Eric Carr, joined the band in time for their 1980 world tour. Kiss Unmasked was their first record since Destroyer to fail to go platinum, and 1981's Music from the Elder, their first album recorded with Carr, didn't even go gold — it couldn't even climb past number 75 on the charts. Ace Frehley left the band after its release; he was replaced by Vinnie Vincent in 1982. Vincent's first album with the group, 1982's Creatures of the Night, fared better than Music from the Elder, yet it couldn't make it past number 45 on the charts. Sensing it was time for a change, Kiss dispensed with their makeup for 1983's Lick It Up. The publicity worked, as the album became their first platinum record in four years. 

Animalize, released the following year, was just as successful, and the group had recaptured their niche. Vincent left after Animalize and was replaced by Mark St. John; St. John was soon taken ill with Reiter's Syndrome and left the band. Bruce Kulick became Kiss' new lead guitarist in 1984. For the rest of the decade, Kiss turned out a series of best-selling albums, culminating in the early 1990 hit ballad "Forever," which was their biggest single since "Beth." Kiss was scheduled to record a new album with their old producer, Bob Ezrin, in 1990 when Eric Carr became severely ill with cancer; he died in November of 1991 at the age of 41. Kiss replaced him with Eric Singer and recorded Revenge (1992), their first album since 1989; it was a Top Ten hit and went gold. Kiss followed it with the release of Alive III the following year; it performed respectably, but was not up to the standards of their two previous live records. In 1996, the original lineup of Kiss — featuring Simmons, Stanley, Frehley, and Criss — reunited to perform an international tour, complete with their notorious makeup and special effects. The tour was one of the most successful of 1996, and in 1998 the reunited group issued Psycho Circus. While the ensuing tour in support of Psycho Circus was a success, sales of Kiss' reunion album weren't as stellar as anticipated. 

Reminiscent of the band's late-'70s unfocused period, few tracks on Psycho Circus featured all four members playing together (most tracks were supplemented with session musicians), as the band seemed more interested in flooding the marketplace with merchandise yet again instead of making the music their top priority. With rumors running rampant that the Psycho Circus Tour would be their last, the quartet announced in the spring of 2000 that they would be launching a U.S. farewell tour in the summer, which became one of the year's top concert draws. But on the eve of a Japanese and Australian tour in early 2001, Peter Criss suddenly left the band once again, supposedly discontent with his salary. Taking his place was previous Kiss drummer Eric Singer, who in a controversial move among some longtime fans, donned Criss' cat-man makeup (since Simmons and Stanley own both Frehley and Criss' makeup designs, there was no threat of a lawsuit) as the farewell tour continued. 

With the band scheduled to call it a day supposedly by late 2001, a mammoth career-encompassing box set was set for later in the year, while the summer saw perhaps the most over-the-top piece of Kiss merchandise yet — the "Kiss Kasket." The group was relatively quiet through the rest of the year, but 2002 started with a bang as Gene Simmons turned in an entertaining and controversial interview on NPR where he criticized the organization and berated host Terry Gross with sexual comments and condescending answers. He was promoting his autobiography at the time, which also caused dissent in the Kiss camp because of the inflammatory remarks made towards Ace Frehley. Frehley was quite angry at the situation, leading to his no-showing of an American Bandstand anniversary show. His place was taken by a wig-wearing Tommy Thayer, but no one was fooled and the band looked especially awful while pretending to play their instruments during the pre-recorded track. 

The appearance was an embarrassment for the group and for their fans, but Simmons was quick to dismiss the performance as another in a long series of money-oriented decisions. The band kept touring the globe with no new album in stores, but in 2008 they returned to the studio, re-recorded their hits, and released Jigoku-Retsuden aka KISSology or Kiss Klassics. The release was exclusive to Japan until a year later when it became a bonus disc for the band's first studio album in 11 years, Sonic Boom. Produced by Paul Stanley and Greg Collins, the album was exclusively distributed in North America by the Wal-Mart chain of stores.

<><> Excellent SoundQuality <><> 

01. I Stole Your Love
02. Take Me
03. Ladies Room
04. Firehouse
05. Love Gun
06. Hooligan
07. Makin' Love
08. Christine Sixteen
09. Shock Me
10. I Want You
11. Calling Dr. Love
12. Shout It OUt Loud
13. God of Thunder
14. Rock & Roll All Nite
15. Detroit Rock City
16. Beth
17. Black Diamond

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Koko Taylor & The Blues Machine - NYC 1992 (Bootleg)

Size: 170 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork

Koko Taylor sometimes spelled KoKo Taylor (September 28, 1928 – June 3, 2009) was an American blues musician, popularly known as the "Queen of the Blues." She was known primarily for her rough powerful vocals and traditional blues stylings. In a May 2003 issue of Rolling Stone Magazine, she was quoted as saying, "My life is like a train ride in fields of blue."

Born Cora Walton in Shelby County, Tennessee, Taylor was the daughter of a sharecropper. She left Memphis for Chicago, Illinois in 1952 with her husband, truck driver Robert "Pops" Taylor.[1] In the late 1950s she began singing in Chicago blues clubs. She was spotted by Willie Dixon in 1962, and this led to wider performances and her first recording contract. In 1965, Taylor was signed by Chess Records, for which her single "Wang Dang Doodle" (written by Dixon, and a hit for Howlin' Wolf five years earlier), featuring guitarist Little Walter, became a major hit, reaching number four on the R&B charts in 1966, and selling a million copies. Taylor recorded many versions of this Dixon-penned song over the past few decades and has added more material, both original and covers, but never repeated that initial chart success.

National touring in the late 1960s and early 1970s improved her fan base, and she became accessible to a wider record-buying public when she signed with Alligator Records in 1975. She recorded nine albums for Alligator, 8 of which were Grammy-nominated), and come to dominate the female blues singer ranks, winning twenty five W. C. Handy Awards (more than any other artist). After her recovery from a near-fatal car crash in 1989, the 1990s found Taylor in films such as Blues Brothers 2000, and she opened a blues club on Division Street in Chicago in 1994, but it closed in 1999.

Taylor influenced musicians such as Bonnie Raitt, Shemekia Copeland, Janis Joplin, Shannon Curfman, and Susan Tedeschi. In the years prior to her death, she performed over 70 concerts a year and resided just south of Chicago in Country Club Hills, Illinois.

In 2008, the Internal Revenue Service said that Taylor owed $400,000 in back taxes, penalties and interest. Her tax problems concerned 1998, 2000 and 2001; for those years combined, her adjusted gross income was $949,000.

Taylor died on June 3, 2009, after complications from surgery for gastrointestinal bleeding on May 19, 2009. Her final performance was at the Blues Music Awards, on May 7, 2009.

Koko Taylor & The Blues Machine - The Marquee New York, NY March 13, 1992

(((Pre-FM  Pro Mix Soundboard)))

with Lonnie Brooks, Elvin Bishop, Katie Webster & Lil Ed

This set was part of the Alligator Records 20th Anniversary shows. Katie Webster, Lonnie Brooks, Elvin Bishop & Lil Ed all had sets this night.
-Koko was the headliner.

01.  Intro > Something Strange Going On
02.  Fishing Trip
03.  I Don't Care
04.  I'm A Woman
05.  Jump For Joy
06.  I'd Rather Go Blind
07.  Hey Baby
08.  Thanks/Band Intros
09.  Wang Dang Doodle
10.  Crowd/Talk
11.  It's A Dirty Job 
12.  Sweet Home Chicago

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Magic Sam - Chicago Folk Festival US 1967 (Bootleg)

Size: 64.7 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

Samuel "Magic Sam" Gene Maghett (February 14, 1937 – December 1, 1969) was an American blues musician. Maghett was born in Grenada, Mississippi and learned to play the blues from listening to records by Muddy Waters and Little Walter. After moving to Chicago at the age of nineteen, he was signed by Cobra Records and became well known as a bluesman after his first record, "All Your Love" in 1957. He had several more hits and became very popular. He was known for his distinctive tremolo guitar playing.

After moving to Chicago, Illinois in 1950, his guitar playing earned bookings at blues clubs in Chicago's West Side. Sam recorded for the Cobra label from 1957 to 1959, recording singles, including "All Your Love" and "Easy Baby". They never appeared on the charts yet they had a profoud influence, far beyond Chicago's guitarists and singers. Together with the records of Otis Rush (also a Cobra artist) and Buddy Guy, they made a manifesto for a new kind of blues. Around this time Sam also worked briefly with Homesick James Williamson. Sam gained a following before being drafted into the Army. Not a natural soldier, Sam deserted after a couple of weeks' service and was subsequently caught and sentenced to six months imprisonment. He was given a dishonourable discharge on release, but the experience had undermined his confidence and immediate recordings for Mel London's Chief Records lacked the purpose of their predecessors.

In 1963, he gained national attention for his single "Feelin' Good (We're Gonna Boogie)". After successful touring of the United States, UK and Germany, he was signed to Delmark Records in 1967, where he recorded West Side Soul and Black Magic. He also continued performing live and toured with blues harp player Charlie Musselwhite.

Sam's breakthrough performance was at the Ann Arbor Blues Festival in 1969, which won him many bookings in the United States and Europe. His life and career was cut short when he suddenly died of a heart attack in December of the same year. He was 32 years old. He was buried in the Restvale Cemetery in Alsip, Illinois.

His guitar style, vocals and songwriting ability have inspired and influenced many blues musicians ever since. In The Blues Brothers, Jake Blues dedicates the band's performance of "Sweet Home Chicago" to the "late, great Magic Sam".

"Magic Sam had a different guitar sound," said his record producer, Willie Dixon. "Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune "All Your Love", he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music." 

Magic Sam
University of Chicago Folk Festival
Chicago IL
1967.01.00

Blues Before Sunrise radio show broadcast

01. Announcer
02. Leaving in the morning
03. Hard road to travel
04. Been down so hard / Feel so good i wanna boogie
05. That's alright
06. Sweet home chicago
07. Scratch my back
08. Outro
09. Intro for the extra
10. Bloody tears

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Moby Grape - Santa Cruz (2 Shows 1978 FM Broadcast) (Bootleg)

Size: 201 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

Moby Grape is an American rock group from the 1960s, known for having all five members contribute to singing and songwriting and that collectively merged elements of folk music, blues, country, and jazz together with rock and psychedelic music. The group continues to perform occasionally.

As described by Jeff Tamarkin, "The Grape's saga is one of squandered potential, absurdly misguided decisions, bad luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco. Moby Grape could have had it all, but they ended up with nothing, and less."

The group was formed in late 1966 in San Francisco, at the instigation of Skip Spence and Matthew Katz. Both had been previously associated with Jefferson Airplane, Spence as the band's first drummer, playing on their first album, Jefferson Airplane Takes Off, and Katz as the band's manager, but both had been dismissed by the group. Katz encouraged Spence to form a band similar to Jefferson Airplane, with varied songwriting and vocal work by several group members, and with Katz as the manager.[3] According to Peter Lewis, "Matthew (Katz) brought the spirit of conflict into the band. He didn't want it to be an equal partnership. He wanted it all."

The band name, judicially determined to have been chosen by Bob Mosley and Spence, came from the punch line of the joke "What's big and purple and lives in the ocean?". Lead guitarist Jerry Miller and drummer Don Stevenson (both formerly of The Frantics, originally based in Seattle) joined guitarist (and son of actress Loretta Young) Peter Lewis (of The Cornells), bassist Bob Mosley (of The Misfits, based in San Diego) and Spence, now on guitar instead of drums. Jerry Miller and Don Stevenson had moved The Frantics from Seattle to San Francisco after a 1965 meeting with Jerry Garcia, then playing with The Warlocks at a bar in Belmont, California. Garcia encouraged them to move to San Francisco. Once The Frantics were settled in San Francisco, Mosley joined the band.

While Jerry Miller was the principal lead guitarist, all three guitarists played lead at various points, often playing off against each other, in a guitar form associated with Moby Grape as "crosstalk". The other major three-guitar band at the time was Buffalo Springfield. Moby Grape's music has been described by Geoffrey Parr as follows: "No rock and roll group has been able to use a guitar trio as effectively as Moby Grape did on Moby Grape. Spence played a distinctive rhythm guitar that really sticks out throughout the album. Lewis, meanwhile, was a very good guitar player overall and was excellent at finger picking, as is evident in several songs. And then there is Miller. … The way they crafted their parts and played together on Moby Grape is like nothing else I've ever heard in my life. The guitars are like a collage of sound that makes perfect sense."

All band members wrote songs and sang lead and backup vocals for their debut album Moby Grape (1967). Mosley, Lewis, and Spence generally wrote alone, while Miller and Stevenson generally wrote together. In 2003, Moby Grape was ranked as number 121 in Rolling Stone's "500 Greatest Albums of All Time". Noted rock critic Robert Christgau listed it as one of The 40 Essential Albums of 1967. In 2008, Skip Spence's song "Omaha", from the first Moby Grape album, was listed as number 95 in Rolling Stone's "100 Greatest Guitar Songs of All Time". The song was described as follows: "On their best single, Jerry Miller, Peter Lewis and Skip Spence compete in a three-way guitar battle for two and a quarter red-hot minutes, each of them charging at Spence's song from different angles, no one yielding to anyone else."

In a marketing stunt, Columbia Records immediately released five singles at once, and the band was perceived as being over-hyped. This was during a period in which mainstream record labels were giving previously unheard-of levels of promotion to what was then considered countercultural music genres. Nonetheless, the record was critically acclaimed and fairly successful commercially, with The Move covering the album's "Hey Grandma" (a Miller-Stevenson composition) on their eponymous first album. More recently, "Hey Grandma" was included in the soundtrack to the 2005 Sean Penn-Nicole Kidman film, The Interpreter, as well as being covered in 2009 by the Black Crowes, on Warpaint Live. Spence's "Omaha" was the only one of the five singles to chart, reaching number 88 in 1967. Miller-Stevenson's "8:05" became a country rock standard (covered by Robert Plant, Guy Burlage, and others).

One of Moby Grape's earliest major onstage performances was the Mantra-Rock Dance—a musical event held on January 29, 1967 at the Avalon Ballroom by the San Francisco Hare Krishna temple. At the event Moby Grape performed along with the Hare Krishna founder Bhaktivedanta Swami, Allen Ginsberg, The Grateful Dead, and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the temple. In mid-June 1967, Moby Grape appeared at the Monterey Pop Festival. Due to legal and managerial disputes, the group was not included in the D.A. Pennebaker-produced film of the event, Monterey Pop. Moby Grape's Monterey recordings and film remain unreleased, allegedly because Matthew Katz demanded one million dollars for the rights. According to Peter Lewis, "[Katz] told Lou Adler they had to pay us a million bucks to film us at the Monterey Pop Festival. So instead of putting us on Saturday night right before Otis Redding, they wound up putting us on at sunset on Friday when there was nobody in the place."  The Moby Grape footage was shown in 2007 as part of the 40th anniversary celebrations of the film. Jerry Miller recalls that Laura Nyro was given Moby Grape's original position opening for Otis Redding, "because everybody was arguing. Nobody wanted to play first and I said that would be fine for me." In addition to the marketing backlash, band members found themselves in legal trouble for charges (later dropped) of consorting with underage females, and the band's relationship with their manager rapidly deteriorated.

The second album, Wow/Grape Jam, released in 1968, was generally viewed as a critical and commercial disappointment, even though the album charted at No. 20 on the Billboard Pop Albums charts, partially due to the unusual two albums for the price of one double-album packaging. Though Wow added strings and horns to some songs, their basic sound remained consistent from the debut album, featuring tight harmonies, multiple guitars, imaginative songwriting, and a strong level of musicianship. The album included the track "Just Like Gene Autry, a Foxtrot", a tribute to the ballroom music big band era which was tracked to only be played back properly at the speed of 78 RPM. The Grape Jam LP was one of loose improvised studio jams with outside musicians; this detracted from the stronger tunes on Wow, such as the room-shaking shuffle "Can't Be So Bad." Also in 1968, the band contributed to the soundtrack of the movie The Sweet Ride, and appeared, credited, in the film.

The band was also introduced to a wide group of UK listeners in 1968 through the inclusion of "Can't Be So Bad", from on the Wow album, on the iconic sampler album The Rock Machine Turns You On (CBS).

But, amidst this success, troubled times plagued the band when founding member Spence began abusing LSD, which led to increasingly erratic behavior. According to Miller: "Skippy changed radically when we were in New York. There were some people there (he met) who were into harder drugs and a harder lifestyle, and some very weird shit. And so he kind of flew off with those people. Skippy kind of disappeared for a little while. Next time we saw him, he had cut off his beard, and was wearing a black leather jacket, with his chest hanging out, with some chains and just sweating like a son of a gun. I don't know what the hell he got a hold of, man, but it just whacked him. And the next thing I know, he axed my door down in the Albert Hotel. They said at the reception area that this crazy guy had held an ax to the doorman's head."  After spending time in the infamous Tombs jail in New York, Spence was committed to New York's Bellevue Hospital, where he spent six months under psychiatric care.

There is an often-repeated myth that on the day of his release, Skip left Bellevue, jumped on a motorcycle dressed only in his pajamas, and headed straight to Nashville for the recording of his only solo album, Oar, on which he played all of the instruments and produced the album himself. However, refuting this, Skip's former wife Pat says that he first came home to the Santa Cruz area, and the whole family then went to Nashville together.

Recalling this troubled time for Spence, Peter Lewis said, "We had to do (the album) in New York because the producer (David Rubinson) wanted to be with his family. So we had to leave our families and spend months at a time in hotel rooms in New York City. Finally I just quit and went back to California. I got a phone call after a couple of days. They'd played a Fillmore East gig without me, and Skippy took off with some black witch afterward who fed him full of acid. It was like that scene in the Doors movie. He thought he was the anti-Christ. He tried to chop down the hotel room door with a fire axe to kill Don [Stevenson] to save him from himself. He went up to the 52nd floor of the CBS building where they had to wrestle him to the ground. And Rubinson pressed charges against him. They took him to the Tombs (and then to Bellevue) and that's where he wrote Oar. When he got out of there, he cut that album in Nashville. And that was the end of his career. They shot him full of Thorazine for six months. They just take you out of the game."

After the forced departure of Spence, the remaining four members continued recording throughout 1968 and released Moby Grape '69 in January 1969. Spence's "Seeing" (also known as "Skip's Song") was finished by the foursome, and it is one of the highlights. Despite the collaborative effort to complete the song, the songwriting credit was left solely with Spence. Mosley and Lewis wrote some of their best songs for this album. Bob Mosley then left the group, shocking the remaining members by joining the Marines. The remaining three released their final album for Columbia, Truly Fine Citizen, in late 1969.

Miller and Stevenson then formed The Rhythm Dukes, later joined by Bill Champlin. The band achieved a degree of success as a second-billed act during much of the latter part of 1969 to 1971, plus recorded one album, which was ultimately released in 2005.

The original five members re-united in 1971 and released 20 Granite Creek for Reprise Records. Prior to Spence again departing and the group again breaking up, the group performed a few concerts to support the album, most notably, during the last days of the Fillmore East. These concerts were described by contemporary accounts as disastrous, and circulating recordings do little to challenge that assessment. These shows are noteworthy, however, due to their inclusion of original material that did not appear on their albums proper. Mosley contributed "When You're Down The Road" and "Just A Woman", Lewis "There Is No Reason", and Spence brought along "We Don't Know Now" and "Sailing", a song which would be all but forgotten until Spence performed it with Moby Grape at a 1996 Palookaville gig. They also performed songs cut for "20 Granite Creek". A Fillmore East gig saw Mosley doing an a capella rendition of "Ode To The Man At The End of The Bar".

With Spence gone again, the remainder soldiered on for a few years, and later reunited on several occasions, with and without Spence. Bob Mosley and Jerry Miller, together with Michael Been on rhythm guitar (later of The Call) and John Craviotto on drums, recorded an LP that was released in 1976 as Fine Wine on Polydor Records in Germany. Thereafter, Mosley and Craviotto joined with Neil Young to form The Ducks, which played in and around the Santa Cruz area during 1977, and were immensely popular during the band's brief life.

In the Summer of 1987 Moby Grape, along with It's a Beautiful Day, Fraternity of Man, and the Strawberry Alarm Clock, got together for a couple of shows. Original Grapes: Jerry Miller, Peter Lewis, Bob Mosley, Skip Spence, and Don Stevenson performed their classics “Hey Grandma,” “Naked, If You Want To,” “Omaha,” “Fall on You,” and “805,” among others, before fans at the Marin Civic and Cupertino’s DeAnza College. Notwithstanding continuing to perform on occasion, the group has never returned to the level of popularity enjoyed in the early Avalon Ballroom/Fillmore Auditorium days.

Fine Wine was one of several band names used by Moby Grape members during the course of a protracted legal dispute with former manager Matthew Katz over ownership of the Moby Grape name. Other names used for performance or recording purposes included Mosley Grape, Legendary Grape and The Melvilles. The Legendary Grape album, originally released in 1989, is considered by some to be a Melvilles recording. This is because, while it was originally issued as a Moby Grape cassette-only release, former manager Matthew Katz took legal action, with reference to his alleged ownership of the Moby Grape name. The tape was withdrawn, repackaged and reissued as being by The Melvilles. Despite Jerry Miller, Bob Mosley and Peter Lewis continuing to release solo records in the 1990s and 2000s, Moby Grape has not released an album of new material since the release of Legendary Grape in 1989. Jerry Miller considers the 2003 remastered and supplemented CD version of Legendary Grape to be an essential Moby Grape album.

Click on picture for bigger size

The debut album and Wow/Grape Jam were first released on CD during the late 1980s by the San Francisco Sound label, a company owned by their former manager, Matthew Katz. These releases suffer from mediocre sound and poor quality packaging. It is also contended that Moby Grape has never been properly compensated for recordings released by this label. The 2 CD 1993 Legacy Recordings compilation Vintage: The Very Best of Moby Grape includes their entire first album and most of Moby Grape '69, selected tracks from Wow and Truly Fine Citizen, as well as studio outtakes and alternate versions, in much better quality. This compilation attracted new attention to the band and helped to re-introduce their music to a new audience. In 1994, the group members commenced an action against Matthew Katz, Sony Music Entertainment and Columbia Records (Sony being the successor corporation to CBS Records), seeking to have the settlement overturned. This settlement from 1973 meant that the group members would receive no royalties whatsoever from the well-regarded Vintage: The Best of Moby Grape, which Sony had released as part of its Legacy Records series in 1993. At the time of the commencement of the lawsuit, Bob Mosley had been homeless in San Diego since the early 1990s, while Skip Spence was living in a residential care facility in northern California. Production of the Vintage collection soon ceased. Homeless for years and suffering from long-term mental illness, alcoholism and a multitude of health ailments, Skip Spence nonetheless experienced a marked improvement in his domestic life in his later years before passing away of lung cancer in 1999, days before his 53rd birthday.

In 2006, after three decades of court battles, the band finally won back its name. Moby Grape's success was significantly impeded by decades-long legal disputes with their former manager, Matthew Katz. Legal difficulties originated shortly after the group's formation, when Matthew Katz insisted that an additional provision be added to his management contract, giving him ownership of the group name. At the time, various group members were indebted to Katz, who had been paying for apartments and various living costs prior to the group releasing its first album. Despite objecting, group members signed, based in part on an impression that there would be no further financial support from Katz unless they did so. Neil Young, then of Buffalo Springfield, was in the room at the time, and kept his head down, playing his guitar, and saying nothing. According to Peter Lewis, "I think Neil knew, even then, that was the end. We had bought into this process that we should have known better than to buy into." The dispute with Katz became more acute after the group members' rights to their songs, as well as their own name, were signed away in 1973, in a settlement made without their knowledge between Katz and Moby Grape's then manager (and former producer), David Rubinson. 

It was also a settlement made at a time when Bob Mosley and Skip Spence were generally recognized as being legally incapacitated from the effects of schizophrenia. In September 2007, a reunited Moby Grape performed for over 40,000 fans at the Summer of Love 40th Anniversary Celebration in San Francisco's Golden Gate Park. In October 2007, Sundazed Records reissued the Grape's first five albums (with bonus tracks) on CD and vinyl . The following month, the label was forced to both withdraw and recall Moby Grape, Wow and Grape Jam from print on both vinyl and CD because of a new lawsuit by former manager Katz. Sundazed stated on their website that they were directed to withdraw the three titles by Sony BMG (inheritors of the band's original label, Columbia), from whom Sundazed had licensed the recordings. These developments have resulted in a particular emotional setback for Bob Mosley. Of the four surviving band members, three still play to a regular degree. Jerry Miller appears as both a solo artist and as a member of the Jerry Miller Band, and plays regularly in the Washington State area. Peter Lewis released a debut CD in 1995 and forms an acoustic duo with David West (released Live in Bremen, 2003). Lewis also spent three years (2000–2003) as a guitarist with the reformed Electric Prunes, contributing to the band's Artifact album (2002). Bob Mosley's relocation to the Santa Cruz area has been noteworthy for weekly guest appearances with veteran country artist Larry Hosford, a stalwart of the Santa Cruz music scene, and in occasional duos with ex-Doobie Brothers keyboardist Dale Ockerman.

Don Stevenson, who has rejoined Moby Grape for occasional performances, has developed business interests outside of the music industry, including time share sales of recreational property in Whistler, British Columbia, Canada, where he maintains a residence.[8] Moby Grape continues to perform occasionally, performing with core members Jerry Miller, Bob Mosley and Peter Lewis, and in such incarnations as with Skip Spence's son Omar joining on vocals and Jerry Miller's son Joseph on drums. New recording commenced in 2009, following the release of The Place and the Time, a well-received collection of demos, outtakes, alternate versions and otherwise unreleased material from the band's 1960s recording period. In 2010, Don Stevenson, Jerry Miller and Omar Spence performed at the South by Southwest music festival, while Peter Lewis appeared separately.

Moby Grape:  Santa Cruz, Jan. 1978,  

(((Stereo FM Broadcast)))

Moby Grape  Jan. 1978:
Jerry Miller lead guit.
Peter Lewis:l guit.voc.
Bob Mosley: Bass, voc.
Cornelius Bumpus:org., voc.,keyb.
John Oxendine: dr. 

Santa Crruz Veteran´s Hall 1/21/78  
01. Your Rider
02. Cuttin´in
03. On the Way to New Orleans
04. Yes I know it´s fallin
05. 8.05
06. Stop

Santa Cruz, The Crossroads Jan. 1978  
07. All your Life
08. Here I sit
09. (Hard to Handle - variation)
10. Your Rider
11. Love you so much
12. Your real Love
13. Up in the Air
14  My Heart´s Desire
15. Got the Blues
16. Cuttin´ in
17  Yes, I know it´s fallin´  

Part 1: Link
Part 2: Link
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Part 1: Link
Part 2: Link
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