Thursday, July 26, 2012

The Sherwoods - 1969-05-03- Vulcan Gas Company - Austin Texas - Great Psychedelic Garage Band (Wave)



They were a Houston band. After the Vulcan gig, they got a deal with Mercury and cut a single (Ride Baby Ride/No Deposit, No Return), and another
unreleased side (Oddly enough) who may be on one of the Acid Visions thing.The band broke up around 70.


Credits
Vocals - Michale Claxton
Drums - John Clary
Rhythm guitar - David Franklin
Lead guitar - Jim Frye
bass - Kenny Blanchet





Monday, July 23, 2012

Thunder & Lightning (Aka Gravenites Cipollina Band) - 1984-03-31 (2 sets) - Stanhope House - Stanhope - New Jersey


Set List:
Disc One (Time 60:10m):
First Set (10:26 PM)
01.  Blues In The Bottle
02.  Pride Of Man
03.  Broke Down Blues (?)
04.  Blues Back Off
05.  Run Out Of West
06.  Small Walk-In Box
07.  Four Floors Or Forty
08.  I'm A Dancing Fool
09.  Right Hand World (?)
10.  Break Song


Disc Two (Time 44:23m):
Second Set (11:59 PM)
01.  Walkin' Blues
02.  Six Weeks In Reno
03.  I Did It For The Band
04.  You Can't Hurt Me No More
05.  Who Do Your Love?
06.  Bad Luck Baby


Disc Three (Time 46:04m):
Second Set (cont.)
01.  Fantasy World
02.  Unknown Instrumental
03.  I'll Pull The Trigger
04.  Trouble In Mind
05.  Mona
06.  Momma Don't Allow Me (?)


John Cipollina - guitar & vocals
Nick Gravenites - guitar & lead vocals
Greg Elmore - drums 
Doug Kilmer - bass



The "Stanhope House" was a fabulous roadhouse in Northwest New Jersey, near Lake
Hopatcong. They booked an eclectic bunch of rock, blues, country, and folk acts. The
area was beautiful, very rural, and the atmosphere in the club was very relaxed. I saw
quite a few acts there, covering many of those genres. Sound and sightlines were 
good, especially if you got there early, and snagged a good table. I heard that it closed
not too long ago, which is a real shame. There were usually two sets, which often made
for a very late evening. 
This was my first time to see John Cipollina, and my favorite of the three bands I saw him
perform with. The added bonus was Nick Gravenites, who I also thought was super. I met
John prior to the show, and had him autograph a few things for me. He was incredibly 
nice, and must have talked to me for half an hour about his career. He would often do
some calligraphy on whatever he signed, as well as his autograph. A great, and very
underappreciated player. The last time I was at the Rock N' Roll Hall Of Fame in Cleveland,
they had his Gibson SG with his wild amplification system, with all the horns, on display.(Comment & original post by bpthree....Many Thanks) 

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Sunday, July 22, 2012

Sounds of San Francisco With John Cipollina - 1986-02-25 - Jonathan Swifts Cambridge, MA (Flac)



Disc 1: 45:50
01: I Can't Make It By Myself
02: Well All Right
03: She's Not There
04: All Worth The Price You Pay
05: Black Magic Woman
Disc 2: 44:57
01: Gimme Some Lovin'
02: Stormy Monday
03: Hideaway
04: Bass Solo
05: Honky Tonk Jekyll and Hyde



John Cipollina - guitar, vocals
Greg Douglass - guitar
Alex Ligertwood - guitar, vocals
Dave Margen - bass
Jim? - drums (filling in for Greg Elmore)
Guests: Matt Kelly, Barry Flast, & Anna Rizzo of Kingfish who where also on the bill

Savoy Brown - Havana - New Hope PA - July 22th 2011 (Wave)

Great concert with two Legends : Kim Simmonds & Mark Doyle (Jukin' Bone, Free Will, Doyle Whiting Band) ....
.
Great show as always by our hero and his traveling companions. Similar setlist to the excellent shows posted by analog4011 and fubb (thanks again guys), but hi, NO Hellbound Train OR Tell Mama and YES Louisiana Blues## and Jack The Toad@@!! Skipping Tell Mama, brave move, but nobody seemed to mind. Kim came out of the gates all over the stage and cranking out the power chords. He even clammed it up once or twice amidst his enthusiasm (and joked about it later). Kim caught fire during the solo in Looking In and stayed hot the rest of the night. She Got The Heat is normally a slide workout, but he couldn't find the slide (and didn't feel like looking for it) so he played it "Chuck Berry style." Joe Whiting's sax playing is a real good addition. He doesn't play much, but when he does it enhances rather than getting in the way. Check out the way he ups the ante on I'm Tired after Kim's amazing acoustic guitar solo. Anyway, yeah, great band line-up, the new album (Oct. 11 he says) is gonna be amazing - can't wait. All the new songs killed me. I was several tables back - hard to judge distance. There was a bit of chatter, but nothing close - this recording came out well, there is pleasure to be gained from listening to it (By Realomind). .
Credits:
Kim Simmonds - Guitar, Lead Vocals*
Jumpin' Joe Whiting - Lead Vocals, Saxophone
Pat DeSalvo - Bass
Garnett Grimm - Drums


Tracks Listing:
01. Meet The Blues Head On
02. Looking In
03. Natural Man
04. Streetcorner Talkin'*
05. Little Red Rooster
06. She Got The Heat
07. Train To Nowhere*
08. Gypsy
09. I'm Tired
10. Jack The Toad
11. Wang Dang Doodle
12. Voodoo Moon
13. Louisiana Blues*
14. --Crowd--
15. Leaving Again



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Badger - One Live Badger (1973 great uk heavy progressive recorded live - Wave)


Track Listing
1. "Wheel of Fortune" 7:50
2. "Fountain" 7:22
3. "Wind of Change" 7:15
4. "River" 6:50
5. "The Preacher" 3:59
6. "On the Way Home" 7:39

Credits
Tony Kaye - keyboards, mellotron, Moog synthesiser
Brian Parrish - guitar, Vocals 
Dave Foster - bass guitar, vocals
Roy Dyke - drums 


Badger were one of those seventies bands that are barely remembered outside the circle of hard-core Yes fans. Only in existence for a couple of years, they managed to produce two albums, White Lady, the 1974 studio album which was a fairly mellow, soul-influenced affair featuring ex-Apple Records artist Jackie Lomax, and the altogether more interesting progressive rock debut One Live Badger. Formed in mid 1972, the roots of the band stretch back a few years earlier when Tony Kaye linked up with David Foster who was getting material together for a prospective solo album. Foster, a former band mate of Jon Anderson in The Warriors, was first introduced to the Yes camp when he co-wrote Sweet Dreams and Time And A Word with the vocalist with for the band's second album. Although the solo album was eventually scrapped, Foster and Kaye kept in touch and following Kaye's departure from Yes and brief involvement with Flash, set about remixing and reworking the original material. .
Deciding to form a band to play and record the songs, drummer Roy Dyke was recruited from the recently disbanded Ashton, Gardener and Dyke who recommended that guitarist Brian Parrish, who had recorded a largely ignored album with Adrian Gurvitz, should complete the line-up. After intensive rehearsals, the band made their debut at "The Rainbow Theatre" in December 1972 supporting Yes at the infamous concerts that spawned the sprawling Yessongs live album. Atlantic Records, to whom both groups were signed, decided that as the equipment was in place they should make the most of their financial outlay and record the support group's set as well. In a bold move that seems rather extraordinary by today's standards, it was these recordings that formed the basis of One Live Badger.
And what a great album it is, the material is strong and the group sound as if they have been playing and writing together for years. The production, by the group, Jon Anderson and Geoffrey Haslam, is crisp although somewhat more raw and aggressive than the resulting Yes recordings from the same concerts. As expected, Kaye's signature Hammond organ sound is to the fore on most of the tracks (and in particular on the album closer On The Way Home), although he does use other keyboards to add different textures: the chorus of Wind of Change features the mellotron, The River utilises an electric piano to great effect and a Moog synthesiser is evident on other tracks. Guitarist Brian Parrish plays some great solos, although nothing too flash (excuse the pun!) or overburdened with technical virtuosity. The solid and efficient rhythm section are quite prominent in the mix, as one would expect from a live recording, Foster's bass in particular being particularly clear - the dynamic mix of driving bass, riffing guitar and wailing Hammond during On The Way Home is superb and probably something that could only be got away with on a live recording. The closest comparison would be akin to a rockier Traffic. 
Overall, a wonderful live album and worthy of inclusion in the collection of any fan of 1970s rock music, not just those drawn by the Yes connections. My only complaints are with the quality of the packaging. Roger Dean's cover artwork is poorly reproduced (the band name and album title are hard to see in detail), the booklet (four sides with only the front and rear artwork in colour) contains no extra information aside from the original sleeve notes and just reproduces the four colour photographs from the tray inlay in black and white. There are probably no bonus live recordings that could have been added to the album, 40 minutes would no doubt have been the length of the support act's set, and the inclusion of any existing rehearsal or demo cuts would have been incongruous, but one does feel that the addition of a few extra photos, a potted history of the band and even some reminiscences from the group members themselves would have helped justified what is effectively a full-price release. Still, it is the music that matters and on that score you can't complain at all.(From ChrisGoesRock)



Link

Saturday, July 21, 2012

Badger - White Lady - (1974 - uk soul funk rock with Jackie Lomax - Wave)


This is the least Yes-sounding album on this page, as Badger went full-tilt into soul. Parrish and Foster left the group, and were replaced by one-time Apple records artist Jackie Lomax (vocals, guitar), former Steeler's Wheel guitarist Paul Pilnick and bassist Kim Gardner. Lomax is White Lady's key figure; he not only writes all the songs, but has a fine smooth soul voice. Allen Toussaint recorded the album in New Orleans, and he gave the band the full contemporary R&B/soul sound - horns, backing singers, prominent rhythm section. Unlike One Live Badger or other English bands who explored American soul (Clapton or Traffic at times), Badger was far more interested in grooves than soloing (or even soloing over the grooves). Dyke and Gardner usually kickstart the tracks with a catchy rhythm ("Don't Pill the Trigger"), then Lomax swoons in, while everyone plays along. Pilnick sticks to rhythm , so they brought in Barry Bailey in on slide, with an appearance by Bryn Haworth as well. There are a few nods towards the Allman Brothers intertwined guitars (the ode-to-drugs title track with Jeff Beck playing lead, "Listen to Me"), but overall White Lady is really a group effort. Lomax is almost too low-key at points, and when he gets excited he has a tendency to get frog-voiced, but he is still the focal point. But this is about the grooves, and in conjunction with the excellent production they have plenty (the opening "A Dream of You" is great, "Be With You", "Lord Who Give Me Life"). Quite the guilty pleasure as such, but it failed to chart and the group broke up soon afterwards. Kaye subsequently joined Badfinger.


Tracks:
01. A Dream Of You - 4:13
02. Everybody - Nobody - 3:19
03. Listen To Me - 4:55
04. Don't Pull The Trigger - 4:01
05. Just The Way It Goes - 4:39
06. White Lady - 4:44
07. Be With You - 3:38
08. Lord Who Give Me Life - 3:03
09. One More Dream To Hold - 4:01
10. The Hole Thing - 6:07

Personnel:
- Tony Kaye - keyboards, mellotron
- Roy Dyke - drums
- Kim Gardner - bass
- Jackie Lomax - rhythm guitar, vocals
- Paul Pilnick - lead guitar
+
- Barry Bailey - slide guitar (4-8)
- Jeff Beck - guitar solo (6)
- Carl Blouin - baritone saxophone, flute
- Lester Caliste - trumpet
- Mercedes Davis - backing vocals (1-3,5-8)
- Joan Harmon - backing vocals (1-3,5-8)
- Bryn Haworth - slide guitar (3)
- Teresipa Henry - backing vocals (1-3,5-8)
- John Lango - trombone
- Bobby Montgomery - backing vocals (2-9)
- Jessie Smith - backing vocals (2-9)
- Alvin Thomas - tenor saxophone
- Allen Toussaint - piano (3-4), organ (9), congas (1-3,10)

Link

Sunday, July 8, 2012

Canned Heat - Boogie With Canned Heat(1968 Us Fantastic Psychedelic Blues Rock & Boogie - Wave)


Canned Heat's second long-player, Boogie With Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet -- consisting of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), and Bob "The Bear" Hite (vocals) -- follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" -- which became the combo's first, and arguably, most significant hit -- as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite's update of Tommy McClennan's "Whiskey Headed Woman." The Creole anthem "Marie Laveau" is nothing like the more familiar cut by Bobby Bare, although similarities in content are most likely derived from a common source. The side, as rendered here, is arguably most notable for the driving interaction between guitarists Wilson and Vestine as they wail and moan over Hite's imposing leads. Saving the best for last, the Heat are at the height of their prowess during the lengthy audio biography on "Fried Hockey Boogie." Each member is introduced by Hite and given a chance to solo before they kick out the jams, culminating in Hite's crescendo of " ... Don't forget to boogie!" In 1999 the French label, Magic Records, issued an expanded edition of Boogie With Canned Heat supplemented by half-a-dozen sides, such as the 45 RPM edits of "On the Road Again," "Boogie Music" and "Goin' Up the Country." Also included are the once difficult-to-locate 45-only "One Kind Favor," as well as the seasonal offering "Christmas Blues" and "The Chipmunk Song" -- with guest shots from none other than Alvin, Simon, Theodore, and David Seville of the one and only Chipmunks. For enthusiasts as well as listeners curious about the oft-overlooked combo, this is an essential, if not compulsory platter. ~ Lindsay Planer,(All Music Guide)





Tracks listing
01-"Evil Woman" (Larry Weiss) – 2:59
02-"My Crime" (Canned Heat) – 3:57
03-"On the Road Again" (Floyd Jones, Alan Wilson) – 5:01
04-"World in a Jug" (Canned Heat) – 3:29
05-"Turpentine Moan" (Canned Heat) – 2:56
06-"Whiskey Headed Woman No. 2" (Bob Hite) – 2:57
07-"Amphetamine Annie" (Canned Heat) – 3:56
08-"An Owl Song" (Wilson) – 2:43
09-"Marie Laveau" (Henry Vestine) – 5:18
10-"Fried Hockey Boogie" (Larry Taylor) – 11:07
Bonus Tracks
11-"On The Road Again"- 3:22
12-"Boogie Music" - 2:46
13-"Goin' Up The Country" - 2:51
14-"One Kind Favor" - 4:54
15-"Christmas Blues" - 2:35
16-"The Chipmunk Song" - 2:49

Personnel
Bob Hite – Vocals, Harmonica
Alan Wilson – Slide Guitar, Vocals, Harmonica
Henry Vestine– Lead guitar
Larry Taylor – Electric Bass
Fito de la Parra – Drums

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Thursday, July 5, 2012

Rockets - Live Rockets - 1983 (Vinyl rip - wave)



The last record by Rockets in 1983 . A great live album hard to find ....
Vinyl rip & scans by myself ...
Enjoy !!!


Jim McCarty - Guitar, Background Vocals
John "Bee" Badanjek - Drums, Background Vocals
David Gilbert - Lead Vocals
Donnie Backus - Keyboards, Synthesizer, Background Vocals
Bobby Neil Harrelson - Bass
Chuck Perraut - Sax
Shaun Murphy - Background Vocals
Suzi Jennings - Background Vocals
Mary Kay Lalla - Background Vocals


Recorded at the Royal Oak Music Theatre near Detroit


01- Rollin' By The Record Machine
02- Desire
03- Can't Sleep
04- Sally Can't Dance
05- Takin' It Back
06- Open The Door To Your Heart
07- Oh Well
08- Turn Up The Radio
09- Born In Detroit


Here