Ok... Hi again folks. I'll let the two reviews below tell you more about this show than I am able to do myself. Of course, incredible sound and performance here is a given. I'll just state that this kicks ass big time... and you'll know what to do. Enjoy...
Masters Of Reality / Chris Goss & Friends
Knitting Factory
Los Angeles, CA
September 6, 2001
Source: Front-of-house soundboard -> DAT -> CD-R (# 2) -> SHN -> Trade fileset -> WAV -> WavLab 5 (retracking of edit points) -> FLAC (level 8, align on sector boundaries)
Setlist:
Disc 1
01. Intro (P.A.)
02. Bicycle (P.A.)
03. 100 Years (Of Tears In The Wind)
04. Hey Diana
05. Jody Sings
06. introduction to 'Lovers Sky'
07. Lovers Sky
08. I Walk Beside Your Love
09. Rabbit One
10. Bela Alef Rose
11. The Ballad Of Jody Frosty
Total Disc Time: 49:17.06
Disc 2
01. Roof Of The Shed
02. Gonna Leave You
03. Counting Horses
04. Why The Fly
05. Deep In The Hole
06. encore break + intro to 'John Brown'
07. John Brown
Total Disc Time: 41:06.05
----------------------------------------------------------------------
originally published in edited form in Mojo (November 2001)
A Master of Reality and his Queens
September 6, 2001: Chris Goss & Friends at the Knitting Factory Los Angeles
Masters of Reality singer-guitarist Chris Goss has led one of the most tantalizing careers in rock. Since the Masters debuted in 1988 with their Rick Rubin-produced eponymous album, Goss has emerged every few years with a new Masters lineup, a new record deal and a fantastic new album of warmly melodic Cream-style rock -- and then disappeared again. The Masters may have recorded some of the best 'classic rock' you've (probably) never heard, but existing as they did in the late '80s/ early '90s -- rather than in their natural chrono-habitat of the late '60s/early '70s -- seems to have assigned them to commercial obscurity.
Still, Goss has become something of a legend. In the last decade he has produced records at his High Desert lodge-studio for Kyuss, Queens Of The Stone Age, Ian Astbury and countless other stoner-rock friends. One gets the sense that the attraction to Goss for these artists isn't just the sound he gets in the studio -- it's that he's an accessible, humble artist with a mysteriously deep connection to heavier rock's golden age: someone who still holds the key to the "White Room". Not for nothing did Ginger Baker join the Masters for the length of 1992's glorious 'Sunrise On The Sufferbus', his only appearance on a straightahead rock record in the last 15 years.
Tonight -- five days before the terrorist attacks on the East Coast -- Goss ventures into Hollywood with his friends in tow for a rare appearance, made even rarer by its sit-down, acoustic approach. When he opens the show with a solo electric take on Suffer's "100 Years (Of Tears In The Wind)", Goss is about as far in appearance from rock god as you can get: no curled bronze locks here, just one meanly shaved glowdome and a physical presence that rivals Mountain's Leslie West for pleasant plumpness. He's an Island of Dr. Moreau-era Brando with aguitar and a bunch of songs. Songs that are old, lost and soon-to-be-released: whimsical folk-pop haikus, slow blues vamps, rustic stompers, and Mellotron-haunted hymns. Songs about witches, fishing, and rabbits, delivered tonight with grace (no jams here), good humor and -- especially on the ghost-town-beneath-the-firmament ballads -- a strange, affecting power.
Goss's playing is minimal, his voice -- still strangely redolent of both Eric Clapton and Jack Bruce -- comforting, rich, timeless. Musicians, including multi-instrumentalist Brendan McNichol and Queens bassist Nick Oliveri, shuffle on and offstage, like some shadowy fraternity performing at a rare talent showcase. Familiar songs are aired, but most of the set is either new, rare or re-arranged: "Lovers Sky", sung by a somewhat frightened looking ex-Screaming Trees vocalist Mark Lanegan, finds Goss and Queens preppie Josh Homme adding gorgeous counterharmonies, while "Roof Of The Shed", an as yet unreleased tune co-written and co-sung by Goss and Homme, is an alluring drone-hymn with a typically MoR/Queens obscure lyric. By the time of the rousing Zeppelin-hootenanny closer "John Brown", the setting has shifted from well-appointed Hollywood club to a late-night private gathering somewhere out in the deep desert, with Goss and friends playing -- purely for their own pleasure -- songs rendered secret by an accident of history. Tonight, once again, the pleasure is ours too.
(Jay Babcock)
----------------------------------------------------------------------
Review of the recent Chris Goss and Friends show at the Knitting Factory from Kerrang!
Chris Goss And Friends: an all-star cast joins the Masters Of Reality mainman for a very special night - Rating: (4/5)
The Knitting Factory, Los Angeles - Thursday, September 6
If you've never heard of them, it would be easy to mistakenly believe that Masters Of Reality would sound like one of the heaviest bands ever. After all, they did borrow their name from the third Black Sabbath album. But, as big, bald Masters mainman Chris Goss proves tonight, more than anything else his bands songs are about innovation, mystery and, most of all, a feel for melody of the timeless variety. Tonight, in this rare solo show, Chris is excited at the prospect of hearing his mates play some of his tunes, and frankly so are we.
Chris begins the show alone with his electric guitar cranked up, and performs '100 Years (Of Tears On The Wind)'. Even without the lush instrumentation of its studio counterpart, it remains stirring and expansive. "This is just a way for me to play with some friends that I don't get to see too often," Goss explains when he's finished with the first tune. And from there on in it's one highlight after another. Talented musicians drift on and off the stage with each song, including Queens Of The Stone Age's Josh Homme, Nick Oliveri and Dave Catching, former Screaming Trees vocalist Mark Lanegan, A Perfect Circle's Troy Van Leeuwen, and many others.
While there are broad smiles on many of the players (except for the ever-taciturn Lanegan), there isn't too much drunken musicianship. Indeed, with Chris being such an inspiring figure to the younger players, Josh and many of the others play with blinding brilliance. Songs from the 'Welcome To The Western Lodge' album dominate the set list, which is disappointing for those who adore the Masters' self-titled debut. What makes up for this is the clutch of songs from the upcoming Masters LP, including "Roof Of The Shed" co-written by Chris and Josh. Still, the highlight is the spooky, jazzy "Rabbit One" (from 'Sunrise On The Sufferbus'). Chris laughs, breaking the mood, and calls the whole shebang "a great big incestuous musical mess." Not that that's a bad thing.
This is especially true when both Josh and Nick are on such fine form, with Nick singing lead vocals on a newie called "Gonna Leave You" and a rousing finale of the unreleased "Deep In The Hole" and the perennial closer "John Brown". The wildly applauding audience understand that they've just witnessed something rare and special: originality is one thing, but to turn it into beautiful music is a rare trick indeed.
(Joshua Sindell)
Chris Goss and Friends:
Josh Homme (QOTSA, Kyuss, EODM)
Dave Catching (Earthlings, QOTSA)
Nick Oliveri (Dwarves, QOTSA, Kyuss)
Brendon McNichol (Masters, QOTSA)
Troy Van Leeuwen (A Pefect Circle)
Mark Lanegan (Screaming Trees)
Peter Perdecheeze (beats me...)
Artwork is included.
Learn more here
Sunday, November 29, 2009
Saturday, November 28, 2009
Hairy Chapter - Can't Get Through / Eyes (FLAC)
Ok... Hi folks. I thought for my next listing I would post this CD of early '70's somewhat obscure German releases. I won't attempt to describe this one to you myself. Instead I'll just let Julian Cope (yes, that Julian Cope) in only his third 'Album Of The Month' review do the honours.
Julian Cope's Album Of The Month
Review #3, August 2000
Hairy Chapter
Can’t Get Through
Released 1971 on Bacillus
Reviewed by Julian Cope
“My education will never let me be free.” - Harry Unte of Hairy Chapter.
In 1971, this Nordelic KO of an album saw the immaculately named German band Hairy Chapter briefly joining the Warrior Guitar Gods of their ancestral dreams. They'd made albums before which were all-right-now in a fuzzy, garagey way, but with the release of 'Can't Get Through', Hairy Chapter finally recorded a righteous royal shit-stirrer which should be in the collection of every 21st Century Head. For 'Can't Get Through' was a blood-lusty and maniacally lunar combination of the first Funkadelic LP, Alice Cooper's 'Love It To Death', Led Zeppelin 2 and Amon Duul 2's 'Yeti'. All of the aforementioned sum up the male aspects of this rave, but maybe Sir Lord Baltimore playing Fleetwood Mac's "Green Manalishi" 45 more fairly describes the spectral she-muse summoned up on this monsterious slab of Bonn sub-culture. For, like the Hoary Whore-shadow who inhabits the first Baltimore LP, the whole of 'Can't Get Through' seems to be a Mare's Nest motivated by some hidden (or perhaps accidentally invoked) White Lady, who is determined to punish both the guitarist and the singer unless they over-achieve far beyond their hitherto wildest dreams. The Laser's Edge magazine once called this LP "Uninhibited guitar debauchery," and it would be churlish in the extreme not to award some sort of posthumous Golden Guitar medal to so unsung an axe hero as Hairy Chapter's Harry Titlbach. He coaxes, caresses, and finally wrings out such heathen howls from his instrument that it is impossible not to visualise him as anything other than a cartoon. In my mind's eye, I see him wild-eyed and tormented, making endless prowls back and forth across the stage, from the foot-pedal of his evermore distorted amplifier to the mikestand of his singer and cohort, the equally tortured longhair known as Harry Unte. Yes, this group was led by two guys called Harry and, on this album, they were both demented. Maybe they should have been called Harry Chapter! Maybe it was some crazy in-joke lost in the mists of time!
For this 'Can't Get Through' LP, singer Harry Unte was inhabited by the same spectral muse as his guitar partner. Listen to the vocal delivery and you soon understand that, whatever mysterious force it was which had him by the balls, this singer may have needed the revolution right now, but, more than that, he needed to get cosmically laid; and pronto, Tonto! "Gimme your body" he howls. "I wanna ball you all night long," he wails. "I wanna hold your luscious breasts in my hands," he implores. But, best of all, "I… I… I wanna see your 27 fingers explode in my body." Hell, Harry, doesn't everyone?
Hairy Chapter had been together since the late 60s, but, by 1971, these longhair guys were Bonn punks with the bit between their teeth. They had a big new record label behind them and a bigtime record producer helping them. And, from the Funkadelic-like start of 'Can't Get Through' to its blazing Amon Duul 2 stun-guitar photo-finish, they were far out, flat out and putting the cat out. As though aware that their other albums didn't cut the mustard, and unaware that this was to be their Goddess-fuelled swansong, everything on the record is weighty with a real sense of moment and dread. In 1969, they had recorded the obscure 'Electric Sounds For Dancing' LP, followed by the disappointing 'Eyes' album for the tiny Opp record label. But the passing of one whole year and the release of a slew of 'heavy' albums from other bands turned Hairy Chapter from slack Yardbird-alikes into a proud warrior caste with a post-barbarian Guitar Army battleplan. Gone were the late 60s fuzz leads and the blues structures and the muted guitar-blasts of 1970's 'Eyes' LP. Replacing them came long and intricately arranged barrages of compelling mood and mania; undulating hoodoo which pulled the carpet from under the feet of listeners and sent them down sonic tunnels into underground wells of pure mystery. Of course, it may well be that the arrival of Dieter Dierks as their producer imbued the members of Hairy Chapter with a sense that this was finally their moment. 'Can't Get Through' was recorded for the new and hip Bacillus record label, and this was only the second release for that company, which had been conceived as the German Polygram label's answer to the genuinely underground companies which had sprung out of the 1960s. Unlike labels such as Ohr and, much later, Brain Records, who concentrated on the real Krautrock (being the most German sounding music they could find), the strategy of the staff at Bacillus seems to have been based on marketing music which would compete with British and American bands. So money and expectations abounded with the recording of 'Can't Get Through', and the genius of Dieter Dierks was there to channel it and manipulate it. And he truly kept his part of the deal brilliantly. Though Hairy Chapter was in no way a Krautrock band, being far too convinced of themselves as being genuine competition for the British and Americans, powerful elements of Krautrock are still contained within these grooves and having Dieter Dierks at the sound desk is surely the reason. For it was Dierks who confronted Hairy Chapter's hard rock with outright psychedelic production and even co-wrote one of the songs. 'Can't Get Through' begins with the chiming Hendrix Funkadelia of "There's A Kind Of Nothing", which summons the Ur-Klang of the Krautreaper but all too soon breaks down into a low-key weird acoustic thing. I say all too soon because their one mistake was not making this opening track 10-minutes long. Or, perhaps, even beginning the album with the epic nine-minute title song which follows, for "Can't Get Through" is epic in a heavy way, the way that early 70s groups only got when they'd played this stuff live on stage before recording it. Coming on like something off the Groundhogs' 'Split', all arranged and furious, it features Harry Unte's classy words: "Reality has got to die" and "My education will never let me be free". The vocals are confidently snotty and unself-consciously whining, and the guitars and drum interplay is epic in the same way that Alice Cooper's 'Killer' actually supersedes 'Love It To Death' both musically and emotionally. Does Harry Unte really sing "My parents tried to make a white person out of me"? It surely sounds that way, before Total Guitar Wars take over the song and huge psychedelic metal riffs obliterate the whole band. Finally, unaccompanied wild rhythm-less soloing reminds all of us that Dieter Dierks is, of course, the dread at the controls. But my favourite song is definitely "It Must Be An Officer's Daughter", the eight-minute behemoth which opens side two. For here it is that the White Lady really strikes hardest. Yes, this the one in which Harry Unte wants to ball her all night long and feel her luscious breasts and feel her 27 fingers explode inside his body. Anyone who has felt Peter Green's White Lady at his back when listening to "Green Manalishi" will stiffen and blanche at the psychic hand job that the singer receives on this song. By the time Hairy Chapter gets to "We Crossed Over", they've taken on elements of Amon Duul 1 playing Man Who Sold the World, as gothic choral vocals and solo piccolo trumpet illustrates a tale of them breaking through into the Underworld, or through the Berlin Wall, or both. Its acoustic mystery is pure Bowie Krautrock and it totally intrigues my psychic ass. 'Can't Get Through' finishes with the Amon Duul 2-riffing of "You Gotta Follow this Masquerade" - more of that White Lady-on-my-trail vocal cut with the epic Guitar Wolf Howl of Harry Titlbach. The entire album under 40 minutes long and they're done and gone forever. Hairy Chapter was a brief chapter with few pictures but a way with words and vats of spare rock'n'roll riffs just looking for their moment. As Dag Erik Asbjornsen so accurately commented in his marvellous book 'Cosmic Dreams At Play', 'Can't Get Through' is "one of those screaming diz, dumbo IQ-reducing monsters that some people can never get enough of." Right On!
Footnote:
For an instant comparison of 1971's 'Can't Get Through' to 1970's 'Eyes', get hold of both on one CD now released on the Second Battle record label, catalogue number 038.
Alrighty then... that was a fun read, wasn't it? Getting down to business now, that Second Battle release is what you are looking at right here. So, you are actually getting two albums instead of just one. Lucky you! Enjoy...
Hairy Chapter
Can't Get Through / Eyes
Second Battle
SB 038
Tracklist:
'Can't Get Through'
01 There's A Kind Of Nothing
02 Can't Get Through
03 It Must Be A Officer's Daughter
04 As We Crossed Over
05 You've Got To Follow This Masquerade
'Eyes'
06 Bad Dreams
07 Pretty Talking Girl
08 Pauline
09 Illusions
10 Looking For A Decent Freedom
11 Cry For Relief
12 Thought After
13 Life 69
14 Big Fat Woman Blues
Total Disc Time: 62:26.14
Musicians:
Harry Unte - Vocals, Acoustic Guitar
Harry Titlbach - Guitar, 12 String Guitar
Rudolf Oldenburg - Bass
Werner Faus - Drums
Artwork is included.
Learn more here
Julian Cope's Album Of The Month
Review #3, August 2000
Hairy Chapter
Can’t Get Through
Released 1971 on Bacillus
Reviewed by Julian Cope
“My education will never let me be free.” - Harry Unte of Hairy Chapter.
In 1971, this Nordelic KO of an album saw the immaculately named German band Hairy Chapter briefly joining the Warrior Guitar Gods of their ancestral dreams. They'd made albums before which were all-right-now in a fuzzy, garagey way, but with the release of 'Can't Get Through', Hairy Chapter finally recorded a righteous royal shit-stirrer which should be in the collection of every 21st Century Head. For 'Can't Get Through' was a blood-lusty and maniacally lunar combination of the first Funkadelic LP, Alice Cooper's 'Love It To Death', Led Zeppelin 2 and Amon Duul 2's 'Yeti'. All of the aforementioned sum up the male aspects of this rave, but maybe Sir Lord Baltimore playing Fleetwood Mac's "Green Manalishi" 45 more fairly describes the spectral she-muse summoned up on this monsterious slab of Bonn sub-culture. For, like the Hoary Whore-shadow who inhabits the first Baltimore LP, the whole of 'Can't Get Through' seems to be a Mare's Nest motivated by some hidden (or perhaps accidentally invoked) White Lady, who is determined to punish both the guitarist and the singer unless they over-achieve far beyond their hitherto wildest dreams. The Laser's Edge magazine once called this LP "Uninhibited guitar debauchery," and it would be churlish in the extreme not to award some sort of posthumous Golden Guitar medal to so unsung an axe hero as Hairy Chapter's Harry Titlbach. He coaxes, caresses, and finally wrings out such heathen howls from his instrument that it is impossible not to visualise him as anything other than a cartoon. In my mind's eye, I see him wild-eyed and tormented, making endless prowls back and forth across the stage, from the foot-pedal of his evermore distorted amplifier to the mikestand of his singer and cohort, the equally tortured longhair known as Harry Unte. Yes, this group was led by two guys called Harry and, on this album, they were both demented. Maybe they should have been called Harry Chapter! Maybe it was some crazy in-joke lost in the mists of time!
For this 'Can't Get Through' LP, singer Harry Unte was inhabited by the same spectral muse as his guitar partner. Listen to the vocal delivery and you soon understand that, whatever mysterious force it was which had him by the balls, this singer may have needed the revolution right now, but, more than that, he needed to get cosmically laid; and pronto, Tonto! "Gimme your body" he howls. "I wanna ball you all night long," he wails. "I wanna hold your luscious breasts in my hands," he implores. But, best of all, "I… I… I wanna see your 27 fingers explode in my body." Hell, Harry, doesn't everyone?
Hairy Chapter had been together since the late 60s, but, by 1971, these longhair guys were Bonn punks with the bit between their teeth. They had a big new record label behind them and a bigtime record producer helping them. And, from the Funkadelic-like start of 'Can't Get Through' to its blazing Amon Duul 2 stun-guitar photo-finish, they were far out, flat out and putting the cat out. As though aware that their other albums didn't cut the mustard, and unaware that this was to be their Goddess-fuelled swansong, everything on the record is weighty with a real sense of moment and dread. In 1969, they had recorded the obscure 'Electric Sounds For Dancing' LP, followed by the disappointing 'Eyes' album for the tiny Opp record label. But the passing of one whole year and the release of a slew of 'heavy' albums from other bands turned Hairy Chapter from slack Yardbird-alikes into a proud warrior caste with a post-barbarian Guitar Army battleplan. Gone were the late 60s fuzz leads and the blues structures and the muted guitar-blasts of 1970's 'Eyes' LP. Replacing them came long and intricately arranged barrages of compelling mood and mania; undulating hoodoo which pulled the carpet from under the feet of listeners and sent them down sonic tunnels into underground wells of pure mystery. Of course, it may well be that the arrival of Dieter Dierks as their producer imbued the members of Hairy Chapter with a sense that this was finally their moment. 'Can't Get Through' was recorded for the new and hip Bacillus record label, and this was only the second release for that company, which had been conceived as the German Polygram label's answer to the genuinely underground companies which had sprung out of the 1960s. Unlike labels such as Ohr and, much later, Brain Records, who concentrated on the real Krautrock (being the most German sounding music they could find), the strategy of the staff at Bacillus seems to have been based on marketing music which would compete with British and American bands. So money and expectations abounded with the recording of 'Can't Get Through', and the genius of Dieter Dierks was there to channel it and manipulate it. And he truly kept his part of the deal brilliantly. Though Hairy Chapter was in no way a Krautrock band, being far too convinced of themselves as being genuine competition for the British and Americans, powerful elements of Krautrock are still contained within these grooves and having Dieter Dierks at the sound desk is surely the reason. For it was Dierks who confronted Hairy Chapter's hard rock with outright psychedelic production and even co-wrote one of the songs. 'Can't Get Through' begins with the chiming Hendrix Funkadelia of "There's A Kind Of Nothing", which summons the Ur-Klang of the Krautreaper but all too soon breaks down into a low-key weird acoustic thing. I say all too soon because their one mistake was not making this opening track 10-minutes long. Or, perhaps, even beginning the album with the epic nine-minute title song which follows, for "Can't Get Through" is epic in a heavy way, the way that early 70s groups only got when they'd played this stuff live on stage before recording it. Coming on like something off the Groundhogs' 'Split', all arranged and furious, it features Harry Unte's classy words: "Reality has got to die" and "My education will never let me be free". The vocals are confidently snotty and unself-consciously whining, and the guitars and drum interplay is epic in the same way that Alice Cooper's 'Killer' actually supersedes 'Love It To Death' both musically and emotionally. Does Harry Unte really sing "My parents tried to make a white person out of me"? It surely sounds that way, before Total Guitar Wars take over the song and huge psychedelic metal riffs obliterate the whole band. Finally, unaccompanied wild rhythm-less soloing reminds all of us that Dieter Dierks is, of course, the dread at the controls. But my favourite song is definitely "It Must Be An Officer's Daughter", the eight-minute behemoth which opens side two. For here it is that the White Lady really strikes hardest. Yes, this the one in which Harry Unte wants to ball her all night long and feel her luscious breasts and feel her 27 fingers explode inside his body. Anyone who has felt Peter Green's White Lady at his back when listening to "Green Manalishi" will stiffen and blanche at the psychic hand job that the singer receives on this song. By the time Hairy Chapter gets to "We Crossed Over", they've taken on elements of Amon Duul 1 playing Man Who Sold the World, as gothic choral vocals and solo piccolo trumpet illustrates a tale of them breaking through into the Underworld, or through the Berlin Wall, or both. Its acoustic mystery is pure Bowie Krautrock and it totally intrigues my psychic ass. 'Can't Get Through' finishes with the Amon Duul 2-riffing of "You Gotta Follow this Masquerade" - more of that White Lady-on-my-trail vocal cut with the epic Guitar Wolf Howl of Harry Titlbach. The entire album under 40 minutes long and they're done and gone forever. Hairy Chapter was a brief chapter with few pictures but a way with words and vats of spare rock'n'roll riffs just looking for their moment. As Dag Erik Asbjornsen so accurately commented in his marvellous book 'Cosmic Dreams At Play', 'Can't Get Through' is "one of those screaming diz, dumbo IQ-reducing monsters that some people can never get enough of." Right On!
Footnote:
For an instant comparison of 1971's 'Can't Get Through' to 1970's 'Eyes', get hold of both on one CD now released on the Second Battle record label, catalogue number 038.
Alrighty then... that was a fun read, wasn't it? Getting down to business now, that Second Battle release is what you are looking at right here. So, you are actually getting two albums instead of just one. Lucky you! Enjoy...
Hairy Chapter
Can't Get Through / Eyes
Second Battle
SB 038
Tracklist:
'Can't Get Through'
01 There's A Kind Of Nothing
02 Can't Get Through
03 It Must Be A Officer's Daughter
04 As We Crossed Over
05 You've Got To Follow This Masquerade
'Eyes'
06 Bad Dreams
07 Pretty Talking Girl
08 Pauline
09 Illusions
10 Looking For A Decent Freedom
11 Cry For Relief
12 Thought After
13 Life 69
14 Big Fat Woman Blues
Total Disc Time: 62:26.14
Musicians:
Harry Unte - Vocals, Acoustic Guitar
Harry Titlbach - Guitar, 12 String Guitar
Rudolf Oldenburg - Bass
Werner Faus - Drums
Artwork is included.
Learn more here
Friday, November 27, 2009
Health And Happiness Show - Demos (FLAC)
Ok... Hi again folks. This is just one of those bands, it seems, that slip by the awareness of the public at every chance moment. This is probably just another one of those, but here goes...
These tracks, all of them, are just fine examples of the craftmanship of songwriting, using great instrumentation and arrangements with excellent execution by the involved performers. If you are fans of bands like Uncle Tupelo, Wilco, and, especially, the group - The Waterboys, then these songs will be right in that rich vein of Alt/Country Rock with some Celtic flavoring that mining over and again brings enjoyment to you, time after time. Give all of these tracks a few listens... let them sink into you a bit, and then let me know if that past description I gave is wrong in any way at all.
Apparently, this was the demo tape they shopped around to several different labels before signing to Bar/None Records who put out the first (1993), and second (1995) of their albums. Both of those albums gathered great reviews from critics and such but, much like I stated, they never really registered with the music-buying public. And, realistically, they never got much if any media exposure to help them along. Of course, all of that makes little difference to all the great songs they left behind on three releases. And, also, with Tony Shanahan becoming a full-fledged working member of Patti Smith's band to this day, the band did go through some personnel changing from record to record. All of them had great guest artists and such for each one, and the songwriting and arrangements were always consistant and strong. Now... for these demo tracks here, I think that the musicianship and songwriting is even more evident. These are fully finished studio demos and they sound great. But, also, the proper commercial releases of some of these songs now sound just a bit over-produced and busy in comparison... these demos here just breathe openly and seem earnest in a way. Very good stuff indeed to me. Heck, maybe... I am just in a single opinion of that by myself. Well, I think the band pretty much shut it down by the Summer of 2001, but they left it behind them on their own terms; and gave us something to look back upon and they should feel mighty proud of the recordings left behind as their legacy. Give this a try for yourself if you feel so inclined, I've tried to give you an idea, in a way, of what you are looking at here. I gathered some more infomation, redoing the info text and filling it out a bit more. All extra that I did is shown for you to look over below and I even threw together some simple artwork for this, tying it all together nicely in this upload. Enjoy...
Health And Happiness Show - Demos
1990-93?
Demo cassette (low generation) > CD-R (0) > EAC > FLAC > DL > WAV > WaveLab 5 (DC offset correction, smoothed and evened track separations with ultra light noise reduction) > FLAC (level 8, align on sector boundaries)
Tracklist:
01 The Ghost Of Love 3:49.49
02 Why You Cry 3:57.18
03 Sinner's Lullaby 4:59.59
04 Don't Have Far To Fall 5:10.12
05 Jewel Box 4:15.37
06 I'll Be Your Train 3:42.33
07 River Of Stars 3:41.27
08 Woman Of Gold 4:12.28
09 You Are What You Dream 4:23.57
10 Live Your Love 4:47.31
Total Disc Time: 42:59.51
Band members at the time of these demos -
James Mastro - Acoustic and electric guitar, harmonica, spoons, vocals
Vinny DeNunzio - Drums, percussion, vocals
Tony Shanahan - Bass, piano, organ, accordion, vocals
Kerryn Tolhurst - Dobro, guitar, mandolin, lap steel guitar
Todd Reynolds - Violin, fiddle
and possibly other musicians included.
Tracks 1, 3, 7, 8 & 9 appeared commercially on 'Tonic' (1993)
Tracks 4 & 6 appeared commercially on 'Instant Living'(1995)
Tracks 2, 5 & 10 do not appear on any of their three albums or any other albums that I could find listed.
None of these tracks here are the same as the official commercially released versions.
Their bio as told by James Mastro:
The Health & Happiness Show started with me and Vinny sitting around his kitchen singing Hank Williams' songs and drinking beer. We'd both been in bands that over the course of years had record deals, were close to getting record deals, or one showcase away from getting a record deal. Needless to say, our view of the music biz was a bit sour. These "kitchen-table hootenannies" kind of reintroduced me to what playing music was supposed to be about.
Started getting together with other friends around their kitchen tables, and realized if I pushed all the tables together, had the makings of a band-a band that wanted to play just to play-not to get a record deal. We booked a show (2 years ago), had a good time, and booked another.
Tony Shanahan joined the band when his best friend, Graham Maby, recommended he fill his spot while away touring. Tony in turn suggested to his friend Kerry Tolhurst, a multi-instrumentalist, to sit in with Health & Happiness at a show at Paddy Reilly's. Kerryn, never hearing the songs before, played them better than the rest of the band. I asked him if he'd like to play with us again. He did - and does.
Todd Reynolds was friends with original H & H fiddler, Sean Grissom, and had joined the H & H show onstage a few times. When it became known Todd had a car, I asked him to join.
There were no auditions, ads in papers...everyone just kind of gravitated toward each other- for the music, and the idea of playing for the fuck of it.
There's nothing like endless sucking up to the music biz corporate mothership to take the joy out of playing music. Endless showcasing, the dangled carrot of "liked the tape, when are you playing out?" "It's good I'd like to hear more" or just simply "interesting".
Jim Mastro found himself in this situation in the late 80's. He was close, so close... he had a developement deal... a publishing contract... a Best Unsigned band award from Musician and East Coast Rocker Battle of the Bands but he didn't have that deal. What he did have was hundreds of showcases at CBGB's ...in disgust he broke up the band (Strange Cave) and focused on production. When he would reenter the arena in the 90's it was strictly for fun.
The Health & Happiness Show got its name from the old Hank Williams' radio show, that was sponsored by Hadacol, a magic elixir that was 1/2 alcohol, and quite popular in the dry counties down South. Our early get togethers, beer and music, was our elixir, our 'Tonic' (the name of their first album). That's what these songs are to me - tonic. On tour, we've played with everyone from Kirsty MacColl to Marty Balin to Barenaked Ladies, and somehow fit in with all those audiences.
Discography -
1993 - Tonic - Bar/None Records
1995 - Instant Living - Bar/None Records
1999 - Sad & Sexy - Neh Records
Band members brief history -
James Mastro - 17-19 years old, member of The Bongos - 2 records for RCA; Strange Cave - RCA demo deal; produced lots of local bands; Health & Happiness Show
Tony Shanahan - played with Johu Cale; Hearts & Minds, Slaves Of New Brunswick, and others; now longtime member of Patti Smith's band
Vinny DeNunzio - original Feelies drummer; then Richard Hell band; Health & Happiness Show
Kerryn Tolhurst - member of Australian band The Dingoes; wrote hits for Pat Benatar & Little River Band
Todd Reynolds - played violin with Steve Reich and others; Health & Happiness Show
James Mastro and Vinny DeNunzio were the only constants for all three Health And Happiness Show albums.
Artwork (2 sets) is included.
Learn more here
These tracks, all of them, are just fine examples of the craftmanship of songwriting, using great instrumentation and arrangements with excellent execution by the involved performers. If you are fans of bands like Uncle Tupelo, Wilco, and, especially, the group - The Waterboys, then these songs will be right in that rich vein of Alt/Country Rock with some Celtic flavoring that mining over and again brings enjoyment to you, time after time. Give all of these tracks a few listens... let them sink into you a bit, and then let me know if that past description I gave is wrong in any way at all.
Apparently, this was the demo tape they shopped around to several different labels before signing to Bar/None Records who put out the first (1993), and second (1995) of their albums. Both of those albums gathered great reviews from critics and such but, much like I stated, they never really registered with the music-buying public. And, realistically, they never got much if any media exposure to help them along. Of course, all of that makes little difference to all the great songs they left behind on three releases. And, also, with Tony Shanahan becoming a full-fledged working member of Patti Smith's band to this day, the band did go through some personnel changing from record to record. All of them had great guest artists and such for each one, and the songwriting and arrangements were always consistant and strong. Now... for these demo tracks here, I think that the musicianship and songwriting is even more evident. These are fully finished studio demos and they sound great. But, also, the proper commercial releases of some of these songs now sound just a bit over-produced and busy in comparison... these demos here just breathe openly and seem earnest in a way. Very good stuff indeed to me. Heck, maybe... I am just in a single opinion of that by myself. Well, I think the band pretty much shut it down by the Summer of 2001, but they left it behind them on their own terms; and gave us something to look back upon and they should feel mighty proud of the recordings left behind as their legacy. Give this a try for yourself if you feel so inclined, I've tried to give you an idea, in a way, of what you are looking at here. I gathered some more infomation, redoing the info text and filling it out a bit more. All extra that I did is shown for you to look over below and I even threw together some simple artwork for this, tying it all together nicely in this upload. Enjoy...
Health And Happiness Show - Demos
1990-93?
Demo cassette (low generation) > CD-R (0) > EAC > FLAC > DL > WAV > WaveLab 5 (DC offset correction, smoothed and evened track separations with ultra light noise reduction) > FLAC (level 8, align on sector boundaries)
Tracklist:
01 The Ghost Of Love 3:49.49
02 Why You Cry 3:57.18
03 Sinner's Lullaby 4:59.59
04 Don't Have Far To Fall 5:10.12
05 Jewel Box 4:15.37
06 I'll Be Your Train 3:42.33
07 River Of Stars 3:41.27
08 Woman Of Gold 4:12.28
09 You Are What You Dream 4:23.57
10 Live Your Love 4:47.31
Total Disc Time: 42:59.51
Band members at the time of these demos -
James Mastro - Acoustic and electric guitar, harmonica, spoons, vocals
Vinny DeNunzio - Drums, percussion, vocals
Tony Shanahan - Bass, piano, organ, accordion, vocals
Kerryn Tolhurst - Dobro, guitar, mandolin, lap steel guitar
Todd Reynolds - Violin, fiddle
and possibly other musicians included.
Tracks 1, 3, 7, 8 & 9 appeared commercially on 'Tonic' (1993)
Tracks 4 & 6 appeared commercially on 'Instant Living'(1995)
Tracks 2, 5 & 10 do not appear on any of their three albums or any other albums that I could find listed.
None of these tracks here are the same as the official commercially released versions.
Their bio as told by James Mastro:
The Health & Happiness Show started with me and Vinny sitting around his kitchen singing Hank Williams' songs and drinking beer. We'd both been in bands that over the course of years had record deals, were close to getting record deals, or one showcase away from getting a record deal. Needless to say, our view of the music biz was a bit sour. These "kitchen-table hootenannies" kind of reintroduced me to what playing music was supposed to be about.
Started getting together with other friends around their kitchen tables, and realized if I pushed all the tables together, had the makings of a band-a band that wanted to play just to play-not to get a record deal. We booked a show (2 years ago), had a good time, and booked another.
Tony Shanahan joined the band when his best friend, Graham Maby, recommended he fill his spot while away touring. Tony in turn suggested to his friend Kerry Tolhurst, a multi-instrumentalist, to sit in with Health & Happiness at a show at Paddy Reilly's. Kerryn, never hearing the songs before, played them better than the rest of the band. I asked him if he'd like to play with us again. He did - and does.
Todd Reynolds was friends with original H & H fiddler, Sean Grissom, and had joined the H & H show onstage a few times. When it became known Todd had a car, I asked him to join.
There were no auditions, ads in papers...everyone just kind of gravitated toward each other- for the music, and the idea of playing for the fuck of it.
There's nothing like endless sucking up to the music biz corporate mothership to take the joy out of playing music. Endless showcasing, the dangled carrot of "liked the tape, when are you playing out?" "It's good I'd like to hear more" or just simply "interesting".
Jim Mastro found himself in this situation in the late 80's. He was close, so close... he had a developement deal... a publishing contract... a Best Unsigned band award from Musician and East Coast Rocker Battle of the Bands but he didn't have that deal. What he did have was hundreds of showcases at CBGB's ...in disgust he broke up the band (Strange Cave) and focused on production. When he would reenter the arena in the 90's it was strictly for fun.
The Health & Happiness Show got its name from the old Hank Williams' radio show, that was sponsored by Hadacol, a magic elixir that was 1/2 alcohol, and quite popular in the dry counties down South. Our early get togethers, beer and music, was our elixir, our 'Tonic' (the name of their first album). That's what these songs are to me - tonic. On tour, we've played with everyone from Kirsty MacColl to Marty Balin to Barenaked Ladies, and somehow fit in with all those audiences.
Discography -
1993 - Tonic - Bar/None Records
1995 - Instant Living - Bar/None Records
1999 - Sad & Sexy - Neh Records
Band members brief history -
James Mastro - 17-19 years old, member of The Bongos - 2 records for RCA; Strange Cave - RCA demo deal; produced lots of local bands; Health & Happiness Show
Tony Shanahan - played with Johu Cale; Hearts & Minds, Slaves Of New Brunswick, and others; now longtime member of Patti Smith's band
Vinny DeNunzio - original Feelies drummer; then Richard Hell band; Health & Happiness Show
Kerryn Tolhurst - member of Australian band The Dingoes; wrote hits for Pat Benatar & Little River Band
Todd Reynolds - played violin with Steve Reich and others; Health & Happiness Show
James Mastro and Vinny DeNunzio were the only constants for all three Health And Happiness Show albums.
Artwork (2 sets) is included.
Learn more here
Saturday, November 21, 2009
Jan Garbarek Group - Nightstage Cambridge, MA 1987-09-22 (FLAC)
Ok... Hi again folks. This recording is an excellent Jan Garbarek upload that was shared by glasnostrd19 at Dime on Tue 23rd Sep, 2008. But I'm almost sure that was probably a reseed of his from an earlier time. I don't think this tour was very well documented in recordings by anyone and it seems that there was a slight discrepancy to the exact location of this show and of the titles of some of these composition pieces. Now, thanks to Dime member jazzrita and also several other Dime members conferring along with a discussion of it, a consensus was reached on this wonderful Jan Garbarek Group concert as to a definitive setlist. Now I am proud to be able to share it forward from this point as it being correct for the future appreciation of fans of this great artists' music. Here is some info that was included on the original upload before this project was begun directly below -
Note from glasnostrd19
Comments:
There were 2 shows this night. I'm not sure which show this one is, but it is the only one I have of this edition of the Jan Garbarek Group. I did not see this show. etree lists this as from Jonathan Swift's, but the source of it, the sound of it, and my memory of it all say this concert was at Nightstage. So the sound is really nice, this one doesn't have any problems in the recording. There's a lot of Jan Garbarek shows to be heard, he goes back to early 70's, but there were only 2 shows listed in etree for 1987 (this was one of them, but didn't have a setlisting.)
Ok... I have also made some simple artwork for this one from a commercial release around the same time period and have included it with this download. This is just an excellent capture of a Jan Garbarek Group show from this era. Just simply wonderful music played to near perfection by outstanding musicians. Enjoy...
Jan Garbarek Group
Nightstage
Cambridge, MA
September 22, 1987
Source: Soundboard cassette (2nd gen.)
Lineage: SBD > ? > DL from Dime > WAV > WaveLab 5 (retracking) > FLAC (level 8, align on sector boundaries)
Setlist:
Disc 1
1 1st Piece 7:35.28
2 A.I.R. / Titel (Bass Solo) 11:15.32
3 The Last Stage Of A Long Journey 11:56.11
4 Tongue Of Secrets 4:26.33
5 Hasta Siempre 10:38.42
6 The Crossing Place 9:52.39
Total Disc Time: 55:44.35
Disc 2
1 5th Piece 9:27.27
2 Gesture / Vozes (Percussion Solo) 9:58.39
3 Paper Nut 7:05.47
Total Disc Time: 26:31.38
Musicians:
Jan Garbarek - Tenor and Soprano Sax, Flute
Lars Jansson - Keyboards
Eberhard Weber - Bass
Nana Vasconcelos - Percussion
Learn more here
Note from glasnostrd19
Comments:
There were 2 shows this night. I'm not sure which show this one is, but it is the only one I have of this edition of the Jan Garbarek Group. I did not see this show. etree lists this as from Jonathan Swift's, but the source of it, the sound of it, and my memory of it all say this concert was at Nightstage. So the sound is really nice, this one doesn't have any problems in the recording. There's a lot of Jan Garbarek shows to be heard, he goes back to early 70's, but there were only 2 shows listed in etree for 1987 (this was one of them, but didn't have a setlisting.)
Ok... I have also made some simple artwork for this one from a commercial release around the same time period and have included it with this download. This is just an excellent capture of a Jan Garbarek Group show from this era. Just simply wonderful music played to near perfection by outstanding musicians. Enjoy...
Jan Garbarek Group
Nightstage
Cambridge, MA
September 22, 1987
Source: Soundboard cassette (2nd gen.)
Lineage: SBD > ? > DL from Dime > WAV > WaveLab 5 (retracking) > FLAC (level 8, align on sector boundaries)
Setlist:
Disc 1
1 1st Piece 7:35.28
2 A.I.R. / Titel (Bass Solo) 11:15.32
3 The Last Stage Of A Long Journey 11:56.11
4 Tongue Of Secrets 4:26.33
5 Hasta Siempre 10:38.42
6 The Crossing Place 9:52.39
Total Disc Time: 55:44.35
Disc 2
1 5th Piece 9:27.27
2 Gesture / Vozes (Percussion Solo) 9:58.39
3 Paper Nut 7:05.47
Total Disc Time: 26:31.38
Musicians:
Jan Garbarek - Tenor and Soprano Sax, Flute
Lars Jansson - Keyboards
Eberhard Weber - Bass
Nana Vasconcelos - Percussion
Learn more here
Cream - Live At The Grande Ballroom Detroit, MI 1967-10-15 (FLAC)
Ok... Hi again folks. There is not much to say about this one that hasn't been said by those much more knowledgable than me and for many years past now. This is simply one of the greatest recorded artifacts of the chronological changing of Rock's infancy, of when it was then turning into the full blown sonic teen angst assault on the senses. When it stepped out of the conformity line into the soloing with abandon... and with fuzz. As we all know now... music and the world changed forevermore during this year in so many ways. What?! You don't have this? Well, you should have it. Enjoy...
Cream
Live At The Grande Ballroom
Detroit, MI
October 15, 1967
Digital Remastered From DAT copy of Source Tape by Graeme Pattingale
CRM101/2
SBD > Reel To Reel Master > DAT copy (see Inside 2 for further info > CD-R > Trade CD-R > EAC > FLAC (level 8, aligned to sector boundaries)
Setlist:
CD 1
01 Tales Of Brave Ulysses 4:12.66
02 N.S.U. 15:53.34
03 Sitting On Top Of The World 4:26.70
04 Sweet Wine 13:55.72
05 Rollin' And Tumblin' 7:18.64
Total Disc Time: 45:48.06
CD 2
01 Spoonful 20:48.43
02 Steppin' Out 11:03.40
03 Traintime 7:18.21
04 Toad 17:03.40
05 I'm So Glad 10:01.51
Total Disc Time: 66:15.45
About Grande Ballroom and Russ Gibb:
‘Uncle’ Russ Gibb was a lesser known promoter contemporary of Bill Graham - Detroit was less fashionable than San Francisco or New York. Russ’s Grande Ballroom was a popular venue with many bands because of the enthusiastic and noisy audiences. One classic album (to my current knowledge) was recorded there: MC5’s "Kick Out The Jams".
Cream performed here for three nights from Friday 13th October to Sunday 15th October. It was close to the end of their first US tour, which had commenced on 20th August. This tour, while frustrating in some ways for them (especially sound systems and low pay), had established them in the U.S. and was at the core of their golden period.
Detroit would have been a good town for the three of them with plenty of black music (Jazz, Blues, R&B and Soul) to listen to after hours. And they would have had plenty of after hours as these concerts started at 6.30pm on Friday and Saturday and finished no later than 10p.m. and on Sunday 6.00pm-9.00pm (an all ages show). I believe this would have contributed greatly to the quality of their performances (plus a good sound system!).
The supporting bands on Friday and Saturday were the Rationals and MC5 (basically the house bands at this time). Sunday the support band was the Apostles. One can assume that Cream was largely an unknown quantity to Detroit’s nascent Rock audience and MC5 were already becoming a local legend. Cream had nothing to loose, especially on Sunday when they had plenty of time to really lay out. And by then the word had got around and the audience was really responding.
Sound quality:
Well... as bootlegs go and for this era, excellent (generally rated by bootleg aficionados A, A-). And, there is much more info given inside the included artwork.
Learn more here
Cream
Live At The Grande Ballroom
Detroit, MI
October 15, 1967
Digital Remastered From DAT copy of Source Tape by Graeme Pattingale
CRM101/2
SBD > Reel To Reel Master > DAT copy (see Inside 2 for further info > CD-R > Trade CD-R > EAC > FLAC (level 8, aligned to sector boundaries)
Setlist:
CD 1
01 Tales Of Brave Ulysses 4:12.66
02 N.S.U. 15:53.34
03 Sitting On Top Of The World 4:26.70
04 Sweet Wine 13:55.72
05 Rollin' And Tumblin' 7:18.64
Total Disc Time: 45:48.06
CD 2
01 Spoonful 20:48.43
02 Steppin' Out 11:03.40
03 Traintime 7:18.21
04 Toad 17:03.40
05 I'm So Glad 10:01.51
Total Disc Time: 66:15.45
About Grande Ballroom and Russ Gibb:
‘Uncle’ Russ Gibb was a lesser known promoter contemporary of Bill Graham - Detroit was less fashionable than San Francisco or New York. Russ’s Grande Ballroom was a popular venue with many bands because of the enthusiastic and noisy audiences. One classic album (to my current knowledge) was recorded there: MC5’s "Kick Out The Jams".
Cream performed here for three nights from Friday 13th October to Sunday 15th October. It was close to the end of their first US tour, which had commenced on 20th August. This tour, while frustrating in some ways for them (especially sound systems and low pay), had established them in the U.S. and was at the core of their golden period.
Detroit would have been a good town for the three of them with plenty of black music (Jazz, Blues, R&B and Soul) to listen to after hours. And they would have had plenty of after hours as these concerts started at 6.30pm on Friday and Saturday and finished no later than 10p.m. and on Sunday 6.00pm-9.00pm (an all ages show). I believe this would have contributed greatly to the quality of their performances (plus a good sound system!).
The supporting bands on Friday and Saturday were the Rationals and MC5 (basically the house bands at this time). Sunday the support band was the Apostles. One can assume that Cream was largely an unknown quantity to Detroit’s nascent Rock audience and MC5 were already becoming a local legend. Cream had nothing to loose, especially on Sunday when they had plenty of time to really lay out. And by then the word had got around and the audience was really responding.
Sound quality:
Well... as bootlegs go and for this era, excellent (generally rated by bootleg aficionados A, A-). And, there is much more info given inside the included artwork.
Learn more here
Echo And The Bunnymen - Live At The Crossing Border Festival Amsterdam, NL 10-26-2001 (FLAC)
Ok... Hi again folks. When I received this one awhile ago, I was told that this was the best version available of this show to be found. But, as I have not heard any other version at all, I do know this one is quite excellent. I'm pretty sure this was a broadcast or a mix board recording or it might be a fine quality audience recording someone made because although this is from a festival, what I understand the gigs are held and several locations around town. Just from what I could tell, this sounds like a average size bar or tavern from the ambience of the recording to me. Again, I don't know of any better sounding recording available of this show than this one. This is a very good set given here at this performance. Of course, this is the latter Bunnymen group but I think they sound like they still have all their chops down quite nicely. And pretty much any Echo is better than most anything else of the same genre that you might want to hear at a given time. I made the artwork myself for this one as I received this by CD-R trade without any accompanying it. Also, very little information was given, that only just being the date, event, and location. Enjoy...
Echo And The Bunnymen
The Crossing Border Festival
Amsterdam, NL
October 26, 2001
SBD > ? > CD-R > EAC > FLAC (level 8, align on sector boundaries)
Setlist:
01 Intro / Tuning 1:37.45
02 Lips Like Sugar 4:31.72
03 Rescue 4:27.33
04 An Eternity Turns 3:39.73
05 All That Jazz 3:24.02
06 Villiers Terrace 3:12.35
07 Seven Seas 3:26.03
08 Bring On The Dancing Horses 3:55.39
09 Never Stop 3:51.38
10 The Back Of Love 3:44.11
11 The Killing Moon 4:47.06
12 The Cutter 4:15.39
13 Flowers 4:38.23
14 Heads Will Roll 3:18.23
15 Over The Wall 9:05.74
16 Do It Clean 3:52.73
17 Roadhouse Blues 2:34.13
18 Ocean Rain 5:58.21
Total Disc Time: 74:21.23
Learn more here
Echo And The Bunnymen
The Crossing Border Festival
Amsterdam, NL
October 26, 2001
SBD > ? > CD-R > EAC > FLAC (level 8, align on sector boundaries)
Setlist:
01 Intro / Tuning 1:37.45
02 Lips Like Sugar 4:31.72
03 Rescue 4:27.33
04 An Eternity Turns 3:39.73
05 All That Jazz 3:24.02
06 Villiers Terrace 3:12.35
07 Seven Seas 3:26.03
08 Bring On The Dancing Horses 3:55.39
09 Never Stop 3:51.38
10 The Back Of Love 3:44.11
11 The Killing Moon 4:47.06
12 The Cutter 4:15.39
13 Flowers 4:38.23
14 Heads Will Roll 3:18.23
15 Over The Wall 9:05.74
16 Do It Clean 3:52.73
17 Roadhouse Blues 2:34.13
18 Ocean Rain 5:58.21
Total Disc Time: 74:21.23
Learn more here
Friday, November 20, 2009
Jim Weider's ProJECT PERCoLAToR - Muhle Hunziken Rubigen, CH 2009-03-28 (Rem.) (FLAC)
Ok... Hi again folks. For anybody looking at this and saying, who is that?... never mind right now.. you can find out all of that later. If you have an interest at all in Jazz-Rock Fusion music, this is a top-notch prime example. If you can just get through the minute of the opening announcer (lol.. you'll hear what I mean), you will be treated to an absolutely sparkling recording of these guys delivering the goods big time. This is recorded in a small intimate club in Rubigen, Switzerland where a quite respectful crowd is treated to a wonderful performance. And now, you can be also. Don't miss out on this one! Enjoy...
Jim Weider's ProJECT PERCoLAToR
Muhle Hunziken
Rubigen, Switzerland
March 28, 2009
A Digital Bros Soundboard / Audience Protool Matrix Recording
Lineage: (complete as given)
Edirol R09 HA for soundboard
Edirol R09 for audience with Audiotecnica mic
Recorded By Roger
Pro-Tool mixed By Paolo
Remaster note: I found the levels of this recording to be extremely
saturated resulting in clipping off the tops and then, I would think,
Normalized to 0.00 dB output. I backed the whole show down 7 dB just to ease the bite somewhat, hopefully to make the sound just a bit less harsh and in your face. Don't worry... it'll still blow you away.
I repaired the dry cut edit at the end of "Hypertune" with a splice to
smooth it over, adjusted the aural dynamics overall very slightly and
I also eliminated the DC offset throughout the fileset.
Crank it, these guys are awesome live!
Compiled Lineage: Sources (2) > Matrix Pro-Tool final mix recording > (?) WAV to FLAC > DL FLAC fileset from Dime > WAV > WaveLab 5 (track edits, adjustments and corrections) > WAV > FLAC (level 8, align on sector boundaries)
Remaster by Simmdale, November 2009
Setlist:
CD 1
01 Intro - Peter Burkhart 1:04.30
02 Motivator 7:34.00
03 Squirrels In Paris 7:57.21
04 Hypertune 6:11.32
05 Dreamline 8:11.09
06 Broken Glass 9:53.15
07 The Weight 10:33.64
Total Disc Time: 51:25.21
CD 2
01 No Exit Strategy 9:32.50
02 Percolator 8:50.05
03 Release Yourself 5:53.51
04 Band Presentation 1:45.47
05 Man Cry 18:32.14
06 Outro - Peter Burkhart 1:44.53
Total Disc Time: 46:18.70
Musicians:
Jim Weider: Guitar
Mitch Stein: Guitar
Steve Lucas: Bass
Rodney Holmes: Drums
AMG Biography by Bradley Torreano
Born in Woodstock, NY, infamous sideman Jim Weider jumped into the music industry as soon as he could. The area was a hotbed for national talent, with acts like Bob Dylan and the Band recording there. He began recording and hiring himself out to songwriters for backup, eventually gathering up enough money to move to Nashville. He joined Johnny Paycheck's touring band, and supported himself through session work and playing local concerts. By the early '80s, Weider moved back to his hometown and began a tour with Robbie Dupress. When 1983 rolled around, he met former Band drummer Levon Helm, who invited him to join his touring band. Helm was very impressed by Weider, so when the Band was ready to reunite in 1985, Weider took Robbie Robertson's spot when Robertson declined the reunion. He continued to perform with the Band as the decade went on, eventually playing with the group at Roger Waters' recreation of The Wall at the Berlin Wall. In 1993, he also played with the group at Bob Dylan's tribute concert in Madison Square Garden and at Bill Clinton's Inaugural Ball. On top of these performances, he also kept himself busy playing on albums by RobbieDupree, Artie Traum, Paul Burlison, Rick Danko, and many others. His membership in the Band actually lasted longer than Robbie Robertson's original tenure, as he stayed with the band throughout the '90s, even performing with them at Woodstock '94. When he had time off from the group, he released several best-selling instructional videos for guitar, and finally released his own solo album with the Honky Tonk Gurus entitled 'Big Foot' in 1999. Followed by 'Remedy' and then with his more Fusion based outing, 'Percalator.' His newest album release from 2009 is 'Pulse.'
Learn more here
Jim Weider's ProJECT PERCoLAToR
Muhle Hunziken
Rubigen, Switzerland
March 28, 2009
A Digital Bros Soundboard / Audience Protool Matrix Recording
Lineage: (complete as given)
Edirol R09 HA for soundboard
Edirol R09 for audience with Audiotecnica mic
Recorded By Roger
Pro-Tool mixed By Paolo
Remaster note: I found the levels of this recording to be extremely
saturated resulting in clipping off the tops and then, I would think,
Normalized to 0.00 dB output. I backed the whole show down 7 dB just to ease the bite somewhat, hopefully to make the sound just a bit less harsh and in your face. Don't worry... it'll still blow you away.
I repaired the dry cut edit at the end of "Hypertune" with a splice to
smooth it over, adjusted the aural dynamics overall very slightly and
I also eliminated the DC offset throughout the fileset.
Crank it, these guys are awesome live!
Compiled Lineage: Sources (2) > Matrix Pro-Tool final mix recording > (?) WAV to FLAC > DL FLAC fileset from Dime > WAV > WaveLab 5 (track edits, adjustments and corrections) > WAV > FLAC (level 8, align on sector boundaries)
Remaster by Simmdale, November 2009
Setlist:
CD 1
01 Intro - Peter Burkhart 1:04.30
02 Motivator 7:34.00
03 Squirrels In Paris 7:57.21
04 Hypertune 6:11.32
05 Dreamline 8:11.09
06 Broken Glass 9:53.15
07 The Weight 10:33.64
Total Disc Time: 51:25.21
CD 2
01 No Exit Strategy 9:32.50
02 Percolator 8:50.05
03 Release Yourself 5:53.51
04 Band Presentation 1:45.47
05 Man Cry 18:32.14
06 Outro - Peter Burkhart 1:44.53
Total Disc Time: 46:18.70
Musicians:
Jim Weider: Guitar
Mitch Stein: Guitar
Steve Lucas: Bass
Rodney Holmes: Drums
AMG Biography by Bradley Torreano
Born in Woodstock, NY, infamous sideman Jim Weider jumped into the music industry as soon as he could. The area was a hotbed for national talent, with acts like Bob Dylan and the Band recording there. He began recording and hiring himself out to songwriters for backup, eventually gathering up enough money to move to Nashville. He joined Johnny Paycheck's touring band, and supported himself through session work and playing local concerts. By the early '80s, Weider moved back to his hometown and began a tour with Robbie Dupress. When 1983 rolled around, he met former Band drummer Levon Helm, who invited him to join his touring band. Helm was very impressed by Weider, so when the Band was ready to reunite in 1985, Weider took Robbie Robertson's spot when Robertson declined the reunion. He continued to perform with the Band as the decade went on, eventually playing with the group at Roger Waters' recreation of The Wall at the Berlin Wall. In 1993, he also played with the group at Bob Dylan's tribute concert in Madison Square Garden and at Bill Clinton's Inaugural Ball. On top of these performances, he also kept himself busy playing on albums by RobbieDupree, Artie Traum, Paul Burlison, Rick Danko, and many others. His membership in the Band actually lasted longer than Robbie Robertson's original tenure, as he stayed with the band throughout the '90s, even performing with them at Woodstock '94. When he had time off from the group, he released several best-selling instructional videos for guitar, and finally released his own solo album with the Honky Tonk Gurus entitled 'Big Foot' in 1999. Followed by 'Remedy' and then with his more Fusion based outing, 'Percalator.' His newest album release from 2009 is 'Pulse.'
Learn more here
Wednesday, November 18, 2009
Buckingham Nicks - Buckingham Nicks Deluxe Edition (FLAC)
Ok... Hi again folks. I decided to list this one because there might still be a few people that do not have this yet out there. And, of course, because the quality of this is just phenomenal in every way.
Here is all the notes from this one below -
A 21 track expanded album collection and including a very comprehensive and informational twelve page color booklet and printable disc label.
Tracklist:
01 - Crying In The Night
02 - Stephanie
03 - Without A Leg To Stand On
04 - Crystal
05 - Long Distance Winner
06 - Don't Let Me Down Again
07 - Django
08 - Races Are Run
09 - Lola (My Love)
10 - Frozen Love
11 - Crying In The Night (Single Version)
12 - Dont Let Me Down Again (Mono Single Edit)
13 - Sorcerer
14 - Garbo
15 - Cathouse Blues
16 - That's Alright
17 - Candlebright (aka Nomad)
18 - Without You
19 - Lola My Love (Live)
20 - Races Are Run (Live)
21 - Rhiannon (Live)
This collection begins with the ten tracks that comprise the self titled album from Buckingham Nicks, their only commercially released album. While the album saw several vinyl issues, spurred on in part by curiosity after Mac became hugely successful, it has never seen any legitimate commercial release in the digital age. Lindsey Buckingham and Stevie Nicks own the full rights to the album and have come close to releasing it several times. Sources close to the pair state that Stevie very much wants it to be released but that Lindsey is the reluctant party.
The source for these tracks as they appear here is the original DLedin 16 bit vinyl rip of the album. This effort is considered to be one of the few consensus “must haves” in the crowded internet music trading pool. This is due not only to the fact that the album has never been released on CD (some bootleggers have made quite a bit of money as a result), but also because the quality of DLedin’s work here is magnificent. It is significantly better than any of the myriad for profit bootlegs that have materialized over the years. In fact, as bold of a statement as it may seem, there is ample evidence to suggest that a commercial CD release from the original master tape would fail to live up to the lofty aural standard set by the “needledrop”. First off, original album producer Keith Olsen stated that when preparing the digital master for an aborted 1999 release of the work, it was necessary to bake the master reel due to oxide flaking of the tape. This statement could lead one to assume with some probability that even ten years ago the analog master had suffered some deterioration. Even more compelling evidence can be found by way of two tracks that have seen commercial distribution. The first is “Stephanie” from the promotional compact disc “Lindsey Buckingham Words and Music”. The second is “Long Distance Winner” which appeared on Stevie’s “Enchanted” box set. Please find those tracks and compare them to their corresponding offerings here. The results will speak for themselves.
Tracks eleven and twelve are Galemark vinyl rips of two BN singles. The first, “Crying in the Night”, is more than a simple remix. The original session for the album track is retained, but is augmented with at least two extra guitar tracks from Lindsey (and/or perhaps session ace Waddy Wachtel) and some additional backing vocals. As a result, the song takes on a more aggressive nature that belies the album’s laid back SoCal feel. The second single included here is “Don’t Let Me Down Again”. This one is not a rerecording or remix, but simply a single edit which relieves the track of twenty seconds of soloing at the end, making it more “radio friendly”. This drop came from a white label promo 45, having the stereo edit on one side and a mono fold down on the flip side. The mono is chosen here to present the song in it’s full 1970’s AM transistor radio glory!
The next six tracks are demo recordings which have circulated extensively under the misnomer “The Coffee Plant Demos”. This title is in reference to a small storeroom in the San Francisco coffee plant of Lindsey’s father, where they installed a used Ampex four track recorder. “Sorcerer” and “Garbo” are widely reported to have been written after the couple moved to Los Angeles, and the tapes themselves have several characteristics that allude to them having multiple points of origin. As odd as the title of this bootleg is, the configuration in which the songs are offered is even more unusual. The most common version of the bootleg presents seven songs. Each song is repeated for a total of fourteen tracks. Several of the tracks appear in two variations, one track with vocals and guitar only and another with the same vocal track and bass only (as an example, they vary from song to song). Some of the songs appear twice in the same configuration, but are titled as being different (the original bootlegger may have not had very acute hearing or perhaps wanted to pad the track count). Why the tracks circulate in this form remains a mystery, but one possible explanation is that Lindsey had distributed these mixes to other members of the Buckingham Nicks touring band as a rehearsal tool, showing each player what he wanted for a given song. The songs with distinct mixes are the ones likely recorded in LA, while the others may have come from the coffee plant tapes. One song that appears on the bootlegs, “Goldfish and Ladybug” sounds as if it was recorded on an office type cassette recorder with a built in microphone. The vocals are quite distorted and the guitar is very distant in the mix. For these reasons the track was not a good candidate for remastering and is not offered here. The fourteen track configuration is the most common way that these tracks circulate, but some enterprising individuals, realizing that the same vocal appeared on each version, have attempted to line up the tracks into a “pseudo-stereo” (sometimes referred to as “true stereo”). This offers a more complete mix, but suffers from an overly pronounced vocal track and of course a terribly inappropriate stereo soundscape. Galemark sought to relieve these problems by starting with a new pseudo stereo alignment of the tracks. From this the goal was to perform isolations of the vocals and instruments. The vocal isos were not very good, but the instrumental versions came out with varying degrees of success. From this point, the pseudo stereo tracks and the instrumental isos were dumped into ProTools to create a four track that served as the basis for what is presented here. If the bass appeared in the left channel of the fake stereo version, an amount of the bass iso was mixed to the right. Since the iso is mostly fundamental, the attack of the note still came from the left, but the expanse of the sound came from both channels. Similar decisions were made for each instrument in each mix down. This approach relieves many of the problems that have always been inherent in these tapes. The volume balance is greatly improved and the stereo image is much more natural. Finally, literally hundreds of tape dropouts were corrected and a dusting of EQ and spot noise reduction was employed. The notion that these songs are musically significant and not simple historical curiosities is borne out not merely by opinion, but by the fact that four of the six songs were resurrected at later points in the BN/FM saga. “Sorcerer” and “Candlebright (aka Nomad)” were returned to as part of Ms. Nicks’ 2001 album “Trouble in Shangri-La”. They appear as two of the five Sheryl Crow produced tracks. Ms Crow is a voracious student of rock history and an unabashed Stevie Nicks fan, who once said that “Stevie bridges the gap between…Janis Joplin and Grace Slick, and what’s going on today”. Perhaps Sheryl was already familiar with these demos and suggested that the lost songs merited proper treatment. “Garbo” appeared in 1983 as the b-side of Stevie’s “Stand Back” single and can still be found on the “Enchanted” box. Two years prior Fleetwood Mac revisited “That’s Alright” on their “Mirage” album. That leaves only two tracks that remain on the shelf. “Cathouse Blues” demonstrates that Lindsey’s finger picking technique is well suited to a style in which it is not often utilized. “Without You” serves as an apt coda to this set of demos. Lyrics like “If I’d not heard your laughter, maybe I wouldn’t love you. If I’d not sung your music, I’d not come rolling after you” foreshadow their later use of lyric as autobiographical therapy session that became so famous in songs like “Go Your Own Way”.
Speaking of foreshadowing, the last three tracks of this set are fascinating in large part for the way in which they point to the future. This small live set remarkably is not the only live recording that exists of Buckingham Nicks, but is far and away the one with the best quality. Even with a good basic tape to work with, Galemark still had a lot of remastering work to do. The tape suffered many dropouts, not just the fine and complete type, but also large patches of tape where there was mal-alignment, causing fluctuations in the frequency curve. These were corrected or minimized as much as possible.
DLedin and Galemark hope that you enjoy this presentation of what is (for now) the definitive collection of Buckingham Nicks.
Learn more here
Here is all the notes from this one below -
A 21 track expanded album collection and including a very comprehensive and informational twelve page color booklet and printable disc label.
Tracklist:
01 - Crying In The Night
02 - Stephanie
03 - Without A Leg To Stand On
04 - Crystal
05 - Long Distance Winner
06 - Don't Let Me Down Again
07 - Django
08 - Races Are Run
09 - Lola (My Love)
10 - Frozen Love
11 - Crying In The Night (Single Version)
12 - Dont Let Me Down Again (Mono Single Edit)
13 - Sorcerer
14 - Garbo
15 - Cathouse Blues
16 - That's Alright
17 - Candlebright (aka Nomad)
18 - Without You
19 - Lola My Love (Live)
20 - Races Are Run (Live)
21 - Rhiannon (Live)
This collection begins with the ten tracks that comprise the self titled album from Buckingham Nicks, their only commercially released album. While the album saw several vinyl issues, spurred on in part by curiosity after Mac became hugely successful, it has never seen any legitimate commercial release in the digital age. Lindsey Buckingham and Stevie Nicks own the full rights to the album and have come close to releasing it several times. Sources close to the pair state that Stevie very much wants it to be released but that Lindsey is the reluctant party.
The source for these tracks as they appear here is the original DLedin 16 bit vinyl rip of the album. This effort is considered to be one of the few consensus “must haves” in the crowded internet music trading pool. This is due not only to the fact that the album has never been released on CD (some bootleggers have made quite a bit of money as a result), but also because the quality of DLedin’s work here is magnificent. It is significantly better than any of the myriad for profit bootlegs that have materialized over the years. In fact, as bold of a statement as it may seem, there is ample evidence to suggest that a commercial CD release from the original master tape would fail to live up to the lofty aural standard set by the “needledrop”. First off, original album producer Keith Olsen stated that when preparing the digital master for an aborted 1999 release of the work, it was necessary to bake the master reel due to oxide flaking of the tape. This statement could lead one to assume with some probability that even ten years ago the analog master had suffered some deterioration. Even more compelling evidence can be found by way of two tracks that have seen commercial distribution. The first is “Stephanie” from the promotional compact disc “Lindsey Buckingham Words and Music”. The second is “Long Distance Winner” which appeared on Stevie’s “Enchanted” box set. Please find those tracks and compare them to their corresponding offerings here. The results will speak for themselves.
Tracks eleven and twelve are Galemark vinyl rips of two BN singles. The first, “Crying in the Night”, is more than a simple remix. The original session for the album track is retained, but is augmented with at least two extra guitar tracks from Lindsey (and/or perhaps session ace Waddy Wachtel) and some additional backing vocals. As a result, the song takes on a more aggressive nature that belies the album’s laid back SoCal feel. The second single included here is “Don’t Let Me Down Again”. This one is not a rerecording or remix, but simply a single edit which relieves the track of twenty seconds of soloing at the end, making it more “radio friendly”. This drop came from a white label promo 45, having the stereo edit on one side and a mono fold down on the flip side. The mono is chosen here to present the song in it’s full 1970’s AM transistor radio glory!
The next six tracks are demo recordings which have circulated extensively under the misnomer “The Coffee Plant Demos”. This title is in reference to a small storeroom in the San Francisco coffee plant of Lindsey’s father, where they installed a used Ampex four track recorder. “Sorcerer” and “Garbo” are widely reported to have been written after the couple moved to Los Angeles, and the tapes themselves have several characteristics that allude to them having multiple points of origin. As odd as the title of this bootleg is, the configuration in which the songs are offered is even more unusual. The most common version of the bootleg presents seven songs. Each song is repeated for a total of fourteen tracks. Several of the tracks appear in two variations, one track with vocals and guitar only and another with the same vocal track and bass only (as an example, they vary from song to song). Some of the songs appear twice in the same configuration, but are titled as being different (the original bootlegger may have not had very acute hearing or perhaps wanted to pad the track count). Why the tracks circulate in this form remains a mystery, but one possible explanation is that Lindsey had distributed these mixes to other members of the Buckingham Nicks touring band as a rehearsal tool, showing each player what he wanted for a given song. The songs with distinct mixes are the ones likely recorded in LA, while the others may have come from the coffee plant tapes. One song that appears on the bootlegs, “Goldfish and Ladybug” sounds as if it was recorded on an office type cassette recorder with a built in microphone. The vocals are quite distorted and the guitar is very distant in the mix. For these reasons the track was not a good candidate for remastering and is not offered here. The fourteen track configuration is the most common way that these tracks circulate, but some enterprising individuals, realizing that the same vocal appeared on each version, have attempted to line up the tracks into a “pseudo-stereo” (sometimes referred to as “true stereo”). This offers a more complete mix, but suffers from an overly pronounced vocal track and of course a terribly inappropriate stereo soundscape. Galemark sought to relieve these problems by starting with a new pseudo stereo alignment of the tracks. From this the goal was to perform isolations of the vocals and instruments. The vocal isos were not very good, but the instrumental versions came out with varying degrees of success. From this point, the pseudo stereo tracks and the instrumental isos were dumped into ProTools to create a four track that served as the basis for what is presented here. If the bass appeared in the left channel of the fake stereo version, an amount of the bass iso was mixed to the right. Since the iso is mostly fundamental, the attack of the note still came from the left, but the expanse of the sound came from both channels. Similar decisions were made for each instrument in each mix down. This approach relieves many of the problems that have always been inherent in these tapes. The volume balance is greatly improved and the stereo image is much more natural. Finally, literally hundreds of tape dropouts were corrected and a dusting of EQ and spot noise reduction was employed. The notion that these songs are musically significant and not simple historical curiosities is borne out not merely by opinion, but by the fact that four of the six songs were resurrected at later points in the BN/FM saga. “Sorcerer” and “Candlebright (aka Nomad)” were returned to as part of Ms. Nicks’ 2001 album “Trouble in Shangri-La”. They appear as two of the five Sheryl Crow produced tracks. Ms Crow is a voracious student of rock history and an unabashed Stevie Nicks fan, who once said that “Stevie bridges the gap between…Janis Joplin and Grace Slick, and what’s going on today”. Perhaps Sheryl was already familiar with these demos and suggested that the lost songs merited proper treatment. “Garbo” appeared in 1983 as the b-side of Stevie’s “Stand Back” single and can still be found on the “Enchanted” box. Two years prior Fleetwood Mac revisited “That’s Alright” on their “Mirage” album. That leaves only two tracks that remain on the shelf. “Cathouse Blues” demonstrates that Lindsey’s finger picking technique is well suited to a style in which it is not often utilized. “Without You” serves as an apt coda to this set of demos. Lyrics like “If I’d not heard your laughter, maybe I wouldn’t love you. If I’d not sung your music, I’d not come rolling after you” foreshadow their later use of lyric as autobiographical therapy session that became so famous in songs like “Go Your Own Way”.
Speaking of foreshadowing, the last three tracks of this set are fascinating in large part for the way in which they point to the future. This small live set remarkably is not the only live recording that exists of Buckingham Nicks, but is far and away the one with the best quality. Even with a good basic tape to work with, Galemark still had a lot of remastering work to do. The tape suffered many dropouts, not just the fine and complete type, but also large patches of tape where there was mal-alignment, causing fluctuations in the frequency curve. These were corrected or minimized as much as possible.
DLedin and Galemark hope that you enjoy this presentation of what is (for now) the definitive collection of Buckingham Nicks.
Learn more here
Blood, Sweat & Tears - Live At Estival Jazz Lugano, CH 1992-07-03 (FLAC)
Ok... Hi again folks. Here we go with another one of the great Swissbird soundboard recordings from the Estival Jazz in Lugano, Switzerland. And, also, this is one of the earlier Swissbird productions so don't miss out on my listing here. I am sure that many of you will recognize the name, and with a closer look you will probably also know many of the songs performed here as many of them topped the charts back in the late '60's. That original group fractured and split and have reformed in various combinations over the years inclorporating many new musicians into the fold. Many stellar ones also have briefly become a part of this great band's legacy. This was one of the very best touring emsembles that David Clayton-Thomas put together back in the 90's. One of the members here in this group soon left to team with the two brothers that had started the own merry, and very wacky brand of kitsch type Rock music that have found a huge cult following to this day. And that band is, of course, Ween. And the keyboardist here in this group, Glenn McClelland, has really been one of the most featured players on almost all of their many albums and most all of their touring performances as well. This here recording will show you a bit more of the depth of his keyboard playing. Many other of the players here turn in just fantastic performances throughout this concert. I have touched up the info text, the FLAC fileset and the artwork for this one. Enjoy...
Blood, Sweat & Tears
Estival Jazz
Piazza Della Riforma
Lugano, Switzerland
July 3, 1992
Soundboard > ReeltoReel > 1st copy CD-R > EAC > WAV > FLAC (level 8, align on sector boundaries)
A SwissBird, SimplexSimplicissimus & superMAX release: Excellent Sound Quality!
Setlist:
01 Go Figure 5:52.18
02 Hi De Ho 6:48.66
03 And When I Die 3:46.20
04 Smiling Phases 5:50.46
05 I Love You More Than You`ll Ever Know 7:39.35
06 Gimme That Wine 9:23.51
07 St. Thomas 7:24.60
08 God Bless The Child 8:39.18
09 Lucretia Mac Evil 3:18.29
10 Spinning Wheel 4:30.55
11 You`ve Made Me So Very Happy 3:58.38
Total Time: 67:12.61
Musicians:
David Clayton-Thomas - Vocals
Steve Guttman - 2nd Trumpet, Flugelhorn, Musical Director
Jerry Sokolov - 1st Trumpet
Charley Gordon - Trombone
Chuck Fisher - Saxophone, Flute
Glenn McClelland - Keyboards
Gary Foote - Bass
Larry DeBari - Guitar, Vocals
Neil Capolongo - Drums
Learn more here
Blood, Sweat & Tears
Estival Jazz
Piazza Della Riforma
Lugano, Switzerland
July 3, 1992
Soundboard > ReeltoReel > 1st copy CD-R > EAC > WAV > FLAC (level 8, align on sector boundaries)
A SwissBird, SimplexSimplicissimus & superMAX release: Excellent Sound Quality!
Setlist:
01 Go Figure 5:52.18
02 Hi De Ho 6:48.66
03 And When I Die 3:46.20
04 Smiling Phases 5:50.46
05 I Love You More Than You`ll Ever Know 7:39.35
06 Gimme That Wine 9:23.51
07 St. Thomas 7:24.60
08 God Bless The Child 8:39.18
09 Lucretia Mac Evil 3:18.29
10 Spinning Wheel 4:30.55
11 You`ve Made Me So Very Happy 3:58.38
Total Time: 67:12.61
Musicians:
David Clayton-Thomas - Vocals
Steve Guttman - 2nd Trumpet, Flugelhorn, Musical Director
Jerry Sokolov - 1st Trumpet
Charley Gordon - Trombone
Chuck Fisher - Saxophone, Flute
Glenn McClelland - Keyboards
Gary Foote - Bass
Larry DeBari - Guitar, Vocals
Neil Capolongo - Drums
Learn more here
Shelby Lynne - XMF Wiggins Park Camden, NJ, US 2008-07-13 (Rem.) (FLAC)
Ok... Hi again folks. I think that something this good should be available to as many fans as possible. I picked this one up on Dime last year where a fellow member, bbenardini, did an incredible job in posting this whole festival as recorded simulcast over FM radio. I did not get many of the widely varied acts he presented but I knew that I wanted this one as soon as I saw it listed. And boy... I was not disappointed at all. This small set given by Shelby totally smokes. The playing by her top-notch backing band is incredible and she is in a totally playful and joyous mood throughout. And, as always, does she ever deliver the goods this night. The recording is totally excellent in itself but I tried to aleviate some of the normal compression from these types of recordings and to give it a little more head-room. Also, I realigned a few edit points on this remaster that I made. Of course, it is just personal preference but I like the banter, pre-counts and such going into a song included with the song and not left attached to the previous one. Another thing I must say is that you do not see all that many Shelby Lynne performances turn up anywhere at all. Here is a chance for you to grab a good one. I have included the artwork that I made for this upload. Turn this one up and give it a listen, I think you'll like it just as well as I do. Enjoy...
Shelby Lynne
XPoNential Music Festival
Wiggins Park
Camden, NJ
July 13, 2008
FM Source: Aiwa CX-NAJ50U > Line In > Audio Hijack 2.2.6 (Capture)
Editing and Conversion: Audacity 1.3.4 (Editing and track splitting) > Trader's Little Helper 2.4.1 (FLAC conversion and fingerprint creation)
Remastered: WaveLab 5 (Alieviating compression giving more head-room, and re-alinged track splitting) > WAV > FLAC (level 8, align on sector boundaries)
Setlist:
01. Intro 0:33.13
02. Life Is Bad 6:50.09
03. Telephone 4:54.28
04. Your Lies 2:57.29
05. Leavin' 5:14.51
06. Breakfast In Bed 7:23.22
07. I Only Want To Be With You 4:25.36
08. Willie And Laura Mae Jones 9:22.23
09. 10 Rocks 6:00.63
10. Killin' Kind 3:39.25
11. Jesus On A Greyhound 6:02.28
12. Outro 0:42.51
Total Disc Time: 58:06.03
Learn more here
Shelby Lynne
XPoNential Music Festival
Wiggins Park
Camden, NJ
July 13, 2008
FM Source: Aiwa CX-NAJ50U > Line In > Audio Hijack 2.2.6 (Capture)
Editing and Conversion: Audacity 1.3.4 (Editing and track splitting) > Trader's Little Helper 2.4.1 (FLAC conversion and fingerprint creation)
Remastered: WaveLab 5 (Alieviating compression giving more head-room, and re-alinged track splitting) > WAV > FLAC (level 8, align on sector boundaries)
Setlist:
01. Intro 0:33.13
02. Life Is Bad 6:50.09
03. Telephone 4:54.28
04. Your Lies 2:57.29
05. Leavin' 5:14.51
06. Breakfast In Bed 7:23.22
07. I Only Want To Be With You 4:25.36
08. Willie And Laura Mae Jones 9:22.23
09. 10 Rocks 6:00.63
10. Killin' Kind 3:39.25
11. Jesus On A Greyhound 6:02.28
12. Outro 0:42.51
Total Disc Time: 58:06.03
Learn more here
Tuesday, November 17, 2009
Chick Corea Elektric Band - Estival Jazz Lugano, CH 2003-07-11 (FLAC)
Ok... Hi again folks.This is one of the great Swissbird soundboard recordings from the Estival Jazz event that takes place every year in Switzerland. This is one that was originally seeded in January 2006 at Dime but was recently reseeded on May 30 of this year. Perhaps many of you are already familiar with these sensational Swissbird / Simplex recordings. You should all seek out any and all of these releases where you can find them because each and every one of them are excellent and worthy to add to your collection and this, for sure, is really an awesome one to grab if you don't have it. In fact, this is one of the earlier Swissbird productions and one that you should definitely not let it pass by you this time around. I have touched up the info text below for the original listing but it still contains all the information that was given in full. I also did that for the fileset and artwork as well. I really don't think that much of an introduction is needed here for these musicians, but if don't know them all by name you should study up on them online with some searches on your own. Even though the line up is not exactly the same as the original CCEB (I personally think John Patitucci was unique), the technical abilities of this band are unquestionable, close to perfection. And Dave Weckl is a monster of a drummerr! Add really pristine sound quality and I think you get the full picture... a fantastic performance by all musicians captured for us on this night. Enjoy...
Chick Corea Elektric Band
Lugano Estival Jazz
Piazza della Riforma
July 11, 2003
A SwissBird-JohnDonne-superMax production
SBD > First copy CD-R > EAC > SHN > UL > DL > Original torrent SHN's from original torrent > dBpowerAMP R13.2 > FLAC files DL from Dime > WAV > WavLab 5 (DC offset correction, etc.) > TLH > FLAC (level 8, align on sector boundaries)
There was no dirtying via a CD-DA stage from the original torrent's SHN files to these FLAC files.
Setlist:
01 Rumble 6:17.63
02 Trama Dance 12:28.00
03 C.T.A. 15:38.44
04 Blue Miles 15:01.07
05 Got A Match 19:09.39
06 Spain 6:54.46
Total Disc Time: 75:29.49
Musicians:
Chick Corea: keyboards
Eric Marienthal: saxophone
Frank Gambale: electric guitar
Michael Pope: bass
Dave Weckl: drums
Learn more here
Chick Corea Elektric Band
Lugano Estival Jazz
Piazza della Riforma
July 11, 2003
A SwissBird-JohnDonne-superMax production
SBD > First copy CD-R > EAC > SHN > UL > DL > Original torrent SHN's from original torrent > dBpowerAMP R13.2 > FLAC files DL from Dime > WAV > WavLab 5 (DC offset correction, etc.) > TLH > FLAC (level 8, align on sector boundaries)
There was no dirtying via a CD-DA stage from the original torrent's SHN files to these FLAC files.
Setlist:
01 Rumble 6:17.63
02 Trama Dance 12:28.00
03 C.T.A. 15:38.44
04 Blue Miles 15:01.07
05 Got A Match 19:09.39
06 Spain 6:54.46
Total Disc Time: 75:29.49
Musicians:
Chick Corea: keyboards
Eric Marienthal: saxophone
Frank Gambale: electric guitar
Michael Pope: bass
Dave Weckl: drums
Learn more here
Ten Years After - Swing in - Rock in (1969 WDR Studio B&W broadcast) (DVD) (PAL)
Hi folks. This is the first post on The Music Emporium.
Have a great time here always!
If you are a fan of this band, or of late 60's English Blues-Rock in general, this is an absolute must-have. Straight live in-studio recording done in B&W for this German music broadcast show, they simply rock out from beginning as they do a four song set and it's a 30 minute show. They are still jamming out like crazy during the show's credits at the end. Here is the enclosed Info text below for all of the particulars on this in detail. And, I'll just leave you with the reminder to check out Alvin in his crushed velour shirt and his paisley print jeans with the curtain fringe bell trim... oh Man... those were magical days indeed! Enjoy...
Ten Years After
WDR Studio
Cologne, DE
The director of the film was George Moorse and in his film listings there is the following entry: Swing in - Rock in / Ten Years After ... 1969 (Show, WDR)
Also, first notation found from German tv guide "hör zu": 22.01.70 ARD (17:25 - 17:55 Uhr) Swing In (wdr) Mit Ten Years After.
So this video may have been recorded in November 1969? and then first broadcast on January 22, 1970.
Lineage: Unknown gen master VHS > Unknown authoring > Upload to Dime > DL > Video_TS folder > TMPGEnc XPress 3.0 (switched to LPCM audio for authoring and video alignment, with +4 dB boost throughout) > TMPGEnc DVD Author > Video_TS folder > TLH > Upload
Menu: No menu (Loop playback)
Chapters: None
Transfer Rate: ~6990 kb/s (VBR)
Video: MPEG-2 Program Stream / 25fps
Audio: LPCM Audio 1536 Kbps (CBR) Stereo (Dual Mono)
Aspect Ratio: 4:3
Number of Discs: 1
Disc Type: DVD5
Total Running Time: 28:05
Video Attributes:
Video compression mode: MPEG-2 Program Stream, Progressive scan
TV system: PAL (625/50)
Aspect Ratio: 4:3
Display Mode: Reserved
Source picture resolution: 720x576 (625/50)
Frame Rate: 25.00
Source picture pan-scan & letterboxed: No
Bitrate: ~6990 kbps (VBR)
Audio Attributes:
Audio Coding mode: LPCM Audio
Sampling Rate: 48kHz
Audio application mode: Not specified
Number of Audio channels: 2
Bitrate: 1536 Kbps (CBR)
Number of Audio streams: 1
Setlist:
01 I May Be Wrong, But I Won't Be Wrong Always
02 Good Morning Little Schoolgirl
03 Spider In My Web
04 I'm Going Home
Musicians:
Alvin Lee - Vocals, guitar
Chick Churchill - Keyboards
Leo Lyons - Bass
Ric Lee - Drums
Learn more here
Have a great time here always!
If you are a fan of this band, or of late 60's English Blues-Rock in general, this is an absolute must-have. Straight live in-studio recording done in B&W for this German music broadcast show, they simply rock out from beginning as they do a four song set and it's a 30 minute show. They are still jamming out like crazy during the show's credits at the end. Here is the enclosed Info text below for all of the particulars on this in detail. And, I'll just leave you with the reminder to check out Alvin in his crushed velour shirt and his paisley print jeans with the curtain fringe bell trim... oh Man... those were magical days indeed! Enjoy...
Ten Years After
WDR Studio
Cologne, DE
The director of the film was George Moorse and in his film listings there is the following entry: Swing in - Rock in / Ten Years After ... 1969 (Show, WDR)
Also, first notation found from German tv guide "hör zu": 22.01.70 ARD (17:25 - 17:55 Uhr) Swing In (wdr) Mit Ten Years After.
So this video may have been recorded in November 1969? and then first broadcast on January 22, 1970.
Lineage: Unknown gen master VHS > Unknown authoring > Upload to Dime > DL > Video_TS folder > TMPGEnc XPress 3.0 (switched to LPCM audio for authoring and video alignment, with +4 dB boost throughout) > TMPGEnc DVD Author > Video_TS folder > TLH > Upload
Menu: No menu (Loop playback)
Chapters: None
Transfer Rate: ~6990 kb/s (VBR)
Video: MPEG-2 Program Stream / 25fps
Audio: LPCM Audio 1536 Kbps (CBR) Stereo (Dual Mono)
Aspect Ratio: 4:3
Number of Discs: 1
Disc Type: DVD5
Total Running Time: 28:05
Video Attributes:
Video compression mode: MPEG-2 Program Stream, Progressive scan
TV system: PAL (625/50)
Aspect Ratio: 4:3
Display Mode: Reserved
Source picture resolution: 720x576 (625/50)
Frame Rate: 25.00
Source picture pan-scan & letterboxed: No
Bitrate: ~6990 kbps (VBR)
Audio Attributes:
Audio Coding mode: LPCM Audio
Sampling Rate: 48kHz
Audio application mode: Not specified
Number of Audio channels: 2
Bitrate: 1536 Kbps (CBR)
Number of Audio streams: 1
Setlist:
01 I May Be Wrong, But I Won't Be Wrong Always
02 Good Morning Little Schoolgirl
03 Spider In My Web
04 I'm Going Home
Musicians:
Alvin Lee - Vocals, guitar
Chick Churchill - Keyboards
Leo Lyons - Bass
Ric Lee - Drums
Learn more here
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