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John Lee Hooker - Wise Fools Pub 1976 FM (Bootleg)

Size: 177 MB
Bitrate:320
mp3
Found in DC++ World 
Artwork Included

Radio broadcast on WXRT
Recorded by Ken Rasek for WXRT at Wise Fools Pub November 9, 1976.

Born near Clarksdale, Mississippi on August 22, 1917 to a sharecropping family, John Lee Hooker's earliest musical influence came from his stepfather, Will Moore. By the early 1940's Hooker had moved north to Detroit by way of Memphis and Cincinnati. Hooker found work as a janitor in the auto factories, and at night, like many other transplants from the rural Delta, he entertained friends and neighbors by playing at "house parties". He was "discovered" by record storeowner Elmer Barbee who took him to Bernard Besman, who was a producer, record distributor and owner of Sensation Records, Besman leased some of his early Hooker recordings to Modern Records. Among Hooker's first recordings in 1948, "Boogie Chillen" became a number one jukebox hit for Modern and his first million seller. This was soon followed by an even bigger hit with "I'm In The Mood" and other classic recordings including "Crawling Kingsnake" and "Hobo Blues." Another surge in his career took place with the release of more than 100 songs on Vee Jay Records during the 1950's and 1960's. 

When the young bohemian audiences of the 1960's "discovered" Hooker along with other blues originators, he and various he and others made a brief return to folk blues. Young British artist such as the Animals, John Mayall, and the Yardbirds introduced Hooker's sound to the new and eager audiences whose admiration and influence helped build Hooker to superstar status in the mid - 60's England. By 1970 he had moved to California and worked on several projects with rock musicians, notably Van Morrison and Canned Heat. Canned Heat modeled their sound after Hooker's boggie and collaborated with him on several albums and tours. 

During the late 1970's and much of the 1980's, Hooker toured the U.S. and Europe steadily but grew disenchanted with recording, through his appearance in the Blues Brothers movie resulted in a heightened profile. Then, in 1989, The Healer was released to critical acclaim and sales in excess of a million copies. Today the "The King Of The Boggie" is enjoying the most successful period of his extensive career. In the past ten years Hooker's influence has contributed to a booming interest in the blues and, notably, its acceptance by the music industry as a commercially viable entity. 

Hooker's career has been a series a highlights and special events since the release of The Healer. In addition to recording his on albums Mr. Lucky, Boom Boom, Chill Out, and Don't Look Back for Pointblank / Virgin, he contributed to recordings by B.B. King, Branford Marsalis, Van Morrison, and Big Head Todd and the Monsters and portrayed the title role in Pete Townshend's 1989 epic, The Iron Man. 

His influence on younger generations has been documented on television with features on Showtime and a special edition of the BBC's 'Late Show' as well as appearances on "The Tonight Show" and "Late Night With David Letterman" among many others. John Lee was invited to perform The Rolling Stones and guest Eric Clapton for their national television broadcast during The Stones' 1989 Steel Wheels tour. In 1990, many musical greats paid tribute to John Lee Hooker with a performance at Madison Square Garden. Joining him on some or all of these special occasions were artists such as Bonnie Raitt, Ry Cooder, Joe Cocker, Huey Newton, Carlos Santana, Robert Clay, Mick Fleetwood, Al Cooper, Johnny Winter, John Hammond, and the late Albert Collins and Willie Dixon. 

Hooker's 1991 induction into the Rock n' Roll Hall Of Fame was fitting for the man who has influenced countless fans and musicians who have in turn influenced many more. Honors continue, with recent inductions into Los Angeles' Rock Walk, The Bammies Walk Of Fame in San Francisco, and, in 1997, a star in the Hollywood Walk Of Fame. 

John Lee's style has always been unique, even among other performers of the real deep blues, few of whom remain with us today. While retaining that foundation he has simultaneously broken new ground musically and commercially. At the age of 80, John Lee Hooker received his third and fourth Grammy Awards, for Best Traditional Blues Recording (Don't Look Back) and for Best Pop Collaboration for the song "Don't Look Back" which Hooker recorded with his long time friend Van Morrison. This Friendship and others are celebrated on Hooker's newest Pointblank / Virgin album, The Best Of Friends. The album also celebrates a return, exactly 50 years later, to Hooker's first hit, Boogie Chillen and serves as a perfect bookend for Hooker's first fifty years in the business.

John Lee Hooker
Bedroom Boogie - The jupiter 2101 baby
November 9, 1976
Wise Fools Pub, Chicago, IL, U.S.A.

01.Boom Boom 4:18
02.Serves Me Right To Suffer 4:19
03.You Know It Ain't Right 4:07
04.Hobo Blues 4:20
05.One Bourbon, One Scotch, One Beer 4:10
06.Whiskey And Women 5:40
07.Crawlin' King Snake 4:12
08.Boogie Chillen 9:03
09.You Know I Love You 5:41
10.Maudie 4:10
11.Crazy 'bout You Baby 4:43

Bonus:
12.Boogie Chillen 15:32
13.I Need Some Money 3:08
14.Bundle Up And Go 2:13

Bonus Track 12: Jul 15, 1983, Montreux Jazz Festival, Montreux, Switzerland
Bonus Tracks 13 - 14: 1962, Basel, Switzerland, Swiss Radio Broadcast

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1968 poster

Traffic - The Low Spark Sessions Olympic Studios 1971 (Bootleg)

Size: 163 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork
Excellent SoundQuality

This is billed as outtakes from the Low Spark studio sessions, though it seems to have other stuff as well. The sound quality is excellent except for the alternate mix “Rock & Roll Stew” extended version which is curiously distorted. Twelve tracks pretty much suitable for diehard fans only.

I can still remember the first time I heard The Low Spark of High Heeled Boys. I was in high school, and it must have been my senior year because I had just smoked a bowl in the basement. When I came upstairs and went to my room, my buzz was just starting to kick in, and I flipped on the radio. That song was playing, and that hypnotic, steady bass line dragged my ass right down to the floor. I sat there like Buddha - cross legged, eyes closed, and letting every beautiful note wash over and through me. I've been a Traffic fan since. I still don't know what the song is about, but here's a boatload of theories to start with.

While Traffic was a band with a distinguished career and many great albums, Low Spark just seems to stand out. The entire thing is great from start to finish, and most of it was available to FM listeners of the day. I remember at least four of the LP's six songs getting regular play - a ratio even today's most popular releases do not enjoy anymore. It was the band's most successful album in the U.S. Not bad for a band everyone had given up for dead many years before.

I was fortunate to see the core of Steve Winwood and Jim Capaldi (and I'm not sure who else, certainly not Chris Wood, who was long dead, or Dave Mason, who was in Fleetwood Mac that year) reunite as Traffic in 1994, when they toured as the opener for the Grateful Dead. While I frequently blew off the opening acts in favor of the parking lot scene, I made sure I was in to see Traffic both nights. I'm glad I did - both sets were fantastic (despite the poor live performances I've heard on some older boots) , and as of Capaldi's passing will never happen again.  Unfortunately this was post Brent GD, therefore no big Dear Mr. Fantasy jam, which sounds just awesome in my imagination.

Aside from Winwood (guitar, keys, vocals), Capaldi (percussion, vocals) and Wood (sax, flute) the band also consisted at this point of Rick Grech (bass, violin), Reebop Kwaku Baah (percussion) and Jim Gordon (drums) who is the unfortunate lunatic I referred to in yesterday's final clue. 

The music I'm sharing today comes from the Low Spark sessions at the Olympic Studios in London in 1971. I'm sure there is plenty more - this is just one disc and doesn't cover all the songs on the album. It does, however, include three "unknown jams" and demos for a couple Capaldi tunes that Traffic never did (he may have done them solo, I don't know.) 

While I wish I could post a nifty version of Low Spark of High Heeled Boys, I can't. The version here has some different percussion, and the sax solo doesn't sound exactly the same, but the piano solo does, as do the vocals. Overall, it's not that different from what we know. I can share a completely different arrangement of the album's single, though. Rock & Roll Stew has long been one of my favorite Traffic tunes, and this alternate arrangement is cool as hell. It's a little simpler and less layered than the release, and feels a little more like a straightforward rock song.

The next is one of the unknown jams, all of which are cool. This is the third and longest, and it features the Muscle Shoals Horns. It's called Unknown Jam #3 w/Muscle Shoals Horns. I swear, I have no idea where they come up with these titles. What do you think of it?

At the last minute, I've decided to include a third cut, simply because it it so unlike anything Traffic ever actually did. In fact, it sounds more like something Arlo Guthrie would do. It one of the Capaldi demos, and is a solo acoustic, very folksy sounding tune. It's called Easter Weekend demo #2. According to Google, this bootleg is the only way to hear this song, because no Capaldi albums came up in the search. Oh well. I do have to say that I enjoy the novelty of an acoustic guitar demo from a drummer! [Source: http://underthebridge.blogdrive.com/archive/233.html]

This is Traffic during 'The Low Spark Of High Heeled Boys' recording sessions, at Olympic Studios, London, developed across various dates in 1971.

After the break-up of Blind Faith in 1969, Steve Winwood began working on a solo recording, bringing in Chris Wood and Jim Capaldi to contribute, and the project eventually turned into a new Traffic album, John Barleycorn Must Die, their most successful album yet. Traffic went on to expand its lineup late in 1970, adding Ric Grech on bass. The group further expanded in 1971 with drummer Jim Gordon of Derek and the Dominos and percussionist Rebop Kwaku Baah. The live album Welcome to the Canteen was released in September and marked the band's break with United Artists Records. It did not bear the "Traffic" name on the cover, and instead was credited to the band's individual members including Dave Mason, who returned for his third and final spell with the band. The album ended with a version of The Spencer Davis Group song "Gimme Some Loving", which became a minor hit.

Following the departure of Dave Mason, Traffic released The Low Spark of High Heeled Boys (1971), which was a Top 10 American album but did not chart in the UK; the LP is also notable for its striking die-cut cover. It sold over half a million copies in 1972 when it received a gold disc, and was awarded a R.I.A.A. platinum disc in March 1976 for over a million total sales. Once again, however, personnel problems wracked the band as Grech and Gordon left the band in December 1971, and the month after, Winwood's struggles with peritonitis brought Traffic to a standstill. Jim Capaldi used this hiatus to record a solo album, Oh How We Danced, which would prove to be the beginning of a long and successful solo career. The album included a surplus recording from The Low Spark of High-Heeled Boys, "Open Your Heart", and the new tracks featured drummer Roger Hawkins and bassist David Hood, from the Muscle Shoals Sound Studio house band. Capaldi soon brought them on board to replace Grech and Gordon.[Source: http://www.beehivecandy.com/2011/09/traffic-low-spark-of-high-heeled.html]

Traffic 
The Low Spark of High Heeled Sessions
Olympic Studios, London, UK 
1971

Stevie Winwood - keyboard, guitar, vocals 
Dave Mason - guitar 
Jim Capaldi - vocals 
Chris Wood - sax; 
Rick Grech - bass 
Jim Gordon - drums 
Reebop Kwaku Baah - percussion 

01. The Low Spark Of High-Heeled Boys - alternate take, February 9, 1971
02. Rock And Roll Stew - alternate take, May 19, 1971
03. Rainmaker - alternate take, May 19, 1971
04. Rock And Roll Stew - alternate mix, August 25, 1971
05. Light Up Or Leave Me Alone - alternate mix, August 25, 1971
06. Traffic Jam #1 - take 2
07. Traffic Jam #2 - with Muscle Shoals Horns
08. Traffic Jam #3 - with Muscle Shoals Horns
09. It's So Hard - Jim Capaldi & Jim Gordon demo #1
10. It's So Hard - Jim Capaldi & Jim Gordon demo #2
11. Easter Weekend - Jim Capaldi demo #1 
12. Easter Weekend - Jim Capaldi demo #2

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Traffic - BBC In Concert 1970-04-30 (Bootleg)

Size: 138 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

Following three astonishingly original album releases in the late 1960s, the original four members of Traffic went their separate ways, a mere two years after they began. Traffic's farewell album, Last Exit, which contained the underground hit, "Medicated Goo," would be released in 1969, but by then Steve Winwood was already off to form Blind Faith with ex-Cream guitarist Eric Clapton and drummer Ginger Baker. Although this collaboration bore musical fruit, Clapton's lack of commitment frustrated Winwood and Blind Faith would call it quits after only one album and tour. At the dawn of the 1970s, Winwood found himself without a band. Still overflowing with creativity, he began work on his first solo album, with the intention of calling it Mad Shadows. Winwood's musical vision included elements of American R&B, jazz and psychedelic rock but retained a distinctive British flavor. With an undeniable reverence for Ray Charles and a voice just as compelling, he continued blending the same diverse elements that made his songwriting in Traffic so compelling. As the studio sessions progressed, Winwood enlisted his Traffic cohorts, Jim Capaldi and Chris Wood, whose contributions resulted in an album destined to become Traffic's most cohesive and focused artistic statement. Released in July of 1970, the John Barleycorn Must Die album would undeniably prove what tremendous composers Winwood and Capaldi had become and was the first Traffic album to attain gold status and would eventually be celebrated as one of the greatest rock albums of all time.

Poster 1970

In April of 1970, prior to the release of the John Barleycorn album, Winwood, Capaldi, and Wood unveiled much of this new material before an intimate live audience at the Paris Theater in London. Hosted by legendary DJ, John Peel, who had long championed the group, this now historic performance was captured for the BBC Radio One "In Concert" series. Showcasing much of the new material, as well as a few choice songs from the second and third Traffic LPs, this recording captures the formidable power and instrumental dexterity of the trio lineup of Traffic. Always respected as a keyboard player and vocalist, this show also illuminates what a talented guitar player Winwood had become. Just as impressive is Chris Wood, who changes instruments on nearly every song, performing on piano, organ, sax, flute, and percussion. It is more often than not Chris Wood's multi-instrumentalist contributions that add dimension, diversity and flavor to Winwood and Capaldi's most brilliant compositions.

The performance kicks off with a nod to the past, with "Who Knows What Tomorrow May Bring," a classic song from the group's second self-titled album. A writing collaboration between Winwood, Capaldi, and Wood, this serves as the perfect introduction for this trio lineup, featuring Winwood on organ and vocals, Capaldi on drums and Wood handling everything else, including electric piano, sax, and percussion. Often Traffic's set opener during this era, this song serves as the perfect warm-up exercise, allowing the group to flex their improvisational muscles before tackling more adventurous material. Following an introduction by John Peel, they continue with similar instrumentation on the first of the new tracks to be performed, "Every Mother's Son." This majestic atmospheric gem would be destined to close the John Barleycorn album and features sensational instrumental contributions from all three musicians and one of Winwood's most impassioned vocals.

Poster 1971

The third song of the set, "No Time To Live," aired only during the initial live broadcast, is unfortunately not included. It is speculated that the BBC's recording equipment malfunctioned during this song as it was not included on subsequent transmissions of this performance and appears to only exist from inferior airchecks of the initial broadcast. However, the "Medicated Goo" that follows is terrific, featuring Winwood and Capaldi sharing vocal duties, Winwood now switching to electric guitar and Wood playing the bass part on electronically processed tenor sax. Here the song is more immediate and stripped down compared to its studio counterpart, but it is just as tight and all the more enjoyable for it. 

The most intimate moment of the entire set follows with the unveiling of the haunting title track from the forthcoming album, John Barleycorn. With Winwood on acoustic guitar and Capaldi and Wood adding sparse percussion in the form of tambourine and triangle, their interpretation of this traditional English folk ballad is performed with quiet, exquisite perfection.

Before they unveil additional new material, they again return to the second Traffic album with a performance of "Pearly Queen." Here Winwood gets to flex his guitar chops, while Wood takes over on organ (and bass using the organ's foot pedals) and Capaldi returns to his drum kit. This is another remarkable performance that is a dynamic testament to the magical chemistry between these three musicians. John Peel says it best during his post song commentary, where he astutely mentions, "If you are a guitarist and you think you got to go on playing those same old blues riffs at ear-shattering volume, in order to make it, you don't - and that's proof of it."

The remainder of the set is devoted entirely to new material, beginning with the infectious "Empty Pages," played close to the album version, but with a raw live intensity. Chris Wood remains on organ for this number with Winwood switching to electric piano. They again take the opportunity to stretch out a bit, with Winwood and Wood applying their formidable improvisational skills to this bouncy number. With just two keyboards and drums, this features unquestionably odd instrumentation for a rock band, but they deliver an engaging performance that never lacks for instrumentation.

The most breathtaking moments are saved for last, with the public unveiling of the Ray Charles influenced "Glad," paired up with the jazz-rock composition "Freedom Rider." The fact that these now classic compositions were being heard together for the first time is justification for celebration and the performances are truly outstanding. The piano dominated "Glad" is now widely considered to be Winwood's instrumental masterpiece and this early performance of it features Winwood, Capaldi, and Wood trading licks like musicians possessed. Both "Glad" and "Freedom Rider" find the band jamming at an extraordinary level, exploring exciting possibilities within the arrangements. 

Much like the John Barleycorn album itself, these performances remain highly compelling nearly four decades later. These three musicians have never sounded more cohesive or inspired as they do right here, cementing the fact that this recording is one of the most outstanding Traffic sets ever captured on tape.

Traffic
April 30, 1970
London, England
Paris Theatre
BBC In Concert

01.Who Knows What Tomorrow May Bring
02.Every Mothers Son
03.No Time To Live
04.Medicated Goo
05.John Barleycorn
06.Pearly Queen
07.Stranger To Himself
08.Empty Pages
09.Glad
10 - Freedom Rider

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Jeff Beck - BBC Radio Broadcast 1971-12-09 (Bootleg)

Size: 94.8 MB
Bitrate: 320
mp3
Found in OuterSpace
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The Jeff Beck Group was an English rock band formed in London in January 1967 by former Yardbirds guitarist Jeff Beck. Their innovative approach to heavy-sounding blues and rhythm and blues was a major influence on popular music.

The first Jeff Beck Group formed in London in early 1967 and included guitarist Jeff Beck, vocalist Rod Stewart, rhythm guitarist Ronnie Wood, with bass players and drummers changing regularly. Early bass players were Jet Harris and Dave Ambrose, with Clem Cattini and Viv Prince trying out on drums. The lineup went through months of personnel changes, notably no less than four drummers before settling on Aynsley Dunbar and switching Ron Wood to bass. This line up spent most of 1967 playing the UK club circuit and appeared several times on BBC Radio. Beck 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.

During 1967 the band released three singles in Europe and two in the United States, the first being the most successful. "Hi Ho Silver Lining" reached No. 14 on the UK singles chart and included the instrumental "Beck's Bolero" as the B side, which had been recorded several months earlier. The lineup for that session included guitarist Jimmy Page on rhythm guitar, bass player John Paul Jones, drummer Keith Moon (of The Who) and pianist Nicky Hopkins. Another two tracks are said to have been recorded, but have never seen the light of day. Each artist involved were keen to start a band, but because of contractual complications and other responsibilities it never took place. The next two singles fared far worse, although Rod Stewart and the rest of the Jeff Beck Group can be heard on both B sides. Frustrated that the band was not playing a strict enough blues set for his taste (they were actually billed quite often as "The Jeff Beck Blues Band"), drummer Dunbar left and was replaced by Roy Cook for one show, before Stewart recommended Micky Waller, a bandmate of his from Steampacket. Waller went on to play with the band all through 1968 and early 1969, and was their longest-lasting drummer.

1971 Poster

Peter Grant, a road manager at the time, had been to the US with The New Vaudeville Band, and was aware of the new concert and Album-oriented rock FM radio format developing there. It was now possible to break out a band without using the "hit single" formula. Grant realised that Beck's band was ideal for this market and tried several times to buy Beck's contract from Mickie Most, who refused to let Beck go. By early 1968 the band was ready to throw in the towel, and again to his credit, Grant convinced them not to break up, and booked a short US tour for them. Beck is quoted as saying "We were literally down to one change of clothing each". Grant's first stop for them was in New York City, for four shows at Fillmore East, where they played second on the bill to The Grateful Dead. They apparently took the town by storm. The New York Times ran the Robert Shelton article: "Jeff Beck Group Cheered in Debut", with the byline "British Pop Singers Delight Fillmore East Audience" proclaiming that Beck and his group had upstaged the Grateful Dead. The reviews from The Boston Tea Party were as good or better: "By the time he got to his last number... (the fans) were in a state of pandemonium the likes of which hadn't been witnessed since The Beatles hit town." By the time they wrapped up the tour at San Francisco's Fillmore West, Peter Grant had secured them a new album contract with Epic Records.

The band quickly returned to England to record Truth, which reached No. 15 in the US charts. The tracks were recorded within two weeks, with overdubs added the following month. Mickie Most was busy with other projects at the time and delegated most of the work to Ken Scott who basically recorded the band playing their live set in the studio. Beck's amplifier was apparently so loud, it was recorded from inside a closet. The extra line up for these sessions included John Paul Jones on Hammond organ, drummer Keith Moon and Nicky Hopkins on piano. They returned to the US for a tour to promote the release of Truth, billed as The Jeff Beck Group. Long time Beck fan Jimi Hendrix jammed with the band at Cafe Wha during this and their following tours.

They embarked on their third tour in December 1968 with Nicky Hopkins, who although in poor health, decided he wanted to play live. He accepted Beck's invitation, even though he had been offered more money by Led Zeppelin. Later, he lamented that "We lost one of the greatest bands in Rock history...." This was high praise from someone who played and recorded with some of the most stellar acts in the business. Even with his best intentions, the last leg of the tour was curtailed by illness. Beck then postponed a fourth, February 1969 US tour. This was also because he felt they shouldn't keep playing the same material with nothing new to add to it. New material was written, Micky Waller was replaced by power drummer Tony Newman and Wood was dismissed, only to be re-hired almost immediately. The success of Truth ignited new interest from Mickie Most and they recorded an album with the same name of their earlier single: Beck-Ola at De Lane Lea Studios, engineered by Martin Birch. They released the single "Plynth" and laid down three Donovan backing tracks as a favour to Most. Two of them were used for his single "Barabajagal (Love Is Hot)".

In May 1969 the Jeff Beck Group embarked on their fourth U.S tour, this time with Nicky Hopkins as a full fledged member. The tour went smoothly, Beck-Ola was received extremely well, reaching No. 15 on The Billboard Charts, but it was reported that there was now terrible in-fighting within the band. Rod Stewart had recorded his first album An Old Raincoat Won't Ever Let You Down for Mercury Records. They finished and returned to England, only to turn around and come right back to the States in July 1969 for their fifth and final time. It was a short tour, mostly along the East Coast, including Maryland, their final Fillmore East appearance, and the Newport Jazz Festival. Beck broke up the band on the eve of the Woodstock Music Festival, although they had been scheduled to play there. This is something that Beck now regrets.

1969 Poster

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. After hearing Bobby Tench perform with his band Gass, "Upstairs" at Ronnie Scott's club in Soho London,[4] 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 25 October 1971, with the US release following during February 1972. A sixteen day promotional tour in USA followed and the album eventually reached No. 46 in the album charts.

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

On 24 July 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 successful, 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"

Cozy Powell:
Colin Flooks (29 December 1947 – 5 April 1998), better known as Cozy Powell, was an English rock drummer, who made his name with many major rock bands like The Jeff Beck Group, Rainbow, Whitesnake and Black Sabbath.Powell also played with swamp rocker Tony Joe White at the Isle of Wight Festival 1970. Powell then landed the then highly prestigious drumming job with Jeff Beck's group in April 1970. Their first project was to record an album of Motown covers in the USA. This was never finished and remains unreleased. After the recording of two albums, Rough and Ready (October 1971) and Jeff Beck Group (July 1972), the band fell apart. [Wikipedia]

JEFF BECK
BBC radio broadcast 1971

Jeff Beck - Guitar
Bob Tench - Vocals
Max Middleton - Keyboards
Clive Chaman - Bass
Cozy Powell - Drums 

01. Ice Cream Man
02. Morning Dew
03. Definately Maybe
04. Aint No Sunshine
05. Got The Feelin
06. Let Me Love You

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Fleetwood Mac - Ultrasonic Studios FM 1974-10-08 (Bootleg)

Size: 157 MB
Bitrate: 320
mp3
Found in OuterSpace
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Transitional era (1970–75):
Kirwan and Spencer were left with the task of having to fill up Peter's space in their shows and on their recordings. In September 1970, Fleetwood Mac released Kiln House. Kirwan's songs moved the band in the direction of 70s rock. Meanwhile, Spencer's contributions focused on re-creating the country-tinged "Sun Sound" of the late 1950s. Christine Perfect, who had retired from the music business after one unsuccessful solo album, contributed to Kiln House, singing backup vocals, and drawing the album cover. Since Fleetwood Mac were progressing and developing a new sound, Perfect was asked to join the band. They also released a single at that time; "Dragonfly" b/w "The Purple Dancer" in the U.K. and certain European countries. Despite good notices in the press, the single was not a success and the B-side has been reissued only once, on a Reprise German-only "Best of" album, making it one of their most obscure songs.

Christine Perfect was married to bassist John McVie, and made her first appearance with the band as Christine McVie at Bristol University in May 1969 just as she was leaving Chicken Shack. She had had success with the Etta James classic, "I'd Rather Go Blind", and was twice voted female artist of the year in England. Christine McVie played her first gig as an official member on 6 August 1970 in New Orleans. CBS Records, which now owned Blue Horizon (except in the US and Canada), released an album of previously unreleased material from the original Fleetwood Mac called The Original Fleetwood Mac. The album was relatively successful, and the band seemed to be gaining popularity again.

While on tour in February 1971, Jeremy Spencer said he was going out to "get a magazine", but never returned. After several days of frantic searching, the band discovered that Spencer had joined a religious group, the Children of God. Liable for the remaining shows on the tour, they convinced Peter Green to help finish the tour. He brought along his friend, Nigel Watson, who played the congas (twenty-five years later Green and Watson would collaborate again to form the Peter Green Splinter Group). Green, however, would only be back with Fleetwood Mac temporarily, so the band decided to search for a new guitarist.

In the summer of 1971, the band held auditions for a guitarist in their large country home, "Benifold", which they bought prior to the Kiln House tour. A friend of the band named Judy Wong recommended her high school friend, Bob Welch, who was living in Paris at the time. The band had a few meetings with Welch and decided to hire him, without actually playing with him or listening to any of his recordings.

In September 1971, the band released Future Games. This album was radically different from anything the band had done up to that point. There were many new fans in America who were becoming more and more interested in the band. In Europe, CBS released Fleetwood Mac's first Greatest Hits package, which was predominantly composed of songs by Peter Green, though there was one song by Spencer and one by Kirwan.

In 1972, six months after the release of Future Games, the band released the well-received album Bare Trees. Bare Trees featured Welch's "Sentimental Lady", which would be a much bigger hit for him five years later when he re-recorded it for his solo album French Kiss, backed with Mick Fleetwood, Christine McVie, and Lindsey Buckingham. It also featured "Spare Me a Little of Your Love", a bright Christine McVie tune that would become a staple of the band's live act throughout the early-to-mid 1970s.

While the band were doing well in the studio, their tours were more problematic. Danny Kirwan developed an alcohol dependency and became alienated from Welch and the McVies. It wasn't until he smashed his Les Paul Custom guitar, refused to go on stage one night, and criticised the band afterwards that Fleetwood finally decided that he had no choice but to fire Kirwan.

The next two and a half years proved to be the most challenging for the band. In the three albums they would release in this period, they would constantly change line-ups. In September 1972, the band added guitarist Bob Weston and vocalist Dave Walker, formerly of Savoy Brown. Bob Weston was well known for playing slide guitar and had known the band from his touring period with Long John Baldry. Fleetwood Mac also hired Savoy Brown's road manager, John Courage. Mick, John, Christine, Welch, Weston, and Walker recorded Penguin, which was released in January 1973. After the tour, the band fired Walker because his vocal style and attitude did not fit in with the rest of the band.

The remaining five carried on and recorded Mystery to Me six months later. This album contained the song "Hypnotized" which got a lot of airplay on the radio and became one of the band's most recognisable songs to date. The band were justifiably proud of the new album and were poised to make it a hit. However, things were not well within the band. The McVies' marriage at this time was under a lot of stress, which was aggravated by their constant working with each other, and John McVie's considerable alcohol abuse. During the tour, Weston had an affair with Fleetwood's wife, Jenny Boyd Fleetwood, the sister of Pattie Boyd Harrison. Fleetwood soon fired Weston and the tour was cancelled. Due to lack of touring, the album sold less than its predecessor.

In what would be one of the most bizarre events in rock history, the band's manager, Clifford Davis, claimed that he owned the name Fleetwood Mac and put out a "fake Mac". Nobody in the "fake Mac" was ever officially in the real band, although some of them later acted as Danny Kirwan's studio band. Fans were told that Bob Welch and John McVie had quit the group, and that Mick Fleetwood and Christine McVie would be joining the band at a later date, after getting some rest. Fleetwood Mac's road manager, John Courage, worked one show before he realised that the line being used was a lie. Courage ended up hiding the real Fleetwood Mac's equipment, which helped shorten the tour by the fake band. But the lawsuit that followed put the real Fleetwood Mac out of commission for almost a year. The issue was who actually owned the name "Fleetwood Mac". While it would seem obvious that the band was named after Fleetwood and McVie, they had signed contracts that showed the band forfeited the rights to the name.

During this period, Welch stayed in Los Angeles and connected with entertainment attorneys. Welch quickly realised that the band was being neglected by Warner Bros., and that if they wanted to change that, they would have to change their base of operation to Los Angeles. The rest of the band agreed immediately. Rock promoter Bill Graham wrote a letter to Warner Bros. to convince them that the "real" Fleetwood Mac were in fact Fleetwood, Welch and the McVies. While this did not end the legal battle, the band was able to record as Fleetwood Mac again. Instead of getting another manager, Fleetwood Mac decided to manage themselves.

The fake Mac consisted of Elmer Gantry (vocals, guitar), Kirby Gregory (guitar), Paul Martinez (bass), John Wilkinson (keyboards) and Craig Collinge (drums). Gantry and Gregory went on to become members of Stretch, Gantry would later join The Alan Parsons Project and Martinez would eventually become a bassist for Robert Plant's solo efforts.

After Warner Bros. made a record deal with the real Fleetwood Mac, the quartet released Heroes Are Hard to Find in September 1974. For the first time in its history, the band had only one guitarist. On the road, they added a second keyboardist. The first was Bobby Hunt, who had been in the band Head West with Bob Welch back in 1970, and the second was Doug Graves, who had been an engineer on Heroes Are Hard to Find. Neither proved to be a long-term addition to the line-up, although Graves was preparing to be a full member of the band following the US tour in late 1974.

Fleetwood Mac - Ultrasonic Studios - 10/8/74

Bob Welch: guitar, vocals
Christine McVie: keyboards, vocals 
John McVie: bass 
Mick Fleetwood: drums
Bobby Hunt: keyboards

01.  Green Manalishi
02.  Spare Me a Little of Your Love
03.  Sentimental Lady >
04.  Future Games
05.  Bermuda Triangle
06.  Why
07.  Angel
08.  Homeward Bound
09.  Rattlesnake Shake
10.  Hypnotized
11.  Black Magic Woman

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Bootleg Site (?)

Hi all.

This blog has not become to be a "bootleg site", i just feel to add great & rare concerts, outtakes etc. in excellent soundquality. That's all folks...

//ChrisGoesRock