Lemmy Kilmister

Texas Pop Festival part 13

Texas International Pop Festival 1969

Volume Thirteen: Partial sets (Part Two)

9/1/69 Dallas International Motor Speedway, Lewisville, Texas

Delaney & Bonnie & Friends (9-1-69)

SHN File

1. We Got To Get Ourselves Together (3:14)
2. The Ghetto (6:04)
3. When The Battle Is Over (6:58)
4. Things Get Better (3:47)

Delaney Bramlett - vocals, guitar
Bonnie Bramlett - vocals
Jerry McGee - guitar
Bobby Whitlock - organ, vocals
Carl Radle - bass
Jim Gordon - drums
Bobby Keys - sax
Jim Price - trumpet, trombone
Rita Coolidge - bg vocals
----------------------------

Tony Joe White (9-1-69)

5. Polk Salad Annie (5:50)
6. Aspen, Colorodo (3:24)
7. Can You See The Lightning (4:57)
8. Roosevelt & Ira Lee (5:18)
9. Hard To Handle (3:58)

Tony Joe White - guitar, vocals, harmonica
Tommy McClure - Bass
Sammy Creason - Drums
Mike Utley - Organ
----------------------------

Sweetwater (9-1-69)

10. What's Wrong-> jam-> What's Wrong (14:56)
11. Why Oh Why (3:46)

Nansi Nevins - vocals
Albert Moore - vocals, flute
Alex Del Zoppo - keyboards
Fred Herrera - bass
August Burns - cell
Elpidio Cobian - congas
Alan Malarowitz - drums

Download part 13

Texas Pop Festival 1969 part 11-12

Texas International Pop Festival 1969

Volume Eleven: Sly & The Family Stone

9/1/69 Dallas International Motor Speedway, Lewisville, Texas

SHN File

1. Intro-> M'Lady (7:09)
2. Sing A Simple Song (5:32)
3. You Can Make It If You Try (6:24)
4. Stand-> Love City-> Higher/announcements... (10:14)
5. Everyday People (3:12)
6. Dance To The Music-> Music Lover-> raps-> (8:19)
7. I Wanna Take You Higher-> Jam (9:40)

Sly Stone - organ, vocals
Rose Stone - electric piano, vocals
Freddie Stone - guitar, vocals
Larry Graham, bass, vocals
Cynthia Rubinson - trumpet, vocals
Jerry Martin - sax, vocals
Greg Errico - drums

Texas International Pop Festival 1969

Volume Twelve: Partial sets (Part One)

8/30->9/1/69 Dallas International Motor Speedway, Lewisville, Texas

Grand Funk (8-30-69)

1. Intro (0:08)
2. Are You Ready (3:42)

Mark Farner - vocals guitar
Mel Schacher - bass
Don Brewer - drums
----------------------------

Incredible String Band (8-31-69)

3. -announcements>Introduction (1:02)
4. Waiting For You (6:31)
5. Black Jack Davy (4:25)

Robin Williamson - vocals, guitar
Mike Heron - vocals, guitar
Christina "Licorice" McKechnie - percussion, organ, vocal
Rose Simpson - percussion, violin, bass guitar
----------------------------

Sam & Dave (8-30-69)

6. I've Been Loving You Too Long (10:44)
7. May I, Baby? (4:04)

Sam Moore - vocals
Dave Prater - vocals
Steve Cropper - guitar
Booker T Jones - organ
Donald "Duck" Dunn - bass
Al Jackson, Jr. - drums
Wayne Jackson - trumpet
Joe Arnold - sax
----------------------------

Herbie Mann (8-30-69)

8. Tangier-> (7:47)
9. Improvisation (7:12)

Herbie Mann - flute
Sonny Sharrock - guitar
Miroslav Vitous - bass
Roy Ayers - vibraphone
Bruno Carr - drums
----------------------------

Canned Heat (8-30-69)

10. Intro...talking-> (1:42)
11. Bullfrog Blues (5:16)
12. Rollin & Tumblin-> jam (12:23)
13. --talk...tuning...stage stuff... (3:08)
14. Blind Owl's Blues (9:28)

Bob Hite - vocals
Alan Wilson - vocals, slide guitar, harp
Harvey Mandel - lead guitar

Download 11-12

Texas Pop Festival part 9-10

Texas International Pop Festival 1969

Volume Nine: Johnny Winter

9/1/69 Dallas International Motor Speedway, Lewisville, Texas

SHN File

1. Introduction (0:05)
2. Mean Town Blues (9:30)
3. Black Cat Bone (5:01)
4. Mean Mistreater (12:35)
5. Talk To Your Daughter (7:03)
6. Leland Mississippi Blues (5:24)
7. I Can Love You Baby (2:52)

Johnny Winter - guitar, vocals
Tommy Shannon - bass
Uncle John ÒRedÓ Turner - drums


Volume Ten: Ten Years After

9/1/69 Dallas International Motor Speedway, Lewisville, Texas

1. Good Morning Little Schoolgirl (7:20)
2. Can't Keep From Cryin' Sometimes (17:59)
3. Hobbit (10:12)
4. Spoonful (6:57)
5. I'm Goin' Home (11:30)

Alvin Lee - guitar, vocals
Chick Churchill - organ
Leo Lyons - bass
Ric Lee - drums

Download part 9-10

Texas Pop Festival part 7-8

Texas International Pop Festival 1969

Volume Seven: Spirit

9/1/69 Dallas International Motor Speedway, Lewisville, Texas

SHN File

1. Rehearsal Theme (3:06)
2. I'm Truckin-> Fresh Garbage-Poor Richard (6:21)
3. Caught-> Jams (10:50)
4. Ground Hog Day (4:11)
5. Policeman's Ball-> drums-> Mechanical World (11:32)
6. I Got A Line On You (3:25)
7. Aren't You Glad (3:36)

Jay Ferguson - vocals, percussion
Randy California - guitar, vocals
John Locke - organ
Mark Andes - bass
Ed Cassidy - drums

Volume Eight: B.B. King

9/1/69 Dallas International Motor Speedway, Lewisville, Texas

1. Introduction (1:03)
2. Sweet Sixteen (6:10)
3. Please Accept My Love (4:09)
4. --band intros-- (0:58)
5. Everybody Wants To Know Why I Sing The Blues (6:28)
6. Don't Want A Soul Hanging Around-> It Ain't My Cross To Bear (6:37)
7. What's Wrong Little Mama (7:14)
8. How Blue Can You Get (5:44)
9. Whole Lot Of Lovin (2:49)
10. Everyday I Have The Blues (2:07)

B.B.King - guitar, vocals
Alberto Gianquinto - piano
Kenneth Moore - bass
Sonny Freeman - drums
John Browning - trumpet
Booker Walker - alto sax
Louis Hubert - tenor sax

Download part 7-8

Texas Pop Festival 1969 part 5-6

Texas International Pop Festival 1969

Volume Five: Santana

8/31/69 Dallas International Motor Speedway, Lewisville, Texas

SHN File

1. Evil Ways (6:03)
2. You Just Don't Care (5:21)
3. Shades Of Time (5:00)
4. Jingo (5:59)
5. Treat (3:35)
6. Soul Sacrifice (9:32)

Carlos Santana - guitar
Greg Rollie - keyboards, vocals
Dave Brown - bass
Michael Carabello - percussion
Chepito Areas - percussion
Michael Shrieve - drums

Volume Six: Led Zeppelin

8/31/69 Dallas International Motor Speedway, Lewisville, Texas

1. Train Kept A-Rollin' (2:59)
2. I Can't Quit You Baby (6:49)
3. Dazed And Confused (14:59)
4. You Shook Me (10:42)
5. How Many More Times (Part 1) (10:45)
6. How Many More Times (Part 2) (11:42)
7. Communication Breakdown (4:42)

Robert Plant - vocals
Jimmy Page - guitar
John Paul Jones - bass
John Bonham - drums

Download part 5-6

Texas Pop Festival 1969 parts 3-4

Texas International Pop Festival 1969

Volume Three: Janis Joplin & The Kozmic Blues Band

8/30/69 Dallas International Motor Speedway, Lewisville, Texas

SHN File

1. Introduction-> Raise Your Hand (5:13)
2. As Good As You Been To This World (6:52)
3. Try(Just A Little Bit Harder) (6:23)
4. Maybe (3:45)
5. To Love Somebody (4:57)
6. Summertime (4:50)

Janis Joplin - vocals
Snooky Flowers - baritone sax, vocals
Sam Andrew - guitar
Brad Campbell- bass
Richard Kermode - keyboards
Lonnie Castille - drums
Terry Clements - tenor sax
Luis Gasca - trumpet



Volume Four: Rotary Connection

8/30/69 Dallas International Motor Speedway, Lewisville, Texas

1. Lady Jane (5:30)
2. Ruby Tuesday (10:27)
3. Stormy Monday-> The Whole Creation-> Stormy Monday (14:48)
4. Sunshine Of Your Love (8:21)
5. Let The People Talk (14:23)

Minnie Ripperton - vocals
Sidney Barnes - vocals
Jon Stocklin - guitar
Jeremiah - bass
Ken Venegas - organ
Bobby Simms - drums

Download part 3-4

Texas Pop Festival 1969 - 13 discs

To kick off the month of rOctober I have a seven part download of the 1969 Texas Pop Festival. 13 discs in all and some brilliant acts and performances. I start with disc 1- 2. Chicago Transit Authority and  The James Cotton Blues Band

Texas International Pop Festival 1969

Volume One: Chicago Transit Authority

8/30/69 Dallas International Motor Speedway, Lewisville, Texas

SHN File

1. Introduction-> Introduction (real song title) (6:45)

2. Does Anybody Really Know What Time It Is (5:02)

3. South California Purples (7:05)

4. Beginnings (6:20)

5. 25 or 6 to 4 (5:43)

6. --announcements-- (0:50) (8-31-69)

7. I'm A Man (7:23) (8-31-69)

Robert Lamm - keyboards, vocals

Terry Kath - guitar, vocals

Peter Cetera - bass, vocals

Danny Seraphine - drums

Walter Parazaider - woodwinds, bg vocals

Lee Loughnane -trumpet, bg vocals

James Pankow - trombone

Volume Two: James Cotton Blues Band

8/30/69 Dallas International Motor Speedway, Lewisville, Texas

1. --announcements/Intro-> Cut You Loose (6:48)
2. Falling Rain (8:49)
3. Heart Attack (5:55)
4. Knock On Wood (3:00)
5. Nine Below Zero (3:58)
6. Dust My Broom (5:15)
7. The Creeper (11:02)
8. Turn On Your Lovelight (12:57)
9. Please, Please, Please (3:58)

James Cotton - vocals, harmonica
Luther Tucker - guitar
Bill "Stumuk" Nugent - tenor sax
Bob Anderson - bass
Barry Smith - drums

Download Vol 1 - 2

RE-UP Jack White and the Bricks 1999

Jack White and the Bricks
July 9 1999

MP3 320
VG-

01 - Intro (commercial snippet)
02 - Dead Leaves and the Dirty Ground
03 - Isis
04 - Do
05 - The Same Boy You've Always Known
06 - Union Forever
07 - Now Mary
08 - Black Jack Davey
09 - I Threw It All Away
10 - Ain't It a Shame

*Original Notes
Vinyl superstar Jack White release the 15th entry in the
Third Man Records’ rarity-excavating Vault subscribers
series, and, of course, the package has an appropriately
weird back story. The big get in this round of exclusives is
Jack White & the Bricks: Live on the Garden Bowl Lanes,
a 12? live LP capturing a 1999 show by short-lived
White Stripes-precursors Jack White & the Bricks, who performed
on a stage set up over lanes 11 through 14 at Detroit’s Garden
Bowl bowling alley. Pressed on (what else) “Bowling-Pin-White”
vinyl, the record features White singing and playing guitar with
his nephew and Dirtbombs member Ben Blackwell on drums,
Ken Peyok from Waxwings and the See-See providing bass, and
future Raconteurs collaborator Brendan Benson helping out with
guitar.

The set — which includes future White Blood Cells tunes
“Dead Leaves and the Dirty Ground,” “The Union Forever,”
“Now Mary,” and “The Same Boy You’ve Always Known,” plus two
Bob Dylan covers and a Meg White-dedicated rendition of
“Ain’t It a Shame” by garage legends ? & the Mysterians —
was committed to four-track reel-to-reel on White’s 24th
birthday, July 9, 1999, by an engineer set up in lane 10.
According to the statement, Garden Bowl, “the longest continually-run
bowling establishment in North America,” was also
“the de facto home of the then-bustling Detroit garage rock scene.”

From Exystence

Download

RE-UP White Stripes - First Live Shows 8/14/97

White Stripes
Live 1997
First Live Performances

Flac
-EX

Download

RE-UP Jethro Tull - A Little Light Music and Conversation With Ian Anderson

It's always enjoyable listening to Ian speak, his wit and story telling always entertains and leaves you wanting more. I recently found the below disc featuring an extensive radio interview from Buenos Aires in 1993. Great comments and insights as usual from Mr.Anderson. One problem however is everything Ian says is being translated, which certainly chops up the flow of conversation. Still very much worth the listen. Just a note on the music tracks, they are all original studio versions except Someday the Sun...and Bouree, which are live in the studio. 
I've also added the Monte Carlo BBC Broadcast from 1975 with some fun comments in between songs, and a partially restored Chateau d'Isater Sessions.
Enjoy!

Radio 1993

      BBC 75 with Chateau D'Iaster

Jethro Tull

April 1975

Maison Rouge Mobile, Monte Carlo, Europe  

BBC Radio Broadcast

MP3 320

 1-Minstrel In The Gallery  

 2-Requiem 

                      3-Aqualung                      

 4-Cold Wind To Valhalla

 Chateau d'Heroville Tapes

FLAC

 5-Intro

 6-Scenario

 7-Audition

 8-Skating Away on the Thin Ice of a New Day  

 9-Sailor

 10-No Rehearsal

Tracks 1 through 4 recorded at the Maison Rouge Mobile, Monte Carlo, 1975 (FM-exc quality)

Tracks 6 through 10 Recored in Château d'Hérouville in August and September of 1972.

Tracks: Intro / Scenario / Audition / Skating Away on the Thin Ice of a New Day / Sailor / No Rehearsal

Quality: Excellent

Flac

Total Length: 21:13 min.

*Original Comments: I recently have been listening a lot to Nightcap and the Chateau recordings. 

I remembered about the Minstrel in the Red House bootlegs that includes the raw recording of 

what was to be a side of the double album that was reworked as A Passion Play. I then found a 

bootleg called "The Lost Chateau Album (A Partial Reconstruction). It is very interesting as an 

attempted to recreate to some degree the double album. Of this bootleg I will post only this 

piece, it's the track from Minstrel in the Red House remastered, and the guy who did the 

remastering did a really wonderful job. I unfortunately don't know his name to credit him here. 

Hope you enjoy it as much as I did!

RE-UP Howlin' Wolf - Ebbets Field 1973

Howlin' Wolf
Ebbets Field
Denver, CO, USA
August 23, 1973

MP3 320
EX

01. Talk To My Baby 5:05
02. I Can't Stop Loving You (Instrumental) 4:41
03. Your Love Is Creeping Away From Me 5:23
04. Baby Workout 3:20
05. How Blue Can You Get 6:56
06. What'd I Say 5:33
07. Little Red Rooster 4:50
08. Going Down Slow > Killing Floor 14:13
09. Shake For Me 5:22
10. Instrumental/Goodnights 3:39

Total time: 59:03


Howlin' Wolf - Guitar, Vocals
Detroit Jr. - Piano, Vocals
Hubert Sumlin - Guitar
S.P. Leary - Drums
Andrew "Shake 'Em" McMahon - Bass
Eddie Shaw - Tenor Sax, Vocals

* Original notes
Chester Arthur Burnett (June 10, 1910 – January 10, 1976), better known as Howlin' Wolf, was an influential American blues singer, guitarist and harmonica player.

With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; musician and critic Cub Koda declared, "no one could match [Howlin' Wolf] for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." Many songs popularized by Burnett—such as "Smokestack Lightnin'," "Back Door Man" and "Spoonful"—have become standards of blues and blues rock.

At 6 feet, 6 inches (198 cm) and close to 300 pounds (136 kg), he was an imposing presence with one of the loudest and most memorable voices of all the "classic" 1950s Chicago blues singers. Howlin' Wolf's voice has been compared to "the sound of heavy machinery operating on a gravel road". Although the two were reportedly not that different in actual personality, this rough edged, slightly fearsome musical style is often contrasted with the less crude but still powerful presentation of his contemporary and professional rival, Muddy Waters, to describe the two pillars of the Chicago Blues representing the music.

Howlin' Wolf, Sonny Boy Williamson (Rice Miller), Little Walter Jacobs and Muddy Waters are usually regarded in retrospect as the greatest blues artists who recorded for Chess in Chicago. Sam Phillips once remarked of Chester Arthur Burnett, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.' " In 2004, Rolling Stone Magazine ranked him #51 on their list of the 100 Greatest Artists of All Time.

Born in White Station, Mississippi, near West Point, he was named after Chester A. Arthur, the 21st President of the United States, and was nicknamed Big Foot Chester and Bull Cow in his early years because of his massive size. He explained the origin of the name Howlin' Wolf thus: "I got that from my grandfather [John Jones]." He used to tell him stories about the wolves in that part of the country and warn him that if he misbehaved, they would "get him". As a youth he listened to Charley Patton, who taught him the rudiments of guitar, as well as to the Mississippi Sheiks, Tommy Johnson and Jimmie Rodgers, who was Wolf's childhood idol. Wolf tried to emulate Rodgers' "blue yodel", but found that his efforts sounded more like a growl or a howl. "I couldn't do no yodelin'," Barry Gifford quoted him as saying in Rolling Stone, "so I turned to howlin'. And it's done me just fine." His harmonica playing was modeled after that of Rice Miller (also known as Sonny Boy Williamson II), who had lived with his sister for a time and taught him how to play. He played with Robert Johnson and Willie Brown in his youth.

He farmed during the 1930s, served in the United States Army as a radioman in Seattle during World War II, and by 1948 had formed a band which included guitarists Willie Johnson and M. T. Murphy, harmonica player Junior Parker, a pianist remembered only as "Destruction" and drummer Willie Steele. He began broadcasting on KWEM in West Memphis, Arkansas, alternating between performing and pitching farm equipment, and auditioned for Sam Phillips's Memphis Recording Service in 1951.

According to the documentary film The Howlin' Wolf Story, Howlin' Wolf's parents broke up when he was young. His very religious mother Gertrude threw him out of the house while he was still a child for refusing to work around the farm; he then moved in with his uncle, Will Young, who treated him badly. When he was 13, he ran away and claimed to have walked 85 miles (137 km) barefoot to join his father, where he finally found a happy home within his father's large family. During the peak of his success, he returned from Chicago to his home town to see his mother again, but was driven to tears when she rebuffed him and refused to take any money he offered her, saying it was from his playing the "Devil's music".

1950s
Howlin' Wolf quickly became a local celebrity, and soon began working with a band that included Willie Johnson, and guitarist Pat Hare. His first recordings came in 1951, when he recorded sessions for both the Bihari brothers at Modern Records and Leonard Chess' Chess Records. Chess issued Howlin' Wolf's How Many More Years in August 1951; Wolf also recorded sides for Modern, with Ike Turner, in late 1951 and early 1952. Chess eventually won the war over the singer, and Wolf settled in Chicago, Illinois c. 1953. arriving in Chicago, he assembled a new band, recruiting Chicagoan Joseph Leon "Jody" Williams from Memphis Slim's band as his first guitarist. Within a year Wolf enticed guitarist Hubert Sumlin to leave Memphis and join him in Chicago; Sumlin's terse, curlicued solos perfectly complemented Burnett's huge voice and surprisingly subtle phrasing. Although the line-up of Wolf's band would change regularly over the years, employing many different guitarists both on recordings and in live performance including Willie Johnson, Jody Williams, Lee Cooper, L.D. McGhee, Otis "Big Smokey" Smothers, his brother Abe "Little Smokey" Smothers, Jimmy Rogers, Freddie "Abu Talib" Robinson, and Buddy Guy, among others, with the exception of a couple of brief absences in the late '50s Sumlin remained a member of the band for the rest of Wolf's career, and is the guitarist most often associated with the Chicago Howlin' Wolf sound.

In the 1950s Wolf had four songs that qualified as "hits" on the Billboard national R&B charts: "How Many More Years", his first and biggest hit, made it to #4 in 1951; its flip side, "Moanin' at Midnight", made it to #10 the same year; "Smoke Stack Lightning" charted for three weeks in 1956, peaking at #8; and "I Asked For Water" appeared on the charts for one week in 1956, in the #8 position. In 1959, Wolf's first album, Moanin' in the Moonlight, a compilation of previously released singles, was released.

1960s
His 1962 album Howlin' Wolf is a famous and influential blues album, often referred to as "The Rocking Chair album" because of its cover illustration depicting an acoustic guitar leaning against a rocking chair. This album contained "Wang Dang Doodle", "Goin' Down Slow", "Spoonful", and "Little Red Rooster", songs which found their way into the repertoires of British and American bands infatuated with Chicago blues. In 1964 he toured Europe as part of the American Folk Blues Festival tour produced by German promoters Horst Lippmann and FriIn 1965 he appeared on the television show Shindig at the insistence of The Rolling Stones, who were scheduled to appear on the same program and who had covered "Little Red Rooster" on an early album. He was often backed on records by bassist and songwriter Willie Dixon who is credited with such Howlin' Wolf standards as "Spoonful", "I Ain't Superstitious", "Little Red Rooster", "Back Door Man", "Evil", "Wang Dang Doodle" (later recorded by Koko Taylor), and others.

In September, 1967, he joined forces with Bo Diddley and Muddy Waters for The Super Super Blues Band album of Chess blues standards, including "The Red Rooster" and "Spoonful".

1970s
In May 1970, Howlin' Wolf, his long-time guitarist Hubert Sumlin, and the young Chicago blues harmonica player Jeff Carp traveled to London along with Chess Records producer Norman Dayron to record the Howlin' Wolf London Sessions LP, accompanied by British blues/rock musicians Eric Clapton, Steve Winwood, Ian Stewart, Bill Wyman, Charlie Watts and others. He recorded his last album for Chess, The Back Door Wolf, in 1973.

Later personal life
Unlike many other blues musicians, after he left his impoverished childhood to begin a musical career, Howlin' Wolf was always financially successful. Having already achieved a measure of success in Memphis, he described himself as "the onliest one to drive himself up from the Delta" to Chicago, which he did, in his own car on the Blues Highway and with four thousand dollars in his pocket, a rare distinction for a black blues man of the time. In his early career, this was the result of his musical popularity and his ability to avoid the pitfalls of alcohol, gambling, and the various dangers inherent in what are vaguely described as "loose women", to which so many of his peers fell prey. Though functionally illiterate into his 40s, Burnett eventually returned to school, first to earn a G.E.D., and later to study accounting and other business courses aimed to help his business career.

Wolf met his future wife, Lillie, when she attended one of his performances in a Chicago club. She and her family were urban and educated, and not involved in what was generally seen as the unsavory world of blues musicians. Nonetheless, immediately attracted when he saw her in the audience as Wolf says he was, he pursued her and won her over. According to those who knew them, the couple remained deeply in love until his death. Together they raised Lillie's two daughters from an earlier relationship, Bettye and Barbara.

After he married Lillie, who was able to manage his professional finances, Wolf was so financially successful that he was able to offer band members not only a decent salary, but benefits such as health insurance; this in turn enabled him to hire his pick of the available musicians, and keep his band one of the best around. According to his daughters, he was never financially extravagant, for instance driving a Pontiac station wagon rather than a more expensive and flashy car.

Wolf's health declined in the late 1960s through 1970s. He suffered several heart attacks and in 1970 his kidneys were severely damaged in an automobile accident. He died in 1976 from complications of kidney disease.

Burnett died at Hines VA Hospital in Hines, Illinois, USA on January 10, 1976 and was buried in Oak Ridge Cemetery, Hillside, Cook County, Illinois in a plot in Section 18, on the east side of the road. His large gravestone, allegedly purchased by Eric Clapton, has an image of a guitar and harmonica etched into it.

The Howlin' Wolf Memorial Blues Festival is held each year in West Point, Mississippi. Wolf's Juke Joint Jam is another annual Howlin' Wolf tribute festival held in West Point. Some of the artists who have played 'Wolf Jam' include Wolf's lead guitarist Hubert Sumlin, Muddy Waters' back band of Willie "Big Eyes" Smith, Calvin "Fuzz" Jones and "Steady Rollin" Bob Margolin, Willie King, Blind Mississippi Morris, Kenny Brown, Burnside Exploration, etc. The festival is held at the 500-acre (2.0 km2) festival grounds know as Waverly Waters Resort, and is sponsored by 2 Brothers Brand barbecue sauce and seasonings.

Burnett was portrayed by Eamonn Walker in the 2008 motion picture Cadillac Records.

Download

RE-UP Howlin' Wolf - Key Largo 1969

Artist: Howlin' Wolf
Date:  1969-02-23

Recorded Live and "In Concert" at the Key Largo Club in Chicago Illinois on
February 23, 1969.

Sound quality A+
mp3 320

Disc 1
01.  Million Miles Away 13:18
02.  Don't Laugh At Nobody 8:15
03.  Pretty Baby 5:25
04.  Little Bird 11:41
05.  Crazy About You Woman 7:42
06.  How Much Is That Chicken 1:19

Disc 2
01.  If You Don't Love Me 7:30
02.  I Had A Dream 10:17
03.  Killing Floor 5:38
04.  How Many More Years 8:54 *
05.  Instrumental 1:50
06.  Crosscut Saw 8:29
07.  Sock It To Me 4:24


*Original Notes
1950s
Howlin' Wolf quickly became a local celebrity, and soon began working with a band that included Willie Johnson, and guitarist Pat Hare. His first recordings came in 1951, when he recorded sessions for both the Bihari brothers at Modern Records and Leonard Chess' Chess Records. Chess issued Howlin' Wolf's How Many More Years in August 1951; Wolf also recorded sides for Modern, with Ike Turner, in late 1951 and early 1952. Chess eventually won the war over the singer, and Wolf settled in Chicago, Illinois c. 1953. arriving in Chicago, he assembled a new band, recruiting Chicagoan Joseph Leon "Jody" Williams from Memphis Slim's band as his first guitarist. Within a year Wolf enticed guitarist Hubert Sumlin to leave Memphis and join him in Chicago; Sumlin's terse, curlicued solos perfectly complemented Burnett's huge voice and surprisingly subtle phrasing. Although the line up of Wolf's band would change regularly over the years, employing many different guitarists both on recordings and in live performance including Willie Johnson, Jody Williams, Lee Cooper, L.D. McGhee, Otis "Big Smokey" Smothers, his brother Abe "Little Smokey" Smothers, Jimmy Rogers, Freddie "Abu Talib" Robinson, and Buddy Guy, among others, with the exception of a couple of brief absences in the late '50s Sumlin remained a member of the band for the rest of Wolf's career, and is the guitarist most often associated with the Chicago Howlin' Wolf sound.

In the 1950s Wolf had four songs that qualified as "hits" on the Billboard national R&B charts: "How Many More Years", his first and biggest hit, made it to #4 in 1951; its flip side, "Moanin' at Midnight", made it to #10 the same year; "Smoke Stack Lightning" charted for three weeks in 1956, peaking at #8; and "I Asked For Water" appeared on the charts for one week in 1956, in the #8 position. In 1959, Wolf's first album, Moanin' in the Moonlight, a compilation of previously released singles, was released.

1960s
His 1962 album Howlin' Wolf is a famous and influential blues album, often referred to as "The Rocking Chair album" because of its cover illustration depicting an acoustic guitar leaning against a rocking chair. This album contained "Wang Dang Doodle", "Goin' Down Slow", "Spoonful", and "Little Red Rooster", songs which found their way into the repertoires of British and American bands infatuated with Chicago blues. In 1964 he toured Europe as part of the American Folk Blues Festival tour produced by German promoters Horst Lippmann and FriIn 1965 he appeared on the television show Shindig at the insistence of The Rolling Stones, who were scheduled to appear on the same program and who had covered "Little Red Rooster" on an early album. He was often backed on records by bassist and songwriter Willie Dixon who is credited with such Howlin' Wolf standards as "Spoonful", "I Ain't Superstitious", "Little Red Rooster", "Back Door Man", "Evil", "Wang Dang Doodle" (later recorded by Koko Taylor), and others.

In September, 1967, he joined forces with Bo Diddley and Muddy Waters for The Super Super Blues Band album of Chess blues standards, including "The Red Rooster" and "Spoonful".

 1970s
In May 1970, Howlin' Wolf, his long-time guitarist Hubert Sumlin, and the young Chicago blues harmonica player Jeff Carp traveled to London along with Chess Records producer Norman Dayron to record the Howlin' Wolf London Sessions LP, accompanied by British blues/rock musicians Eric Clapton, Steve Winwood, Ian Stewart, Bill Wyman, Charlie Watts and others. He recorded his last album for Chess, The Back Door Wolf, in 1973. Chess released a Howlin' Wolf compilation album, Chess Masters, in 1981.

Unlike many other blues musicians, after he left his impoverished childhood to begin a musical career, Howlin' Wolf was always financially successful. Having already achieved a measure of success in Memphis, he described himself as "the onliest one to drive himself up from the Delta" to Chicago, which he did, in his own car on the Blues Highway and with four thousand dollars in his pocket, a rare distinction for a black blues man of the time. In his early career, this was the result of his musical popularity and his ability to avoid the pitfalls of alcohol, gambling, and the various dangers inherent in what are vaguely described as "loose women", to which so many of his peers fell prey. Though functionally illiterate into his 40s, Burnett eventually returned to school, first to earn a G.E.D., and later to study accounting and other business courses aimed to help his business career.

Wolf met his future wife, Lillie, when she attended one of his performances in a Chicago club. She and her family were urban and educated, and not involved in what was generally seen as the unsavory world of blues musicians. Nonetheless, immediately attracted when he saw her in the audience as Wolf says he was, he pursued her and won her over. According to those who knew them, the couple remained deeply in love until his death. Together they raised Lillie's two daughters from an earlier relationship, Bettye and Barbara.

After he married Lillie, who was able to manage his professional finances, Wolf was so financially successful that he was able to offer band members not only a decent salary, but benefits such as health insurance; this in turn enabled him to hire his pick of the available musicians, and keep his band one of the best around. According to his daughters, he was never financially extravagant, for instance driving a Pontiac station wagon rather than a more expensive and flashy car. [Wikipedia]

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RE-UP Mad Season - Live - Season of Myst 1994

MAD SEASON  - 
SEASON OF MYST 
Recorded at the Crocodile Cafe, Seattle (Oct. 12, 1994)
                                                                               
1. Instrumental
2. I Don't Know Anything
3. River Of Deceit
4. November Hotel
5. Artificial Red
6. Voodoo Child (Instrumental)
7. Lifeless Dead
8. I Don't Know Anything

  
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RE-UP Black Sabbath Live in Wichita 1971

Black Sabbath

Henry Levitt Arena
Wichita, Kansas
March 23, 1971

from low GEN TAPE
thanks to LUCIFERBURNS

VG+
MP3 320

1-NIB                        6:50
2-War Pigs                 5:58
3-Black Sabbath         8:39
4-Iron Man                 6:25
5-Wicked World       14:14
6-Paranoid                  2:32
7-Fairies Wear Boots  8:47

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RE-UP Black Sabbath Live Fresno 1978

Bootlegs - Classic Rock:

Black Sabbath - Fresno 1978 (Soundboard)
Selland Arena
Fresno
california
09/22/1978


Soundboard Recording
Includes Artwork
MP3 320

Geezer Butler - Bass
Tony Iommi - Guitar
Ozzy Osbourne - Vocals
Bill Ward - Drums


CD1
1. Supertzar/Symptom Of The Universe
2. Snowblind
3. War Pigs
4. Never Say Die
5. Black Sabbath
6. Shockwave

CD2
1. Dirty Women
2. Rock 'N' Roll Doctor
3. Drum Solo
4. Guitar Solo
5. Electric Funeral
6. Iron Man
7. Children Of The Grave
8. Paranoid

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RE-UP Klaus Schulze Cyborg Demos and Live Studio 1973 1972

Klaus Schulze

1973 studio & 1972 live

1973
Cyborg Demos (Studio)

1972-11-xx
Radio Bremen, Germany

CD 1:

01 Space 1 & 2 (46'32)

 CD 2:

01 Space 3 & 4 (41'01)
02 Radio Bremen Nov. 1972 (16'08)


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RE-UP Pink Floyd - Toronto 1973

Pink Floyd
Sunday 11th March 1973
Maple Leaf Gardens,
Toronto, Canada

Sound quality is Excellent Stereo
WAV File
Direct from 2nd Gen Cassettes
Taper: - Henry Boc (needs confirmation)

The original files for this download were a HUGE 4GB! Too much for me. I didn't wish to mp3 them, so I felt that a WAV conversion would preserve the quality without killing file space. All the notes towards the original file size are within. The original FLAC audio files were preserved.
This is a GREAT sounding recording.

*Original Notes
I obtained these cassettes from Nigel Bradder who lives in the UK who was a prolific Pink Floyd collector in the 70's and 80's. He traded with a guy in Canada called Mark Lewkowicz who I believe had obtained copies of the masters of this show from the taper who I believe was called Henry Boc.

If anybody has more information about the origins of this show and who taped it please post it.

On the above basis I believe that it is most likely that these cassettes are second generation from the master.

The transfer was made using the following equipment: -

Playback via Nakamichi ZX-7 cassette deck with manual adjustment to height and azimuth of playback head to match that of the original tape recorder to optimise the sound during playback.

Direct connection to analogue input of Audiophile 2496 soundcard via high quality Clicktronic interconnects with 24K gold plugs.

This is a big download and if you want to listen to it on CD you will need to down-sample from 96kHz 24bit to 44.1kHz and 16bits join the files together
then split up on the sector boundaries.

On my cassettes the tracks are split as follows: -

Tape 1 Side 1 - Echoes, Obscured By Clouds/When You're In
Tape 1 Side 2 - Careful With That Axe Eugene, Speak To Me, Breathe, On The Run, Time, Breathe (Reprise), The Great Gig In The Sky
Tape 2 Side 1 - The Great Gig In The Sky, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse
Tape 2 Side 2 - Crowd, One Of These Days

The only track split is near the end of The Great Gig In The Sky

I tidied up the beginnings and endings and merged all four sides together then split the show into individual tracks and saved them at FLAC level 8.

Track listing: -

01 - Echoes
02 - Obscured By Clouds / When You're In
03 - Set The Controls For The Heart Of The Sun
04 - Careful With That Axe, Eugene
05 - Speak To Me
06 - Breathe
07 - On The Run
08 - Time
09 - Breathe (Reprise)
10 - The Great Gig In The Sky
11 - Money
12 - Us And Them
13 - Any Colour You Like
14 - Brain Damage
15 - Eclipse
16 - Crowd
17 - One Of These Days

Disc 1
Disc 2

RE-UP Pink Floyd - Fillmore East 1970

Pink Floyd
Fillmore East, New York, NY (Early Show)
1970-09-27

63'08"

From Marbal Tapes.

Maxell XLII 90 Tapes > Nakamichi ZX-7 > Tascam HD-P2 > WAV (24/48)
Peak 5.02 (Remove silences, fix tape flips, index)
xACT 1.62 > FLAC 8 (24/48)

Dolby 'B' On.
VG-

-----
1. Astronomy Domine (11.01)
2. Green Is The Colour (3.37) -->
3. Careful With That Axe, Eugene (10.04)
4. One Of These Days (9.08)
5. Atom Heart Mother (5.28)
6. Set The Controls (11.56)
7. Fat Old Sun (11.51)

Bonus track
Echoes Live 1975

-----

*Original Notes

Sounds better than the 'Fillmore East (Early Show)' copy circulating. This copy also has the surprise inclusion of a complete 'One Of These Days' which seems to have been missed off of other copies. You can hear the distinctive crowd noise before 'OOtD' on the 'Early Show' recording, but it cuts almost immediately, then goes into 'AHM'. On this recording there's no cut and we get a complete 'OOtD'... It may well be that it's actually not from this show, but it sounds like it should be. It seems strange that's it's not more widely circulated if it is...

Track 6 ('Set The Controls') included a cut in the middle where the tape flipped, at 06:59.62553. This wasn't fixable...
-----

Transfer by Beechwoods, 2008-02-06

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RE-UP Pink Floyd Live Santa Monica, CA, 1970

Pink Floyd - Since We Were Teenagers - MQR 004

Civic Auditorium - Santa Monica, CA, USA
May 1st 1970

Source: Audience
Sound Quality: EX

Taper: Dub Taylor
Recording equipment: Nagra R2R > 5" Reel Master
Playback: Tandberg R2R > Revox B-77 > M.M.'s 1st Generation Reels
Transfer: Reel[1] > Sony DAT > DAT(0) > Audigy 4 Pro > Nero Wav Editor > CDWav >
          CDR(0) > CDR(1) > EAC > FLAC

Restored and Enhanced by MQR - creamcheese, }{eywood and WRomanus

Total time = 121:53m

  Set One    51:18
1. GRANTCHESTER MEADOWS
2. ASTRONOMY DOMINE
3. Tune Ups
4. CYMBALINE
5. THE AMAZING PUDDING

  Set Two    79:08
1. Tune Ups
2. THE EMBRYO
3. GREEN IS THE COLOUR
4. CAREFUL WITH THAT AXE, EUGENE
5. SET THE CONTROLS FOR THE HEART OF THE SUN
6. INTERSTELLAR OVERDRIVE
7. A SAUCERFUL OF SECRETS

Magna Qualitas Records is proud to present "Since We Were Teenagers", this fully restored and remastered recording from Santa Monica as our fourth release.  Due to our continuing work on everything related to Zabriskie Point, which led to the new revision of the Omayyad album, we've decided to complete the restoration of this excellent recording.  GBC torrented this recording (provided by Rudy and M.M.) originally a while back, and his notes reflect the many instances of dropouts, damages and cuts in the tape.  All this has been restored here using pieces of other shows or relocating pieces from this show.

Originally Grantchester Meadows only ran about 30 seconds.  Apparently that is where the taper started recording.  We have patched the majority of the song in from the previous show in San Francisco on April 29, but since the very beginning of that fades in we decided to restore that as well from the KQED tape.  We wanted the birds before the song to be there.  The 30 seconds of the song that existed on the tape for this show are all there, but now the whole song exists in a form that is nearly impossible to tell its from more than one show.  from 0 to 0:34 April 30 - KQED.  From 0:34 to 7:13 April 29 - Fillmore East.  From 7:13 to 7:37 (end) May 1 - Santa Monica

Astronomy Domine had a small part missing due to a damaged portion of the tape.  This was patched with a piece from slightly earlier in the song.  The buildup was a bit oversaturated and was all at one continuous loud volume, so this was readjusted to better reflect the gradually increasing intensity of the song.

The original little patch from Santa Monica  1970-10-23 is still in place in Cymbaline.  It was done so well I can't even tell where it is, so why mess with perfection?

A dull spot in the tape at about 14 minutes into The Amazing Pudding was repaired.

The missing part of Careful was spliced in from Port Talbot 1969-12-06, curiously this concert was during the Sessions for Zabriskie Point. We searched long and hard through dozens of shows to find a tape where the performance was similar enough to the one at Santa Monica (and with similar sound quality) to fill the missing section.  Quite a lot was missing, so it had to be done. The patch exists from 2:33 to 3:48.

Drop-outs and other anomalies were cleaned up or otherwise repaired.  The volume of the whole thing was adjusted in various places to make the dynamics more pleasant, and because the tape sounds like the taper was adjusting the gain on the fly as the show went on in order to compensate for very quiet passages.  A lot of the between song banter and tuneups and the tape effects during Cymbaline were very quiet, so they were brought up a bit.  The distorted sections of the show were carefully restored to avoid a lot of the oversaturation they originally contained.  Several spots where the high end dulled down a bit, likely from deterioration of the master, were EQd separately and patched in in order to compensate for the tonal changes.  Noise Reduction was carefully applied in three stages, and the whole thing now appears for the first time in stereo due to the usage of a very sophisticated and well sounding (although freely available) stereo processing plugin.  The tape flips were all patched by relocating audience from different parts of the show so the whole thing is now a continuous piece for each set.

This release is certainly not perfect.  Many wrinkles and crumples were present in the master tape, and although we did our best, there's not a lot that can be done to fix them.  It is, however, probably the best it has ever sounded since we were teenagers, maybe even as it ever will...

July 2011


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RE-UP Jethro Tull San Fernando College 1970

Jethro Tull


San Fernando College
Deonshire Downs
Northridge,CA
May 3,1970

OUTSTANDING Audience Recording!!!
MP3 320


Ian Anderson
Martin Barre
Glen Cornick
Clive Bunker
John Evans


Recorded two weeks after the release of Benefit in the US and two days after it's release in the UK. John Evans had joined the band on tour only one month previously and his contribution is clear on this boot. Also an early My God! 10 months before Aqualung was released.



1. Intro and Tuning 2.19
2. Nothing is Easy 6.08
3. Intro to my God 1.52
4. My God 12.16
5. To cry you a song 6.05
6. With you there to help me 13.29
7. Sossity, You're a woman/Reasons for Waiting 7.26
8. Dharma for one 16.57
9. We used to know/guitar improv/A thousand Mothers 21.04

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RE-UP Pink Floyd Live Germany 1970

Pink Floyd:

Grooving With A Pict

Format: 2CDR


Sources: 14 Nov 1970, Ernst-Merck Halle, Hamburg, West Germany

SHN FILE

Tracks:

      Disc: 1
       1. Astronomy Domine                                    9:07
       2. Fat Old Sun                                             13:30
       3. Cymbaline                                                11:15
       4. Atom Heart Mother                                  16:46
       5. Green Is The Colour                                  4:32
       6. Careful With That Axe, Eugene                11:05

      Disc: 2
       1. Corrosion                                                  9:17
       2. Pict                                                           3:42
       3. Embryo                                                   14:50
       4. Set The Controls for he Heart of the Sun  12:31
       5. Saucerful Of Secrets                                19:25


Band:
      Roger Waters
      David Gilmour
      Nick Mason
      Rick Wright


Quality: XXX -EDEN


Comments: An excellent performance. Roger is in rare form this night, talking to the
 audience as I've not heard before. He does an interesting introduction to Green Is
The Colour, doing some brief CWTAE sounds. Before Set The Controls, he does some
German ranting to the audience. Prior to Saucerful, he does some humorous bantering.
Musically, the main draw of this release is the inclusion of Corrosion and a
Grooving With A Pict type jam. This is one of only two performances of Corrosion
that I currently know of (the other is included on, among other places, Stranger
Than Fiction - this is definitely a different performance).
The Grooving With A Pict is a semi structured jam that features Roger's Scottish
ranting and guitar/keyboard meanderings (it's been 10 years or so since I've
listened to my Ummagumma LP, so I cannot give a detailed description on how closely
this performance matched the studio song). The remaining song performances are
strong.
The recording is decent, though not nearly as clear as Smoking Blues or
Remergence. Recording quality aside, I find this performance to be more engaging
than Smoking Blues and would quickly recommend it over Smoking Blues, which occurred
just 7/8 days after this. If you value unique performances, or just love the
1970-1971 shows, this title is rated as essential collection material. If sound
quality is more important, however, definitely go with Smoking Blues, which is still
a very good and somewhat unique performance. However, my performance standards run
contrary to most of the Floyd reviews I've read (based on performance I prefer the
Brutish Temptation show to Smoking Blues, and find the Montreux 1971 show to be
relatively boring). So, you may need to take my opinions with a grain of salt. -EDEN

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RE-UP Traffic Live New York 1972

Traffic
1972-01-04  New York City, New York  Academy Of Music  Early Show  (M1-AUD)
126 East 14th Street, between 3rd & 4th Avenues

01. -- crowd - intro--
02. Rock 'n' Roll Stew
03. Many A Mile To Freedom
04. Light Up Or Leave Me Alone
05. ...Glad -> Freedom Rider
06. Hidden Treasure
07. Rainmaker
08. Empty Pages
09. Low Spark Of High Heeled Boys
Encore :::
10. Heaven Is In Your Mind

Total Time ::: 1:08:54

::: Slightly distant but clear & enjoyable stereo AUD. Peruse samples for elucidation or ear erudition elicitation.
::: Warts: Some dropouts not entirely fixable & surely missed others.
::: J.J. Cale & Commander Cody & His Lost Planet Airmen opened the performance, but were not recorded by this taper.
::: UPGRADE - Should upgrade circulating copies. From taper's 1st gen safety copy & carefully remastered without EQ.


Line-up ::: Steve Winwood - guitar, keyboards, vocals // Jim Capaldi - keyboards, vocals //
Chris Wood - wind instruments
// Reebop Kwaku Baah - drums, percussion // David Hood - electric bass // Roger G. Hawkins - drums.

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RE-UP King Crimson - NY 2014 - Sept 9-10

King Crimson
2014-09-09
The Hart Theater Albany NY

Two albumwraps
MP3 164
VG+

Larks' Tongues in Aspic, Part One
(First live PUBLIC performance since June 6, 1974)
Pictures of a City
(First live PUBLIC performance since 1972)
A Scarcity of Miracles
(Jakszyk, Fripp and Collins cover)
The ConstruKction of Light
(Part One)
One More Red Nightmare
(First ever live PUBLIC performance)
Hell-Hounds of Krim
(First ever live PUBLIC performance)
Red
The Letters
(First live PUBLIC performance since 1972)
VROOOM
Coda: Marine 475
Hell Bells
(Percussion piece similar to the Shoganai single, which was later incorporated into Power To Believe,)
Sailor's Tale
(First live PUBLIC performance since 1972)
The Light of Day
(Jakszyk, Fripp and Collins cover)
The Talking Drum
Larks' Tongues in Aspic, Part Two
Starless
(First live PUBLIC performance since July 1, 1974)
Encore:
Hoodoo
(First ever live PUBLIC performance)
21st Century Schizoid Man
(First live public performance since August 26, 1996)

*Original Note: 
First official live show since August 17th, 2008. All but "VROOM" and "Coda: Marine 475" were performed at a free Invitation Only event one night earlier, thus the noting of many of the above as being notable "first PUBLIC performances".



King Crimson
2014-09-10
The Hart Theater Albany NY


Larks' Tongues in Aspic, Part One
(First live PUBLIC performance )
Pictures of a City
(First live PUBLIC performance since 1972)
A Scarcity of Miracles
(Jakszyk, Fripp and Collins cover)
The ConstruKction of Light
(Part One)
One More Red Nightmare
(First ever live PUBLIC performance)
Hell-Hounds of Krim
(First ever live PUBLIC performance)
Red
The Letters
(First live PUBLIC performance since 1972)
VROOOM
Coda: Marine 475
Hell Bells
(Percussion piece similar to )
Sailor's Tale
(First live PUBLIC performance since 1972)
The Light of Day
(Jakszyk, Fripp and Collins cover)
The Talking Drum
Larks' Tongues in Aspic, Part Two
Starless
(First live PUBLIC performance)
Encore:
Hoodoo
(First ever live PUBLIC performance)
21st Century Schizoid Man
(First live public performance )

*Original Note: First official live show since August 17th, 2008. All but "VROOM" and "Coda: Marine 475" were performed at a free Invitation Only event one night earlier, thus the noting of many of the above as being notable "first PUBLIC performances".

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RE-UP Pink Floyd - Staffordshire 1974

Pink Floyd
Trentham Gardens, Stoke-On-Trent, Staffordshire
November 19, 1974

Source: Audience

CD Referenc
LP Reference:
British Winter Tour 74,e:
Raving And Drooling

Comments:
The complete recording:

Quality: VG+

FLAC

Disc One:

  1. Raving And Drooling                         11:33
  2. Gotta Be Crazy                              15:20
  3. Shine On You Crazy Diamond (Parts 1-9)      20:43

Disc Two:

  1. Speak To Me                                  3:05
  2. Breathe                                      2:48
  3. On The Run                                   4:51
  4. Time                                         5:21
  5. Breathe (Reprise)                            1:01
  6. The Great Gig In The Sky                     4:28
  7. Money                                        8:52
  8. Us And Them                                  7:55
  9. Any Colour You Like                          8:50
 10. Brain Damage                                 3:38
 11. Eclipse                                      1:35
 12. Echoes                                      22:33


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RE-UP King Crimson - Plymouth 1971

King Crimson

Live Plymouth Guildhall, England

May 11 1971

MP3 256

Ex

Incredible performance.

01 Circus 8:08

02 Pictures of A City  8:53

03 Sailor's Tale  15:19

04 The Letters  4:47

05 Lady of the Dancing Water  2:53

06 Cadence and Cascade  4:19

07 Get Thy Bearings  6:28

08 In the Court of the Crimson King  7:51

09 Ladies of the Road  6:01

10 21st Century Schizoid Man  8:16

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