mercredi 28 mai 2014

Hookfoot - Good Times A'comin' (1972 great uk classic rock With country folk shades - flac)

Back in the day of glorious, analog, pre-Dolby music (you young'uns are being ripped off royally with this crappy digital music: whoever convinced anyone that this was a better format than analog. The human ear picks up analog by nature!), Hookfoot's "Good Times A'comin," was the kind of spin-off band LP from musicians who played for the mega-stars of classic rock when they had free time from touring and cutting albums in studio. This LP is from the era of Elton John's Tumbleweed Connection LP, which extends the great country-western / folk genre that made that LP so great, before EJ became the legendary musician (and oddball) that he is today. Caleb Quaye's guitar work alone makes this a memorable LP. Listen to Tumbleweed Collection and related music, plus Blue Moves (esp. One Horse Town), and the electric guitar version of "Madman Across the Water" to understand Caleb's guitar prowess. Too bad the LP is virtually unknown. It should be on CD, maybe bundled with Bernie Taupin's "He Who Rides the Tiger," which recently came out on affordable CD. Spectacular classic rock LP.(By Jeffrey A. Gross)

01- Sweet Sweet Funky Music (Caleb Quaye) 3:14
02- Living In the City (Caleb Quaye) 4:56
03- If I Had the Words (Duck-Glover-Pope-Quaye) 3-20
04- Gunner Webb's Changes (Ian Duck) 3:12
05- The Painter (Caleb Quaye) 6:01
06- Flying In the U.S.A (Caleb Quaye) 4:17
07- Is Anyone There (Duck-Glover-Pope-Quaye) 4:08
08- Slick's Blues For Jumbo (Duck-Quaye) 1:47
09- Look To Your Churches (Duck-Quaye) 2:38
10- Good Time a' Comin' (Duck-Glover-Pope-Quaye) 6:27
11- Gimme Shelter (Jagger-Richards) 4:22

Caleb Quaye : Guitar, Vocals, Keyboards
Ian Duck : Vocals, Guitar, Harp
Dave Glover : Bass
Roger Pope : Drums, Percussion

Bob Kulick : Guitar, Vocals


vendredi 23 mai 2014

Captain Marryat - Captain Marryat (1974 great scottish rock with hammond organ/guitar duet - Flac)

Named after the 19th Century mariner and novelist, this Glaswegian band made just one privately-pressed LP. Its back cover announces that ‘Captain Marryat is a Scottish band, and have been playing together for just under a year. They already have a sizeable following in the pubs n’ clubs circuit and this, their first LP, is a sample of the music that brought them success’. The line-up was Tommy Hendry (vocals, acoustic guitar), Ian McEleny (lead guitar, acoustic guitar), Allan Bryce (organ, vocals), Hugh Finnegan (bass, vocals) and Jimmy Rorrison (sic) (drums, vocals). They were originally intending to record a single, but the engineer at the Glasgow studio they’d booked told them that there was time enough to make a whole album. They therefore taped five tracks they’d already written (‘Blindness’, ‘It Happened To Me’, ‘A Friend’, ‘Songwriter’s Lament’ and ‘Changes’) and finished the LP with an improvised jam (‘Dance Of Thor’). The result came in a drab flipback sleeve, and according to one dealer is ‘a progressive rock rarity with psych flourishes – doom-laden organ plus acid guitar riffs and strong male vocals’. The 250 copies pressed were sold at gigs, and two that surfaced on eBay in late 2008 went for around £3000 each. (

01- Blindness
02- It Happened to Me
03- A Friend
04- Songwriter's Lament
05- Changes
06- Dance of Thor

Jimmy Rorrison - Vocals/Drums
Hugh Finnegan - Bass/Vocals
Allan Bryce - Organ/Vocals
Tommy Hendry - Vocals/Acoustic Guitar
Ian McEleny - Lead Guitar/Acoustic Guitar

samedi 17 mai 2014

Spirit - California Blues (1996 us great psych blues & rock - Flac)

The last album released when Randy California (Wolfe) was alive and approving everything on the album. He also wrote a great section in the liner notes about his involvement with Jimi Hendrix in the Flames the summer of '66, and other aspects of Spirit history, and dedicating the album to his mother as the guiding force behind Spirit(she joined him in June of 2009). It was she who began his guitar lessons at age five, and made it so he could study under some blues greats. Spirit had a great band together at the time of this album, and the blues go from psychedelic to folksy.
He does the song written with Hendrix, "Look Over Yonder", and a Hendrix-like version of "Red House". "The River" has words that portend his own death saving his son from a rip tide(he joined Jimi, and John, on 01-02-'97), and the bonus of his poem for John Lennon was also used for him. Old blues throughout with guests; "Sugar Mama" with the Doors' Robby Krieger (who had also been with him on the Night of the Guitars, 1988 London), and Spencer Davis joining on his own song "Gimme Some Lovin'". "Crossroads" is done different than Cream's version. Old style "Pawn Shop Blues", and more plus bonus tracks.
Randy California (Wolfe, named by Jimi to differentiate him from the bass player Randy in the Flames)lead and rhythm guitar and vocals, Matt Andes (from Jo Jo Gunne)on slide guitar and vocals, Matt's daughter Rachel Andes on vocals, Steve (Liberty) Loria (an old Spirit hand and bassist for jazz and Motown greats) bass and vocals, and the great Ed (Cass)Cassidy on drums, percussion and vocals (before Spirit, he was with Taj Mahal and Ry Cooder, and before that with some jazz greats, rated as one of the best drummers of all time, even ahead of Ginger Baker and Ringo Starr).
California Blues is a Spirit Masterpiece.(By Michael G. O'Brien)

01."California Blues"   3:48
02."Look Over Yonder" (Jimi Hendrix)   2:35
03."The River"   4:22
04."Call On Me"   2:58
05."Crossroads" (Robert Johnson)   5:46
06."Song for Clyde"   5:40
07."Pawn Shop Blues" (Brownie McGhee, Sonny Terry)   2:48
08."Sugar Mama" (Chester Arthur Burnett)   3:18
09."Red House (live)" (Hendrix)   6:12
10."Gimme Some Lovin'" (Davis, Winwood, Winwood)   3:36
11."We Believe"   3:40
12."One World/Like a Dog/Poem for John Lennon/Shoes Back On/Tell – Everyone [live]" 

All songs written by Randy California except noted. 

Randy California - guitar, vocals
Ed Cassidy - drums, vocals
Matt Andes - slide guitar
Steve Loria - bass
Rachel Andes - vocals
John Locke - keyboards tracks 3,10,11,12
Scott Monahan - keyboards tracks 6,9,10
Spencer Davis - guitar, vocals track 10
Robbie Krieger - lead guitar track 8
Bruce Gary - drums track 10
Todd Smallwood - lead guitar track 12
Bob Nichols - drums track 3
Arthur Barrow - bass track 7
Denise Gula - strings track 4
Michael Lewis - horn arrangements


dimanche 11 mai 2014

The Blues Project - The Matrix - San Francisco - September 1966 - Soundboard (Flac)

The Blues Project was a short-lived band from the Greenwich Village neighborhood of New York City that was formed in 1965 and split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world's first jam bands, along with the Grateful Dead.

In 1964, Elektra Records produced a compilation album of various artists entitled The Blues Project which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album's release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles' arrival in America earlier in the year signified the end of the folk and acoustic blues movement that had swept young America in the early 1960s. The ensuing British Invasion was the nail in the coffin. Seeing the writing on the wall, Kalb gave up acoustic blues and switched to rock and roll, as did many other aspiring American musicians during this period.

Danny Kalb's first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on the Blues Project moniker as an allusion to Kalb's first foray on record. After a brief hiatus in the summer months of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals.

The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he sneaked into the "Like a Rolling Stone" recording session on Bob Dylan's seminal album Highway 61 Revisited. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately.

Soon thereafter, the Blues Project gained a record contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965. While the band was known for their lengthy interpretations of blues and traditional rock and roll songs (making them, along with the Grateful Dead, rock's first "jam band"), their first album saw them rein in these tendencies because of record company wariness as well as the time restrictions of the vinyl record.

Entitled simply Live At the Cafe Au Go-Go, the album was finished with another week of live recordings at the cafe in January 1966. By that time, vocalist Tommy Flanders had left the band and was not replaced. As a result, Flanders appears on only a few of the songs on this album.

The album was a moderate success and the band toured America to promote it. While in San Francisco in April 1966, during the height of the city's Haight-Ashbury culture, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York's answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities. (SOURCE: "Rock Family Trees" TV show.)

Returning to New York, the band recorded their second album and first studio album in the fall of 1966, and it was released in November. Arguably better than their first album, Projections was certainly more ambitious than their first album, boasting an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock. The centerpiece of the album was an 11-and-a-half minute version of "Two Trains Running", which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental, "Flute Thing", written by Kooper and featuring Kulberg.

Soon after the album was completed, though, the band began to fall apart. Al Kooper quit the band in the spring of 1967, and the band without him completed a third album, Live At Town Hall. Despite the name, only one song was recorded live at Town Hall, while the rest was made up of live recordings from other venues, or of studio outtakes with overdubbed applause to feign a live sound.

The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone and most of their early magic was, too. Al Kooper had formed his own band and played at the festival as well, but no sort of reunion was in the offing. Guitarist Steve Katz left soon thereafter, followed by founder Danny Kalb. A fourth album, 1968's Planned Obsolescene, featured only drummer Roy Blumenfeld and bassist Andy Kulberg from the original lineup. Upon the album's completion, the Blues Project called it quits.

In 1968, Al Kooper and Steve Katz joined forces once again to fulfill a desire of Al Kooper's to form a rock band with a horn section. The resulting band was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not stick around for any subsequent releases. Katz, on the other hand, remained with the band into the 1970s.

The Blues Project, with a modified lineup, reformed briefly in the early 1970s, releasing three further albums: 1971's Lazarus, 1972's The Blues Project, and 1973's The Original Blues Project Reunion In Central Park (which featured Al Kooper but not Tommy Flanders). These albums did little to excite the public, however. Since then, the group's activity has been confined to a few sporadic reunion concerts.

Al Kooper
Steve Katz
Roy Blumenfeld
Andy Kulberg
Danny Kalb

01. Intros
02. Louisiana Blues
03. Steve's Song
04. I Can't Kept From Crying
05. Caress Me Baby
06. Flute Thing 1
07. Wake Me Shake Me
08. The Way My Baby Walks
09. Love Will Endure
10. Jelly Jelly

01. Cheryl's Going Home
02. You Can' Catch Me
03. Talk
04. Shake That Thing
05. Talk
06. Catch The Wind
07. You Can't Judge A Book
08. Talk
09. Unknown
10. Hoochie Coochie Man
11. If You Don't Come Back

Great live album with incredible sound quality for a record of 1966 !!!
Enjoy !!!

samedi 10 mai 2014

Steppenwolf - Fillmore West - San Francisco - California - August 27th 1968 - Soundboard - Wave

This performance captures Steppenwolf at a pivotal time, early in their career, as the band was experiencing their first tastes of commercial success from the single off their debut album: the blazing biker anthem "Born To Be Wild." They had recorded but not yet released their second album (which contained the single "Magic Carpet Ride"), and were beginning to perform the more adventurous and experimental material to be included on that album, in addition to staples from their debut LP.This is an excellent performance that grabs you and doesn't let go. 

01. Your Wall's Too High 
02. Hoochie Coochie Man 
05. Born To Be Wild 
06. Desperation 
07. The Ostrich 
08. Tighten Up Your Wig 
09. Disappointment Number (Unknown) 
10. Lost And Found By Trial And Error 
11. Hodge Podge, Strained Through A Leslie 
12. Resurrection 
13. Baby Please Don't Go 
14. The Pusher

John Kay - Vocals, Guitar, Harp 
Michael Monarch - Guitar 
Goldy McJohn - Keyboards 
Rushton Moreve (aka John Russell Morgan) - Bass, Vocals 
Jerry Edmonton - Drums, Vocals 

jeudi 1 mai 2014

Corpus - Creation A Child (1971 great us psychedelic rock - Flac)

This album is one of the rarest psychedelic albums you can get, much sought after and very expensive, at least in it's original version. I’ve never come across an original US copy of this one. Privately pressed on Acorn in 1971 (Acorn 1001), this Psych Rock album is one of those crown jewels you have to spend a great amount of money to possess, its first pressing.

The record has been reissued on vinyl (Breeder (RPR 007-3C-567) 1986 and also counterfeited on vinyl and CD,later reissued on vinyl and CD (Akarma AK 113). The reissue is worth investigating but don't fork out lots of bucks on the original. 

I bought the bootleg knowing I’d never have the opportunity to buy the original red-label Acorn press (later Acorn pressings have a green/pink label).(Album it was reissued recently on CD Remastered, the British edition [AXCD 1016]Very good sound quality.)

American band playing nice, pretty catchy music bordering on hard rock and psychedelia. This is not a heavy proto metal style of album, but a more 'feel good' record, boogie blues meets psychedelia, full of upbeat harmonies, clean guitar solos Excellent vocal harmonies and ringing guitar work coupled with some heavy riffs blues-based two excellent guitar players, William Grate and Richard De Leon.

Group play with a touch sharper Roka psychedelia. A particularly noteworthy guitar (a bit like two guitarists Wishbone Ash), and compositions. Like everything is ok, but something in me, this is missing. The individual pieces taste better than a whole album together. "Creation A Child" is not an absolute must-have LP but it will please Psych Rock lovers.

Musically, this Corpus-Christi, TX-based band offers a great dose of bar-rockers, some inspired idle ballads "Joy" is really beautiful and a couple of forgettable cuts.The songs boast a soft and smooth guitar work, great vocals and a laid-back rhythm section.“Marriage” is one my favorite tracks, along with the majestic “Joy” but the before us "Creation A Child" that's a thoroughbred killer is everything: composition, mood, the guitar best track on the album

It's very hard to find out anything more about them and well make this a worthwhile reissue. The origin of the surname is simply the place of residence of the training is Corpus Christi, Texas. In the series of "beautiful losers" of those who disappeared after the completion of the famous record to record, exhausted by years of effort and perseverance, this is heavy with the Corpus. Not the heavy in the sense of sound but in that of the intrinsic quality of the work. One is immediately struck by the ease of musicians, to the point where one might think the result of a meeting of experienced professionals, and not that of an obscure combo. However, one rumor said that this would be teenagers.

Out of nowhere, Corpus has a hard enough personal and original. Elusive. A concept album with the subject of the short life. The music is around a U.S. Heavy-rock relatively close in the first two Blue Oyster Cult, with a stronger frame bluesy, and sometimes a few reminiscences Soul, and some sensations of Southern Rock.

The rhythm guitar is generally laid-back with a full kind of Marshall Gibson, with little or no saturation. The singing is clear, mix of 60's Pop crooner and "blue-eyes-Soul." The battery is cultivated, that is to say, she knows, if necessary, to diversify his game and his shot with a controlled use of cymbals. The bass is groovy, and the guitar solos are sparkling and bewitching. Musicians who are strong to inject pure emotion into their game. It is one of the many good little-known publishers of the 60/70. A forgotten gem, close to the masterpiece. It is worth it get acquainted! (By Adamus67)

01 - Cruising - 3.48
02 - Joy - 6.22
03 - Marriage - 3.35
04 - Creation A Child - 6.53
05 - Just A Man - 3.15
06 - We Can Make It, Luv - 2.30
07 - Not Mine - 3.29
08 - Where Is She - 3.36
09 - Mythical Dream - 4.54

Richard Deleon (De-De) : Lead Vocals, Rhythm Guitar
William Grate : Lead Guitar, Background Vocals
James Castillo (Beaver) : Bass
Frudy Lianes : Drums
Gilbert Pena Jr : Lyrics


The Farm Band - High On The Rim Of The Nashville Basin (1976 us psychedelic folk rock - vinyl rip - Wave)

Collector’s items since the beginning, all albums by the Farm Band have always been extremely hard to find due to the special nature of the band, a musical combo which sprang out from a hippie commune. Led by Thomas Dotzler (vocals/keyboards) and Walter Rabideau (guitar) the Farm Band’s sound has much in common with hippie combos like the Grateful Dead but also with psych-rock ensembles like Jefferson Airplane.

01. Wings Of My Heart 
02. Tennessee Scrap Iron Man 
03. Cotton Eyed Joe 
04. Keep It In Mind 
05. Everything’s Gonna Be All Right  
06. Baile De Los Changos 
07. Roncho Rondo 
08. Excusa M’Wah

Thomas Dotzler : Vocals Organ Piano Synthesizer
Linda Hershfield : Vocals & Piano
Louise Dotzler : Lead Vocal on Cotton Eyed Joe
Walter Rabideau : Electric & Acoustic Guitars Vocals on Everything’s Gonna Be All Right
Michael Sullens : Bass Guitar
David Chalmers : Drums
Philip Schweitzer & Patrick Thomas : Fiddles on Wings Of My Heart & Cotton Eyed Joe
Stephen : Percussion & Integration
Michael Tassone : Sound Engineer
Peter Paul & Mark : Artwork


Stephen & The Farm Band - Up In Your Thing (1973 us psychedelic folk rock - vinyl rip - Wave)

Second album by the farm community also known as the Farm Band. From Tennessee, a perfect hippie combo that lies somewhere between the Grateful Dead and Jethro Tull, performing long psycho blues suites with flute and violin solos. Featuring the original artwork which a poster and inlay notes about the history of the community.

01. Think It Over 
02. This World 
03. Come On Back 
04. Sooner Or Later/ Pick It Up 
05. Hey Beatnik! 
06. Nice Ladies 
07. A Better Look 
08. Easy Does It