Ok... Hi again folks. This is a really excellent soundboard recording of a laid back Blues show at a cool niteclub during Mick's late 2000 US East Coast tour. You'll want to grab this show if you don't have this one in your collection because it is quality all the way. Well, except for the goof on the artwork. There is an alternate set included. Oh... and before anybody mentions it... Jack Legs (not Jack Legg's) has this spelling on their site and the official Nashville business bureau site. Enjoy...
Mick Taylor
Jack Legs Speakeasy And Showcase
Nashville, TN
September 16, 2000
Live In Memphis 2000
Soundboard recording > ? > Bootleg 2 CD or CD-R set? > Traded fileset > WAV > WaveLab 5 (DC offset correction) > WAV > FLAC (level 8, align to sector boundaries) > TLH > Upload
Setlist:
CD 1
01 Secret Affair
02 Twisted Sister
03 Late At Night
04 Losing My Faith
05 You Gotta Move
CD 2
01 Goin' South
02 You Shook Me
03 Blind Willie McTell
04 Boogie Man
Line-up:
Mick Taylor (guitar, vocal)
Max Middleton (keyboards)
Robert Ahwai (guitar)
Michael Bailey (bass, vocal)
Martin Ditcham (drums)
Although this bootleg is titled 'Live In Memphis 2000' and the artwork included says that it was recorded in Memphis, the actual location of the 'Jack Legs Speakeasy And Showcase' is in Nashville, Tennessee.
Artwork is included. And, an alternate more correct set also.
Learn more here
Wednesday, December 9, 2009
Friday, December 4, 2009
Them Crooked Vultures - 2009-08-29 Reading Festival Caversham, UK (DVD)
Ok... Hi again folks. This is an absolutely great little DVD by the newest Rock supergroup, and while most of those outfits usually plod through rehashed crap genre music, this is one that actually delivers the goods. And, I might add that they do it quite mightily indeed. Of course, this is Them Crooked Vultures' debut UK performance at 2009's Reading and Leeds festival, in what turned out to be one of the most talked-about sets of the weekend. They put in a surprise guest slot at both sites (this only includes the Reading stage part) and, as you will see here, they come out hitting on all cylinders and never looks back. A great capture and excellent authoring make this DVD a must-have for all even slightly interested. And, by the way, if you don't know who these guys are then you need to now, pronto. And check out JPJ playing a 12-string bass on the epic 4th song. But, actually this whole thing is entirely awesome. You'll see. Enjoy...
Them Crooked Vultures
Reading Festival 2009
Caversham, England, UK
29th August 2009
http://www.readingfestival.com/
http://www.bbc.co.uk/readingandleeds/
Broadcast: BBC Two 00.50-01.30 21st November 2009, http://www.bbc.co.uk/programmes/b00p1knj
Format: DVB-S digital satellite TV (Astra 28ºE) -> BLACK GOLD BGT3540 PCI-E card -> MPEG-TS -> VideoRedo (Elementary streams) -> TMPGEnc DVD Author -> PAL DVD (no re-encoding)
Video: 720x576 16:9 PAL MPEG-2 (original broadcast bitstream)
Audio: 256kbps/48KHz MPEG-1, Layer II (original broadcast bitstream)
The source file (TS) is confirmed to be free of reception/recording errors i.e. no dropped frames.
Setlist:
1 Elephants
2 Dead End Friends
3 Mind Eraser, No Chaser
4 Spinning In Daffodils
5 New Fang
6 Warsaw Or The First Breath You Take After You Give Up
Duration: 00:40:49.23
Note: This is entirely exactly as I receieved it, not a single change was made to any part at all that you get here. I only added the artwork.
Artwork is included.
Learn more here
Them Crooked Vultures
Reading Festival 2009
Caversham, England, UK
29th August 2009
http://www.readingfestival.com/
http://www.bbc.co.uk/readingandleeds/
Broadcast: BBC Two 00.50-01.30 21st November 2009, http://www.bbc.co.uk/programmes/b00p1knj
Format: DVB-S digital satellite TV (Astra 28ºE) -> BLACK GOLD BGT3540 PCI-E card -> MPEG-TS -> VideoRedo (Elementary streams) -> TMPGEnc DVD Author -> PAL DVD (no re-encoding)
Video: 720x576 16:9 PAL MPEG-2 (original broadcast bitstream)
Audio: 256kbps/48KHz MPEG-1, Layer II (original broadcast bitstream)
The source file (TS) is confirmed to be free of reception/recording errors i.e. no dropped frames.
Setlist:
1 Elephants
2 Dead End Friends
3 Mind Eraser, No Chaser
4 Spinning In Daffodils
5 New Fang
6 Warsaw Or The First Breath You Take After You Give Up
Duration: 00:40:49.23
Note: This is entirely exactly as I receieved it, not a single change was made to any part at all that you get here. I only added the artwork.
Artwork is included.
Learn more here
Sunday, November 29, 2009
Masters Of Reality - Knitting Factory Los Angeles, CA 2001-09-06 (FLAC)
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
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
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
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