Best of compilation assembled by a fan. A nice collection of Free selections.
Assembled sources.
A+
Download
Sunday, October 4, 2020
RE-UP Free - UK singles A and B sides
Best of compilation assembled by a fan. A nice collection of Free selections.
Assembled sources.
A+
Download
RE-UP Free - Sunderland 1970
Free
Sunderland Locarno
North Fillmore
Jan 1970
MP3 320
EX
*Original Notes
In January 1970, 4 months before they became superstars with "All Right Now",
Free was a band with a strong following, but considered a serious and respect
able heavy blues à-la-Cream band, not a pop one. All that will contribute to
their considerable success is here, ready to explode, so idiosyncrasic, so
palatable, so unique. This concert was apparently splitted in 2 sets, with
"All Right Now", not released in single as I said above, played twice, in 2
very different versions. It was a sign that the song was to become something
since the audience requested it again. But there are so many gems here (and
songs that would disappear from their live setlists soon after, although they
were prime cuts for the stage) that it would be totally absurd to reduce
Free to this song, not played at its best in this concert. This concert would
provide 2 years later 2 tracks of their posthumous Live album (before the
reformation): the 1st version of "All Right Now" (on the vinyl you could hear
the end of a T. Rex song ("Ride A White Swan") but no more on CD, too sad)
although the second is much more energy-fueled and the audience goes crazy,
and "The Hunter" in a devastating version. The other songs would be taken
from a later concert that I'll post here also in its more complete version,
but not too soon, you need time to appreciate each one. However, Paul Kossoff
is here in great form and take some incredible solo (listen to the one in
"Songs Of Yesterday" for example, and the amazing one on "Moonshine", that he
co-wrote, the greatest economist in notes who ever played guitar). What's
fabulous in this band, it's that they are strong enough to propose such a
doom blues track like "Moonshine" that is surely the cradle of depressing rock
It's crazy the Island bosses didn't put it on the Live album, it would have
became a classic to place near "Since I've Been Loving You". And the emotion
is otherwise more striking that in Led Zeppelin. But no more bullshiting with
words and let's the music talks here.
PS.
Sorry, I did a mistake. "Trouble on Double Time" follows "Moonshine".
But too late to change. Change the order yourself if you want to respect the
order of the setlist.
PPS.
The sound is excellent.
New Link
Friday, October 2, 2020
RE-UP Procol Harum - Juicy John Peel BBC 1970
Procol Harum
Live at the BBC 1970
Flac
VG/VG+
01 - Still There'll Be More
02 - Wish Me Well
03 - About To Die
04 - A Christmas Camel
05 - Your Own Choice
06 - The Devil Came From Kansas
07 - Juicy John Pink
08 - Well I
09 - Nothing That I Didn't Know
10 - A Salty Dog
11 - Whisky Train
12 - Whaling Stories
RE-UP Procol Harum - New York A&R Studios 1971
A&R Studios NYC
April 12 1971
MP3 192
VG+
Live in the Studio
A great sounding concert from 1971. Recorded at A&R Studios in New York and broadcast over WPLJ-FM in New York on April 12, 1971. Procol Harum during their Broken Barricades period.
A memorable concert during a particularly great period of the band and if you aren't familiar with them, or only know them from Whiter Shade of Pale, now's a great chance to hear what the fuss was all about.
Gordonskene
Enjoy.
Track List:
01 Memorial Drive 3:47
02 Still There'll be More 5:21
03 Nothing That I Didn't Know 3:41
04 Simple Sister 3:44
05 Luskus Delph 3:42
06 Shine On Brightly 5:45
07 Whaling Stories 8:56
08 Broken Barricades 2:58
09 Juicy John Pink 4:03
10 A Salty Dog 4:49
11 Whisky Train 5:29
12 Power Failure 4:30
Download
RE-UP (Procol Harum)
JOHN DENTON, a rock'n'roll pianist from Southend, recalls his experiences following The Paramounts in the early 1960s:
"I first saw The Paramounts in 1962 in a low-key hop in a Leigh-on-Sea community hall. At this time, most groups in the Southend area were playing the songs from the current hit parade as required in the local dance halls. However, this group was not churning out Bobby Vee or Shadows tunes; I was to hear strange songs about 'Peanut Butter' and about 'Three Cool Cats' intermingled with familiar, but unfashionable rockers gleaned from records by Jerry Lee Lewis and Little Richard. The group's line-up comprised the regular lead guitar, bass, and drums; but instead of the usual rhythm guitar, the vocalist was utilising the hall's old piano, a mike thrust into the top. Even more unusual was the small gathering of unofficial 'backing vocalists' clustered around the stage. Their chants were lending response to those opening shouts of the US Bonds song 'New Orleans'; their unison of wails constituted the chorus of that incredible song about 'Peanut Butter'. On asking one of the choristers about the band, I was informed that The Paramounts were resident at The Shades Cellar Club on Sunday nights."
GARY BROOKER reminisces: "While still at school, I was in The Coasters with Johnny Short, and Brian Gill. Johnny Short was a master of the guitar, an absolute miracle worker! He could play a whole Carl Perkins record on guitar. He'd get the bass part, the rhythm, the lead, and the essence of the drum part as well. We played mainly instrumentals, and named ourselves after the US group The Coasters. I remember setting my piano on fire one night at Leigh Yacht Club. I left a cigarette on the end, and the celluloid on the keys caught fire and flared. The flames got up to A below middle C before I poured a pint over it!"
"The Paramounts formed after a band contest at the Palace Hotel Dance Hall in Southend. At this contest, The Coasters competed with other local groups Micky Law And The Outlaws, The Raiders, Bob Scott And The Clansmen etc. Micky Law won the contest, and The Coasters came a close second, but this result was controversial because some people thought that Micky Law had fixed the votes, which were counted on slips of paper. Maybe Micky Law had more pencils than anybody else. The man who ran the contest was Peter Martin, a local entrepreneur. That night he conceived the idea of putting together a 'supergroup' from the cream of local musicians. He named the group The Paramounts, and later became their manager."
"It appears that Peter Martin put the group together by dubious means. He'd already got Robin Trower and Chris Copping from The Raiders, Mick Brownlee on drums from The Outlaws, and Bob Scott on lead vocals. They wanted me on piano. Peter Martin got Rob to phone me and ask me if I could come to a rehearsal one Sunday, just to sit in and help out. I told him that The Coasters were playing that night. Rob said 'I've spoken to Johnny Short, it's O.K.' So I went to The Paramounts rehearsal, and the same thing occurred every Sunday for a month. Johnny Short assumed I no longer wanted to be in The Coasters, as I'd been missing rehearsals, I thought Johnny Short no longer wanted me, and suddenly I was a Paramount."
"At The Paramounts rehearsals, it was mainly Carl Perkins numbers, and a few Cliff Richards. We did a lot of shows with Bob Scott singing lead, and our repertoire was dependent on what he wanted to sing, mainly Elvis and Rick Nelson. Bob failed to turn up to a gig one night, and the others said 'you sing'. I knew a lot of songs by Little Richard, Fats Domino, Chuck Berry etc. A guy called Sid was the local Chuck Berry man. He had a new Chuck Berry record the moment it was released. I would go to his house on the Friday night, he would already have the words written down, and we'd learn the song."
"So I became the singer in The Paramounts, and we were all still at school. On leaving school, I went to Southend Municipal College to study zoology and botany. Robin worked with his brother cleaning windows. Mick Brownlee became a bricklayer, and Chris Copping stayed on at school to take his A-levels. It was around this time that Rob's dad bought The Penguin Cafe on Southend seafront, after The Penguin Cancer Scandal. The cafe's previous proprietor had been caught pocketing money from his Cancer Relief charity collection boxes. There were cellars below The Penguin Cafe, full of plastic penguins. It occurred to the Paramounts that this would be a good place to build a club, so we set about burning the penguins, painting the cellar, and building a stage. We bought a piano for 4 pounds, and opened up a month later, late in 1961, with a Sunday night show featuring The Paramounts. We called the club The Shades, after Johnny Harris And The Shades, a Southall group, who had recently made several impressive appearances in Southend. Shades was also a 'new word' for sunglasses."
JOHN DENTON: "Early Sunday evening found me venturing past the arcades and stalls of Southend's famed Golden Mile, along the seafront road, towards Shoebury Garrison. I was soon to arrive at The Shades, which was one of several coffee bars then in vogue in Southend. The cellar club was run by the genial Len Trower. It cost me a shilling to descend into the dimly-lit cavernous room, formed of two dark areas fronted by a small dancing space and low stage. Behind the stage, a zany mural depicted The Paramounts' cartoon replicas. In the two back chambers, one could perceive youths sipping cola, while girls danced effortlessly to the juke box sound of 'Thumbin' A Ride'. The dance area was to fill as The Paramounts plugged in and commenced to rock. Egg boxers bedecked the ceiling, serving as primitive sound-proofing; the cluster of 'backing vocalist' fans was so effective in this environment despite the throbbing sound; the people around the stage were executing what would be termed The Pogo some fifteen years later. This was the most exciting music I'd ever heard."
Read More
Download
RE-UP Procol Harum - Edmonton Symphony Orchestra 1971
A little more fan based stuff, from a procol nut again.
*Original Notes
This post is justified by the release, this month, of a new edition of the Procol Harum Live with Edmonton Symphony Orchestra, first released in April 1972 and received by the press as a complete masterpiece. The attempt to mix a symphonic orchestra with rock music had been tried before but honestly, this was a joke compared to this fantastic fusion that one can listen to here. The album scored very well and fans might have though that the time for Procol Harum had finally come. That would not be true actually and the further years would not be marked by the triumph that this band deserved. Procol Harum is, since 1972, I was still a kid, one of my 5 fave groups of all the times and time has not attenuated my admiration for the Brooker - Reid duo (more important to me than the other more famous duos in rock), and also for my fave drummer of all times, I mean Barrie J Wilson, this album being maybe the one in which everyone can see why some of us place this musician at the top of their drumming pyramid. There was a single drawn out of the LP. "Conquistador" was chosen as A-side, and this revealed to be a good idea since the song reached n°22 in UK and n°16 in US. In UK, the B-side was a song that did not feature in the LP, an orchestral version of the delicate and sexually explicit "Luskus Delph". This is here what I call the forgotten song. In the US, they had decided to put "Salty Dog" and this surely contributed to the success of the single, being occupied by 2 of the most Procol Harum songs (and both des chefs d'oeuvres"). But, in bonus, I add the 2 songs that made it at the rehearsals but not at the show: "Simple Sister" and "Shine On Brightly". Both are actually not totally satisfying, in particular "Simple Sister", first because it is much shorter than the original one (that you can find in Broken Barricades), and second because the orchestra is not well integrated to the song. That will be corrected for the next orchestral evenings that the bands would play in the 2 following years such as with the Los Angeles Symphony Orchestra in August 1973 (a bootleg with a superb sound I'll post later on). So, here it is, one of the most magical band of the world in one of the most ambitious record of the last century. It could have been recorded yesterday. Enjoy this fake EP here, and then buy if you can the Salvo LP wherever you find it not too much expensive.
RE-UP Procol Harum - Danish TV 1974
MP3 320
VG+
* Original (sad) post
... Here the promised Procol Harum post from the Danish TV show captured in November 1974, 4 months after the Dallas radio show previously phere). Here we find the band in a stunning form. Actually, I think 1974 was THE year for PH. There was a sort of exhilaration in their way to play, and Gary Brooker wording during the instrumental parts was particularily jubilatory. And BJ Wilson was THE boss but this you all knew already. Enjoy this formidable document here (added on the CD reissue of the Hollywood Bowl show and on the DVD version of 2006 Danish show with orchestra, but not on the CD). And below some videos from the TV show found on youtube. The cover sleeve was again taken from a Masaki Yada painting, whose universe fits well with PH one (at least for me).
Download
RE-UP Procol Harum - London 1974
MP3 320
VG+
*Original Notes
One month before the official release of Exotic Birds And Fruits, Procol Harum plays a show in London (at the Hippodrome Golders Green) intended to be broadcasted on the BBC, this the same month that John Peel would have them for a Peel Session. It seemed that the big time was here for the band, quite a surprise in the UK where Procol Harum had never succeeded to impose his singular approach of music. But the future will show that it was only a mirage and that the rest of the year will not see any triumph. It must be remembered what a particular year is 1974, with glam rock reaching its peak, occulting quite everything else except progressive rock. However, the band is here in its best formation to my ears, and their set is strong (as Samson) and precious (as Delilah). On the 11 songs featuring in this record, only 9 would be broadcasted (the reason 2 have quite bad sound mix since the master is lost). This was released by the BBC only in 1999, after several bootlegs, with weak but not so bad quality, were to be found on the market. But the sleeve of the Strange Fruit recording (funny coincidence that the label of the BBC recording was called as this) was totally crappy. Since 6 among the 11 tracks were a teasing of the Exotic Birds And Fruits album, I thought it was a good idea to give this name to the LP. I chose a painting from the same artist than the original Exotic Birds And Fruits album, Jacob Bogdani, a Hungarian painter born in 1660 and who lived and died (in 1724) in London (go here if you want to see his work). I included the complete painting in the rar file. About the music now. The concert is an opportunity to understand that the band had decided to leave its symphonic and its melancholic sides behind, and was much more in a social rock period targetting most of people having the power on others lives (conquistadors, men of power and money on "As Strong As Samson" and "Nothing But The Truth", Label directors on "Butterfly Boys", idol makers on "The Idol"...). BJ Wilson is shining throughout the concert but it's now tautologic to write this since this drummer is solar. The other great man of the show is Mick Grabham who surely has been the best guitarist of the band throughout his history, and whose Gibson sound is totally my taste (this thick sound that had been the Guy Stevens mark between 1968 and 1972). But I talk too much. Enjoy this show here, it's a splendid addition to the ones posted lately, and some others will come.
A fucking good surprise to have discovered this late London concert, not far from the end of the band. I don't want to put too many live recordings on this blog but for my fave bands and if the sound quality is good enough (a pre-requisite), I find interesting to offer some of them. And although my memory of a concert seen in Paris during the same tour, left me a very bad impression (I quitted before the end of the set), I didn't find on this recording what annoyed me, the band playing wonderfully. Moreover, the live version of the 2 tracks of the very bad Something Magic album, fit totally well.
Download
Thursday, October 1, 2020
RE-UP Bob Dylan Various Soundboard Recordings from the 1966 European Tour
Bob Dylan & The Hawks
The Best of The Rest From
The Genuine 1966 Box Set
Various Soundboard Recordings from the 1966 European Tour
silver cd > FLAC
***************************************************************Original Notes
While The Establishment Burns
Liberated Bootleg from The Genuine 1966 Box Set
soundboard recording
001 - Visions Of Johanna
002 - Fourth Time Around
003 - It's All Over Now Baby Blue
004 - Desolation Row
005 - Just Like A Woman
006 - Mr. Tambourine Man
007 - I Don't Believe You ** Removed ** released on Biograph
008 - Ballad Of A Thin Man
009 - One Too Many Mornings
010 - Like A Rolling Stone
(1-6) Adelphi Theatre (Dublin, Eire); May 5, 1966 (soundboard)
(8) Odeon Theatre (Glasgow, Scotland); May 19, 1966 (soundboard)
(9-10) ABC Theatre (Edinburgh, Scotland); May 20, 1966 (soundboard)
*****************************************************************************
A Nightly Ritual
Liberated Bootleg from The Genuine 1966 Box Set
soundboard recording
101 - Tell Me Momma ** Removed ** released on The Band: A Musical History
102 - I Don't Believe You
103 - Baby Let Me Follow You Down
104 - Just Like Tom Thumb's Blues ** Removed ** released on The Band: A Musical History
105 - LeopardSkin PillBox Hat
106 - One Too Many Mornings
107 - Ballad Of A Thin Man
108 - Like A Rolling Stone
(1-8) Odeon Theatre (Liverpool, UK); May 14, 1966 (soundboard)
201 - She Belongs To Me
202 - Fourth Time Around
203 - Visions Of Johanna
204 - It's All Over Now Baby Blue
205 - Desolation Row
206 - Just Like A Woman
207 - Mr. Tambourine Man
208 - LeopardSkin PillBox Hat
209 - One Too Many Mornings
210 - Ballad Of A Thin Man
(1-9) Gaumont Theatre (Sheffield, UK); May 16, 1966 (soundboard)
(10) Odeon Theatre (Birmingham, UK); May 12, 1966 (soundboard)
********************************************************************************
online reviews:
- While The Establishment Burns -
Sharper, more detailed sound for Dublin than anything out previously; a much
more straightforward performance with Dylan completely focused on each tune
immediately upon completing the one before. The "Rolling Stone" from Edinburgh
may be the highlight of the set, 8 minutes of rock and roll heaven. Dylan's
phrasing is sublime and his furious vocals are something to behold.
- A Nightly Ritual -
The Liverpool electric set is stunning stuff, dominated by Dylan's bold vocals
and Robbie Robertson's razor-edge guitar fills. Sheffield is an absolutely
gorgeous recording, so full and richly toned it will leave you stunned.
Dylan's performance goes from ridiculously phenomenal to sublime; he nails
every tune and his harp playing is brilliant. A brilliant performance in
astounding sound quality.
cover art included
enjoy :)
Disc 1,2,3
Disc 4
Disc 5, 6
Disc 7,8
RE-UP Jethro Tull - Ohio 1970
Jethro Tull
1970-11-09 Ohio Theater, Columbus, OH
Lineage: unknown
Taped by: ??
Transfered by: ??
SQ: VG/ VG+
Flac
---------------------------------------------------------------------------------------
Set List:
Disc 1:
1. Intro 2:48
2. My God 12:26
3. Ian talks 1:33
4. With You There To Help Me 4:08
5. By Kind Permission Of... 8:38
6. Ian talks 1:11
7. A Song For Jeffrey 5:15
8. Ian talks 2:11
9. Sossity: You're A Woman/Reasons For Waiting 5:58
Disc 2:
1. Ian talks 0:55
2. Dharma For One (incl. drum solo) 21:37
3. We Used To Know 3:25
4. Guitar solo 8:51
5. For A Thousand Mothers 5:03
Total: 84:07
Download
RE-UP Jethro Tull Live Live Seattle 1969
Artist: Jethro Tull
Date: 1969-03-09
Location: Seattle, WA
Venue: Eagles Auditorium
Source: Over The Air FM broadcast
Lineage: 1st gen cassette>wav(24/96)>wav(16/44.1)>flac
Transfer: 1st gen cassette>Revox B 215>Monster Studiolink cabling
(balanced pair)>Audiophile 192>Adobe Audition 3.0
Taped By: Howie O.
Transferred By: weedwacker
Band Members:
Ian Anderson - vocals, flute, harmonica
Martin Barre - guitar
Glen Cornick - bass
Clive Bunker - drums
Setlist:
01. My Sunday Feeling (cuts in)
02. Bourée
03. Back To The Family
04. A New Day Yesterday
05. Blues Jam
06. Fat Man
07. Dharma For One (Incl. Drum Solo)
08. Nothing Is Easy
Length: 57:34
Notes:
Darrell F.'s 1st gen cassettes made from Howie's master reels.
Unfortunately the reels are no longer with us so these are the
best copies left of Howie's recordings. This particular recording
along with many other Eagles Auditorium shows broadcast on KOL-FM
if circulating from Bill B.'s reels will definately either be
sourced from Howie's masters or Darrell's 1st gens so these may
or may not be an upgrade to existing Eagles broadcasts from this
time period if can be traced back to Bill. The recording may
switch from stereo to mono periodically since reception wasn't
the greatest from where Howie lived at this time which was in the
extreme southwest of Seattle over a hill. Through the years people
have questioned whether these recordings are truely soundboard or
audience recordings and the answer is they are a hybrid of both.
I've seen recordings listed as 3/8/69 these tapes were labeled as
3/9/69 and may or may not be the same thing.
Here is some more background info on these recordings from Pat L.
"All were broadcast on KOL-FM on their program called
"Great Nights at Eagles". It ran on Sunday evenings and the host was
a UW professor named John Chamblis. He borrowed the reels
(or had copies) from Mike Reed who had recorded them and was selling
copies at the time and was hoping these KOL broadcasts would generate
some interest in his venture.
The tapes were recorded on a reel at the soundboard. The input was two microphones hung over the stage, which accounts for the somewhat funky sound--not quite soundboard, but not quite audience."
Download
RE-UP Jethro Tull - Detroit 1969
Jethro Tull Grand Riviera Theater Detroit - 11-28-69
Jethro Tull
Grand Riviera Theater
Detroit, Michigan
G+/-VG
MP3 320
Great audience recording from early Tull. "Dharma For One" is missing it's drum solo. But great show and sound for it's age!!
T01- Intro/Nothing Is Easy 10:21
T02- Bouree/Living In The Past 12:03
T03- A New Day Yesterday 6:00
T04- Fat Man 5:04
T05- My Sunday Feeling 5:10
T06- Dharma For One 3:31
T07- We Used To Know 24:09
RE-UP Jethro Tull Providence 1975
Jethro Tull
Providence Civic Center
Providence, RI
8 March 1975
Master audience recording taped by Dan Lampinski
VG++
FLAC
CD1
01 Intro/Wind Up >
02 Passion Play
03 Thick As A Brick
04 Wond'ring Aloud
05 My God
06 Flute Solo
07 Bouree
08 Living In The Past
09 My God
10 Sealion
11 Skating Away On The Thin Ice Of The New Day
12 Ladies
13 Drum Solo
CD2
01 War Child
02 Instrumental
03 Cross-Eyed Mary
04 Bungle In The Jungle
05 Aqualung
06 E: Guitar Solo
07 Back Door Angels
08 Locomotive Breath
09 Hard Headed English General
10 Back Door Angels Reprise
* Original Notes*
Dan Lampinski recorded over 100 concerts in the Providence/Boston area, mostly between 1974 and 1978. His earliest recordings were made with an internal microphone deck, and though they are somewhat lo-fi compared to his later work, some very great moments in rock history were captured for posterity. In late 1974 he bought a Sony TC-152SD tape recorder, a Sony ECM-99 stereo microphone, and began using Maxell cassettes. He was also fortunate enough to have a friend who provided excellent taping seats for many shows, resulting in high quality recordings. In 1977, he switched over to a Nakamichi 550 tape recorder, two Nakamichi CM-300 microphones, and continued using Maxell cassettes.
He recorded many of the major 70's bands: Yes, Genesis, Pink Floyd, Queen, Blue Oyster Cult, Frank Zappa, Jethro Tull, ELP, Kiss, Black Sabbath, The Who, Al Stewart, Alice Cooper, Jeff Beck, Bruce Springsteen, Supertramp, Jean-Luc Ponty, Moody Blues, Neil Young, The Faces, Rush, Rick Wakeman, Kansas, as well as several "under the radar" acts.
Since Dan never traded copies of his recordings, they are all essentially uncirculated. Some copies were made for friends, but these releases are the first time most of these recordings have ever seen the light of day, and are direct from his master cassettes. No EQ'ing has been done to any of the transfers. Feel free to EQ, matrix, patch, etc and re-post if you like, just give Dan credit for the original recording.
Dan was very meticulous about taking good care of his tapes and is very pleased that these recordings will now circulate among the trading community. Please honour his kindness and generosity by sharing these recordings freely.
The transfers are available as 16bit/44.1KHz flac files suitable for CD burning, and also as 24bit/96KHz flac files for those who prefer the higher resolution.
Always remember - the more generous you are with your music, the more it comes back to you.
Kev & Carl
June 2009
Download
RE-UP Jethro Tull - Melbourne July 1972
Jethro Tull
Melbourne Australia
July 7 1972
Whole Lotta Brick
Audience
EX
MP3 320
Disc 1
1 Thick As A Brick
78:25 mins
Disc 2
1 Cross Eyed Mary
2 A New Day Yesterday (with Sloan Ranger intro)
3 Aqualung
4 Wind up/Guitar solo
5 Locomotive Breath
6 Hot Headed English General
7 Wind up (reprise)
51:34 mins
download
RE-UP Jethro Tull - Bologna Italy, 1973
This concert is from the 18th not the 17th of March, 1973. Both of these shows are identical recordings, but show alternate dates.
I present this show in two forms Flac and Mp3. The main reason for doing so,is because my original Flac file was damaged. Cross-Eyed Mary,Wind-up and Locomotive Breath are cut off and incomplete. The Mp3 version, split into two files, is presented in it's entirety. Since many prefer Flacs, I decided to post both. I did replace the damaged "Cross-Eyed" Flac with a converted Mp3 version from the same show. Wind-up cuts after 3:40, and Locomotive Breath only loses a few seconds at the very end.
Jethro tull live Bologna 03-18-1973
Audience
Flac
VG/VG+
01 - Thick As A Brick #1
02 - Thick As A Brick #2 - #3
03 - Thick As A Brick #4
04 - Organ Solo Instrumental Improvisation
05 - Thick As A Brick #5
06 - Flute Solo
07 - Thick As A Brick #6 - #8
08 - News
09 - Thick As A Brick #9
10 - Drum Solo
11 - Quote
12 - Thick As A Brick #10 - #12
13 - Cross-Eyed Mary (from mp3)
14 - Left Right
15 - Audition
16 - Aqualung
17 - Wind Up (cuts at 3:40)
19 - Instrumental - Guitar Solo
20 - No Rehearsal - Guitar Solo
21 - Locomotive Breath (cuts at very end, no real loss)
22 - Hard Headed English Gentlemen
23 - Wind Up (Reprise)
MP3
Jethro Tull - 1973-03-18 Bologna - Laufi Remaster
Complete "Thick As A Brick" & More
Palazzo dello Sport, Bologna, Italy
1973-03-18
*Original notes
This is a remaster of the same recording by Laufi.
Noticable differences: No digi noises, fuller sound (bass),
one more minute of intro (track 1), slightly slower speed. Should be an upgrade so far and could replace the former upload as I might think.
source: audience
Sound: 7
Time: 116:36
Tracklist:
disc 1
Thick As A Brick
Flute Solo/Quartet/God Rest Ye../Bourée
Thick As A Brick
disc 2
Cross-Eyed Mary
Left Right
Audition
Aqualung/Introduction
Wind Up
No Rehearsal
Instrumental/guitar Solo
No Rehearsal/guitar solo
Locomotive Breath
Hot Headed English General
Wind Up Reprise
_____
Remark:
A very nice audience recording that has 'Thick As A Brick' complete including
phone call, organ solo, drum solo, news, quote, etc. The sound is pretty good for
such a historic recording (at least if the audience is quiet). The second part of the
show has some stuff from the 'Chateau D'Isaster' sessions, as well as 'Hot Headed English
General'. The Italian crowd is really enthusiastic and Tulls performance too.
So far Laufi's notes.
Disc 1 is parted into 16 tracks, 65:23 minutes of Thick As A Brick (incl. "intro").
Disc 2 begins with Cross-Eyed Mary,
enjoy
trapper (oct 2009)
MP3
Wednesday, September 30, 2020
RE-UP The Who - From Lifehouse to Leeds
The Who
From Lifehouse to Leeds
Silver CD Source: SIAE (TW-OR-9)
1. Pure And Easy 4:29
2. Won't Get Fooled Again 9:01
3. Love Ain't For Keeping 4:07
4. Behind Blue Eyes 3:39
5. Baby Don't Do It 8:41
6. Getting In Tune 7:12
7. Young Man Blues 5:25
8. Happy Jack 2:15
9. I'm A Boy 2:46
10. Shakin' All Over With Spoonful 5:14
Comments from the web:
Early Who versions recorded at the Record Plant,
New York for the aborted Lifehouse project, which then became the material for
the Who's Next LP. For those of you who might have wondered how PT's lead style
got so mean sounding on Won't Get Fooled Again, that's Leslie West (from Moun-
tain) playing lead on this version.
Enjoy
Download
RE-UP The Who Lifehouse ( another soniclovenoize reconstruction)
The Who – Lifehouse
(soniclovenoize reconstruction)
FLAC
Side A:
1. Teenage Wasteland
2. Going Mobile
3. Baba O’Riley
4. Time is Passing
5. Love Ain’t For Keeping
Side B:
6. Bargain
7. Too Much of Anything
8. Greyhound Girl
9. Mary
10. Behind Blue Eyes
Side C:
11. I Don’t Even Know Myself
12. Put The Money Down
13. Pure and Easy
14. Getting in Tune
15. Let’s See Action
Side D:
16. Relay
17. Join Together
18. Won’t Get Fooled Again
19. The Song is Over
*Original Notes
By 1970, The Who were undoubtedly the top rock band in the world. After having released one of the first rock concept albums with The Who Sell Out in 1967, the first rock opera with Tommy and their messianic performance at Woodstock in 1969, and possibly one of the greatest live albums of all time with Live At Leeds in 1970, Pete Townshend had no choice but to up his own epic ante with the band’s next release. His follow-up to a concept album and rock opera could only be a third conceptual, semi-operatic piece, but which also included a film tie-in and actual audience participation with the band’s performance that would steer the direction and plotline of the album itself. As opposed to The Who’s previous rock opera, each song would also be able to stand on its own without the need for musical interludes to propel the storyline and explain the previous song; each song would be self-sufficient. That album was to be called Lifehouse.
Unfortunately, the Lifehouse’s plot-line was so convoluted and unexplainable, its execution so elaborate and unfeasible, not even his Townshend’s bandmates could comprehend it and the project was eventually scrapped. Instead, the best of the album’s surviving songs became Who’s Next in 1971. This is a reconstruction of what that double concept album/soundtrack called Lifehouse would have sounded like if it had been finished in 1971 as originally intended by The Who.
Lifehouse was a futuristic saga with diverging subplots to be unified at its conclusion, with an underlying secondary concept, acted out by The Who themselves through live footage and music. The storyline takes place in a polluted futuristic world in which the populace is literally hard-wired onto “The Grid,” a Matrix-like computer system controlled by the government, meant to oppress and pacify. All art is outlawed—especially music—as it promotes free-thinking, something The Grid is meant to do for you. A scattered few live free from The Grid in the outskirts of the cities—the hippie gypsies of a teenage wasteland.
The first of the three subplots of Lifehouse—also the opening sequence—centers around one of those gypsies free from The Grid, a turnip farmer named Ray. He gathers his wife Sally and daughter Mary to journey to the city, to investigate the mysterious Lifehouse, which is broadcasting pirated rock music onto The Grid (Side A of my reconstruction). The second subplot revolves around Mary’s own spiritual quest, as well as a glimpse of the villain Jumbo, a leading government official who controls The Grid (Side B of my reconstruction). The third subplot centers around the young man who runs the Lifehouse itself, a musician named Bobby who attempts to discover the ‘universal chord’ which consists of ‘notes’ from all people on earth, thus constructing a chord for all (Side C of my reconstruction). The finale of the album was envisioned as Ray, Sally and Mary’s arrival at the Lifehouse, Bobby’s performance of the universal chord, an epic battle against Jumbo and the freeing of the populace from The Grid (side D of my reconstruction).
The aforementioned underlying concept of Lifehouse was the construction of Bobby’s universal chord, as performed by The Who. The first phase of the recording sessions for Lifehouse consisted of The Who performing at The Young Vic theatre to an open-door audience, in which the band would interpret the emotions and souls of each individual audience member, to compose that member’s note, thus eventually creating Bobby’s universal chord. The Lifehouse film was to have footage from The Live Vic intercut with the storyline itself, The Who performing live from the Lifehouse with Ray and Sally listening along to Bobby’s pirate radio broadcast as they traveled the countryside.
As fate would have it, some mountains are just too high to climb. The recordings from The Young Vic were not as promising as anticipated, and the lack of audience understanding or even interest was disheartening for Townshend. Initial studio sessions with producer Kit Lambert in New York were sloppy and below-par for the critically acclaimed rock group. Pete Townshend began to lose hope in his elaborate tale of a dismal future and universal musical salvation and began to drink heavily. The situation reached a head when he overheard Lambert commenting that Lifehouse should be abandoned, which propelled Townshend into a nervous breakdown and suicide attempt. After firing Lambert, recording sessions were rebooted in London with producer Glyn Johns. The results were rejuvenating, having a cleaner fidelity and energetic performance. But that was not enough to save the Lifehouse. The dream finally ended after Townshend admitted it was simply too ambitious and the plot was too abstract. The choice was made to take the best songs from the double-concept album and create a stronger single album without a unifying concept. Ironically, the resulting Who’s Next was The Who’s most critically and financially successful album to date, continuing a mass of their most beloved songs.
Townshend never gave up hope for his Lifehouse, having slowly added more songs to the unreleased mess. Lifehouse often made references in his own work, such as on his Psychoderelect album in 1993. Townshend eventually released The Lifehouse Chronicles boxset in 2000, consisting of his original demos of the project from 1970 and later, his synthesizer experimentations, orchestral renditions of the songs and a 1998 radio play based on Lifehouse. This was what Lifehouse sounded like in 2000—not a finished album, but a scrapbook of a work-in-progress that was never finished. But what would The Who’s version sound like? Here is Lifehouse, as it was originally imagined.
How could we possibly explain something that Townshend himself could not explain to The Who’s inner circle and what took him 30 years to elaborate into a finished product? Surprisingly, Townshend left all the clues we really need in the form of his official tracklist on the Lifehouse Chronicles. Using his tracklist as a blueprint, it is surprisingly easy to reconstruct Lifehouse, as that is presumably the correct and official running order. Knowing the plotline as already explained, the tracklist seems to follow the narrative fairly well.
The only exclusions that should be made are the songs not originally written for the album in 1970-1971. Townshend claimed that Lifehouse was a continuous work in progress, and chose to include later The Who By Numbers and Who Are You-era tracks within the Lifehouse Cronicles. Clearly those songs are excluded here, as they were simply not written by 1971. This reconstruction attempts to be true to the project’s original inception. Once this is done, we are left with approximately 90 minutes of material, adding up to two 45-minute discs. Coincidence?
The next factor to consider is source material. Nearly all versions in the reconstruction are the original 1971 studio Who recordings. Although the original concept of Lifehouse included actual live Who performances—primarily at The Young Vic, that has been excluded here in the name of continuity and quality. If live material was to be used, why bother recording studio versions at all? Thus all versions on this reconstruction are the studio versions. Just as well,1970 live staples “Water”, “Naked Eye” and “Baby Don’t You do It” are excluded from my reconstruction of Lifehouse, because they are unneeded and superfluous, having predated the Lifehouse concept and seem to be unrelated to the storyline altogether.
Also, three tracks (“Teenage Wasteland”, “Greyhound Girl” and “Mary”) were taken from Townshend’s original demo tapes (as found on disc 1 of the Lifehouse Chronicles) because The Who had never recorded their own versions of the songs. In the case of those three songs, they are entirely solo Pete Townshend recordings, with him performing all instrumentation. Since they are vintage 1970 recordings and somehow fit perfectly into the album sonically, I have included them here. Also without those three, the album ceases to be two 45-minute discs.
Few instances of editing were needed beyond tighter crossfades to eliminate lead time between tracks and to create four continuous sides of music. One of two exceptions includes my own unique edit of “Teenage Wasteland”. While clearly the song eventually became and was replaced by “Baba O’Riley”, Townshend chose to include both versions on his final Lifehouse Chronicles. I have decided to respect that artistic decision, but have edited out the final 3 minutes of the song, the sections that emulate what would later become “Baba O’Riley”, thus avoiding any musical and lyrical redundancies. I have also included the beginning of “Baba M1”, one of Townshend’s synthesizer experiments that was later incorporated into “Baba O’Riley”, as a brief introduction to the album and representing the Universal Chord itself. The second unique edit was the creation of a new “Love Ain’t For Keeping”, consisting of the classic Who’s Next acoustic version edited together with the 2-minute jam and coda from the electric version recorded at the scrapped New York sessions (found on Odds and Sods). The effect is a an amazing end to Side A and a fresh look at a familiar song.
RE=UP The Who – Introducing The Who (soniclovenoize reconstruction)
The Who – Introducing The Who
(soniclovenoize reconstruction)
flac --> wav --> SONAR and Goldwave --> flac encoding via TLH lv8
* md5 files, track notes and artwork included
Side A:
1. I’m A Man
2. Heat Wave
3. I Don’t Mind
4. Lubie (Come Back Home)
5. Out In The Street (You’re Gonna Know Me)
6. Please Please Please
Side B:
7. Leaving Here
8. Daddy Rolling Stone
9. Motoring
10. Anytime You Want Me
11. Anyway, Anyhow, Anywhere
12. Shout and Shimmy
*Original Notes
This is a reconstruction of what was almost The Who’s 1965 debut album, consisting mostly of amped-up versions of R&B covers, which was eventually scrapped and re-recorded as their classic genre-creating My Generation. This reconstruction attempts to follow the original promotional acetate sequenced by producer Shel Talmy to recreate what The Who’s first album could have been. The best sources are used and of course this reconstruction is all in mono—pretty much the only way this material should be presented!
How are legends born? Sometimes they are not ready-made brilliant, but their significance needs to be forged and honed. Following a change of drummer to the young yet prodigal Keith Moon and a change of moniker from The Detours to The Who in 1964, the band was discovered by manager Peter Meaden who urged them to change their name to The High Numbers and record his own originals “Zoot Suit” and “I’m The Face” to exploit the current mod movement in the UK. The single failed to chart and the band reverted to their Who moniker. At this time, The Who were crafting their chaotic and destructive stage antics and making a name for themselves as playing “maximum R&B”—electrified, high-energy covers of American rock and rhythm & blues standards, laying the groundwork of what would eventually become punk rock.
Meadon was promptly replaced by Kit Lambert, who was impressed by the band’s explosive live show and encouraged guitarist Pete Townshend to write original material to keep up with the current trend of self-contained bands such as The Beatles and The Kinks. Signed by producer Shel Talmy, the band recorded their debut single that November at the basement studios of Pyre Electronics—“I Can’t Explain” b/w “Bald Headed Woman”, which charted at number 8. This was the catalyst the band needed and Talmy rushed The Who back into the studio to record a follow-up single, “Leaving Here” b/w “Baby Don’t You Do It” in March 1965. The single was shelved for unknown reasons but the band relocated to IBC Studios instead to record a full-length album in April. Prodded by vocalist Roger Daltrey, the sessions focused on reproducing The Who’s current live set in that they consisted mainly of early rock and R&B covers, with the only Townshend originals being recorded of the twelve were the paltry “Out in the Street” and a stunning song that attempted to sonically marry both the melodic and chaotic elements of The Who, “Anyway, Anyhow, Anywhere”.
The later was released in May as a single that charted as high as number 10 and Talmy reached a dilemma: should he release the covers-heavy recordings from April as-is, Daltrey’s vision of The Who? Or should Townshend be pushed to pen all-original material, as proven he could with both “I Can’t Explain” and “Anyway, Anyhow, Anywhere”? In a move that set in motion the band’s legendary trajectory, Talmy pressed a nine-song acetate from the sessions and shopped it around to music journalists. The acetate featured: I’m a Man / Heat Wave / I Don’t Mind / Lubie / Out In The Streets / Please, Please, Please / Leaving Here / Motoring and a final song (most likely “Shout and Shimmy”, as it was the only unheard song from the remaining four, with “Anyway, Anyhow, Anywhere” already released as a single, “Daddy Rolling Stone” as it’s b-side in the UK and “Anytime You Want Me” as it’s b-side in the US). Aside from Townshend later claiming he hated the album in this early configuration, the feedback was dismal and the material was deemed unoriginal and lacked the electric spark heard on the previous singles. It was decided that the whole album should be scrapped and to start again from scratch; Townshend had beaten Daltrey over the direction of The Who.
After a summer tour, the band reconvened to IBC Studios in October with all-new original material and recorded eight more tracks: “A Legal Matter”, “The Good’s Gone”, “It’s Not True”, “The Kids Are Alright”, “La-La-La Lies”, “Much Too Much”, “The Ox” and a little two-chord tune with a bass solo called “My Generation”. Creating the bulk of the remade debut, The Who rescued “Out in the Street”, “I Don’t Mind”, “Please Please Please” and “I’m A Man” from the April sessions and the album was released in December as My Generation, with its title track as the lead single released the previous month. The rest may be history, but the twisted path The Who took to find their generation could have yielded a completely different introduction.
Our first step in reconstructing this early version of My Generation—which I have aptly titled Introducing The Who—is to simply recreate Shel Telmay’s nine-song acetate, sifting in the three remaining songs into side B. The results create a surprisingly well-balanced album, with side A beginning with the ruckus of "I'm a Man", side A ending with the slow-tempo “Please Please Please” and side B beginning with the up-tempo “Leaving Here” (intended as a single anyways!). Also seemingly much more than coincidence, the covers-heavy album would then have one Townshend-original buried deep within each LP side full of cover versions, much like another popular rock band also on Decca Records: The Rolling Stones, in which both of their 1965 releases The Rolling Stones No. 2 and Out of Our Heads featured the exact same layout! As for source material, we will only use the original mono mixes and focus on the very best master of the available material: the 2011 Japanese SHM-SACD remaster of My Generation. All other source material (the 2008 My Generation box set and the 2011 remaster of Who’s Missing Two’s Missing) was A/Bed, re-EQed and volume adjusted to match the parameters of that excellent 2011 SHM-SACD remaster to make a cohesive whole and as close to the sound of the master tapes as possible.
More...
Download
Sunday, September 27, 2020
Traffic Sweden 1967
Traffic
Konserthuset
Stockholm, Sweden
September 5, 1967
SBD A-
01 Giving To You (5:27)
02 Smiling Phases (3:09)
03 Coloured Rain (4:37)
04 Hole In My Shoe (5:58)
05 Feelin' Good (9:30)
06 Paper Sun (5:00)
07 Dear Mr Fantasy (7:15)
TT - 40:59
Steve Winwood - Vocals, Keyboards
Dave Mason - Lead Guitar, Sitar, Vocals
Chris Wood - Saxophone, Flute
Jim Capaldi - Drums, Vocals
***Original Notes***
Got this years ago in a snail mail trade. This is interesting to hear as it predates the release of the first album by about three months. At this point they had only been together for four or five months and all they had released was the "Paper Sun" and "Hole In My Shoe" singles (which apparently sold well in Sweden, hence the venue). A brief but convincing performance from an excellent soundboard source. Enjoy!
Subscribe to:
Posts (Atom)