Sunday, December 30, 2007

Led Zeppelin-BBC Sessions

Review By Scott Floman :

Capturing one of the last performances of a very long tour, the band’s only previous official live release, The Song Remains The Same (which accompanied the movie of the same name) too often saw an exhausted band going through the motions. Now that these much bootlegged BBC Sessions have finally been released (with superlative sound quality), any lingering doubts about the band’s live prowess have officially been obliterated. Disc one features three BBC sessions from 1969, and these raw performances focus primarily on Led Zeppelin the blues band - albeit the heaviest damn blues band on the planet. Disc two comes from a single show recorded live at London's Paris Cinema studios (which the BBC used regularly to showcase new and current bands at the time, according to reader David Pearson) on April 1, 1971, and this disc is notable for some spectacular performances (“Since I’ve Been Loving You,” “Thank You”), and for previewing three songs (“Stairway To Heaven,” “Black Dog,” “Going To California”) from the band’s not yet released fourth album. BBC Sessions shows off Led Zeppelin’s improvisational essence, and it’s also cool to hear such an early version of “Travelling Riverside Blues,” or how the riff on their cover of Sleepy John Estes’ “The Girl I Love She Got Long Black Wavy Hair” would soon morph into “Moby Dick” (uncredited, of course). The band also covers Eddie Cochran’s “Somethin’ Else” and interrupts “Whole Lotta Love” with an oldies medley containing songs such as “Boogie Chillun’” and “That’s Alright Mama.” Most of these songs come from the first two Led Zeppelin albums, and the performances are uniformly excellent and incredibly powerful. On the downside, Robert Plant tends to go over the top at times with his histrionics, and the inclusion of multiple versions of several songs (including three takes of “Communication Breakdown” on disc one) amounts to overkill. Granted, there’s some credence to the liner notes’ claim that "the band could play the same song ten nights in a row and come up with ten different versions", and the two versions of “Dazed And Confused” and “Whole Lotta Love” don’t have a hell of a lot in common with each other (and at least they’re on separate discs). But a better idea would’ve been to pick the best versions of each song, though few will find fault with the performances themselves

Led Zeppelin-BBC Sessions @320

Disc one
1 You Shook Me
2 I Can't Quit You Baby
3 Communication Breakdown
4 Dazed and Confused
5 The Girl I Love She Got Long Black Wavy Hair
6 What Is and What Should Never Be
7 Communication Breakdown
8 Travelling Riverside Blues
9 Whole Lotta Love
10 Somethin' Else
11 Communication Breakdown
12 I Can't Quit You Baby
13 You Shook Me
14 How Many More Times

Disc two
1 Immigrant Song
2 Heartbreaker
3 Since I've Been Loving You
4 Black Dog
5 Dazed and Confused
6 Stairway to Heaven
7 Going to California
8 That's the Way
9 Whole Lotta Love
10Thank You

CD1 Part 1
CD1 Part 2

CD2 Part 1
CS2 Part 2


Tuesday, December 25, 2007

Country Joe & The Fish-The Life And Times Of Country Joe & The Fish From Haight-Ashbury To Woodstock

Review by Bruce Eder:

This 77-minute CD is close to an ideal compilation, reaching back to before the band's beginnings for the original 1965 recording of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and across seven of the better cuts off of Electric Music for the Mind and Body, up through the Woodstock Festival and the band's farewell concert that same year at the Fillmore West. It reels in most of the notable album cuts in between, all in surprisingly good sound (not usually a strong point on Vanguard CDs of the late '80s). The 19 songs, which don't follow a strict chronological order, encompass some of the band's most celebrated experimental material, as well as more traditionally structured songs such as the fiery double-lead guitar workout "Death Sound Blues," the catchy, folk-rock-style "Sing Sing Sing," and the counterculture singalong "Marijuana" and works of serious personal significance (and intimately focused genius), including "Grace" and "Janis." The disc offers a good balance between the various sides of the group's sound and includes several notable live tracks, including the November 1968 Fillmore East performance of "Superbird," an anti-Lyndon Johnson song that dated back to 1965 and which is adapted here to include an attack on president-elect Richard Nixon. The sound is amazingly good and consistent throughout, and the track order, as well as the music itself, is downright spellbinding at times; the annotation is minimal, but this CD really has only a single flaw -- apparently, between the 1965 original version of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and the 1969 Woodstock performance, there was no room for the standard studio version off of the band's second LP.

Country Joe & The Fish- The Life And Times Of Country Joe & The Fish From Haight-Ashbury To Woodstock @320 Artwork Included

1 I-Feel-Like-I'm-Fixin'-To-Die Rag
2. Bass Strings
3. Flying High
4. Porpoise Mouth
5. An Untitled Protest
6. Who Am I
7. Grace
8. Waltzing In The Moonlight
9. Death Sound Blues
10. Janis
11. Sing Sing Sing
12. Superbird (Tricky Dick)
13. Not So Sweet Martha Lorraine
14. Marijuana
15. Rock & Soul Music /
16. Crystal Blues
17. Masked Marauder
18. Love Machine
19. The Fish Cheer / I-Feel-Like-I'm-Fixin'-To-Die Rag

Part 1:
Part 2:


And Merry Christmas To All

Thursday, December 20, 2007

Syd Barrett-Barrett

Info From Wikipedia:

After leaving Pink Floyd, Barrett distanced himself from the public eye. However, at the behest of EMI and Harvest Records, he did have a brief solo career, releasing two solo albums, The Madcap Laughs and Barrett. Much of the material on both albums dates from Barrett's most productive period of songwriting, late 1966 to mid 1967, and it is believed that he wrote few new songs after he left Pink Floyd
Barrett was the second and final studio album of new material released by former Pink Floyd member Syd Barrett. In February 1970, shortly after releasing his first album, The Madcap Laughs, Barrett appeared on John Peel's Top Gear radio show where he presented only one song from the newly released album. Two days later, he began working on his second album in the Abbey Road Studios.It was produced by David Gilmour and featured Gilmour on bass guitar, Rick Wright on keyboard and Humble Pie drummer Jerry Shirley.

Review By George Starostin:
A good chance wasted. The barrel was far from being empty - maybe Syd's new ideas were getting more and more messed up as he was falling further into insanity, but his back catalogue was not yet depleted, and the second album promised to be at least as good as the first, if not better. Some of the first-rate material here proves it, actually: 'Baby Lemonade', 'Dominoes', 'Gigolo Aunt' all have that fire in them, being as madly beautiful as the Madcap material.But there was a problem. Dave Gilmour and Rick Wright, who had already took the informal position of Syd's musical curators, made a fatal mistake by deciding to make Syd's second album more 'commercial': that is, take most of the material and develop it to a certain state that would be acceptable by the general public, like writing some tight arrangements, inserting some generic keyboard solos and mixing out all of Syd's mistakes and lapses. This proved to be a double-sided decision. On one hand, this really contributes to the album's listenability: this I would never deny. Some of the songs here do sound like real and true rock songs instead of sounding like personal raving confessions of a schizophrenic. This probably explains why some people rate this as Syd's finest hour - just because they're not able to stomach Madcap and run for cover into the company of more 'normal' arrangements. In another world I would probably have done likewise, as I'm always in favour of the "golden middle" - a nice balance between the 'weird' and 'traditional'. Hell, I gave Zappa's Freak Out a 10, after all, just for that reason.
But unfortunately, there's no true "golden middle" here. The problem is that what the Floydsters did was contorting Syd's real image and personality in favour of rather dubious 'acceptability'. Yes, rockers at heart will probably appreciate this second album more, but goddamn is it boring. Maybe if they had let Syd mess around in the studio alone with his guitar, the results would have been more satisfying (actually, this is proved by some of the outtakes on Opel). As it is, lots of songs are stuffed with half-spirited instrumental passages that have nothing to do with Syd (indeed, as Dave later admitted, quite a lot of work was done on the songs after Syd had already left the studio) but instead have everything to do with a nearly-comatose, totally uninspired Rick Wright. The worst blow comes on the would-be good, classic tune 'Gigolo Aunt', an upbeat pop rocker where Syd seems to come to his senses and deliver something nice and 'stable'; but it ends in a lengthy jam and goes on for almost six minutes when it should have certainly been limited to three. Is this really Syd Barrett?
However, if it were just for the instrumental passages, the situation would have been tolerable where it really isn't. The reason is that the lame Pink Floydsters manage to overshadow Syd on virtually every track - the vocals are buried so low that sometimes they're hardly audible at all. I mean, it is understandable that Syd could hardly be coped with at the time - most of the period he was in total prostration, only coming out once in a while, but wouldn't that mean that the people around him were obliged to make the best of his abilities? Yet they wouldn't, instead letting him rave and rant and then muddying up his vocals even further which leads to such freak-outs as the mumbling 'Rats' where Syd sounds like a person in total delirium muttering incoherent words on his deathbed.
The throwaways here are even more throwaway than the ones on Madcap ('Waving My Arms In The Air', 'It Is Obvious' and 'I Never Lied To You', for instance, never seem to do jack for me), and as it is, there are only about three or four finished songs. 'Baby Lemonade' is probably the best of these, recalling Syd's childish stuff on Piper, and 'Gigolo Aunt' and 'Wined And Dined' are also very good. The latter even has something Beatlesque about it, don't you think?
Finally, 'Dominoes' should probably hold the record as Syd's saddest song, certainly written in a particular fit of melancholy. Speaking of Beatles, it also reminds me of Paul McCartney's 'Junk' a little, in the atmosphere department - so sad, personal and deeply moving for no particular reason. And the record closes with one of Syd's earliest compositions, 'Effervescing Elephant', which is just about one minute long and is very very funny indeed.
My personal favourite here, though, is not very Syd-dish: it's a heavy, bluesy tune with menacing booming drums ('Maisie'), where Syd unexpectedly adopts a very low growl and is obviously just having fun, I mean, real fun. Face it, it's interesting to hear a madman having fun. It's not much of a song, and it's certainly not representative at all, but it has a dark charm of its own: like a generic blues song reinterpreted by a schizophrenic. Or, rather, a schizophrenic trying to concoct a generic blues and captured in the process of struggling with the melody and lyrics...
I fully understand that quite a lot of people would never agree with me in my assessment of this album. Well, tastes are tastes, but one thing's obvious: if Syd's nature and Syd's genius is what you're looking for, this is not the first place to stop. Better still, just keep listening and re-listening to Madcap until its mad brilliancy soaks deep into you, and you'll be surprised at how dull and ultimately predictable and generic this second record is, even with all the high points

Syd Barrett-Barrett @320 Artwork Included

All songs by Syd Barrett.
1) Baby Lemonade – 4:10 Take 1, Recorded 26 February 1970
2)Love Song – 3:03 Take 1, Recorded 17 July 1970, overdubs added 17 July
3)Dominoes – 4:08 Take 3, Recorded 14 July 1970
4)It Is Obvious – 2:59 Take 1, Recorded 17 July 1970 overdubs added 20 July
5)Rats" – 3:00 Recorded 7 May 1970, overdubs added 5 June
6)Maisie" – 2:51 Take 2, Recorded 26 February 1970
7)Gigolo Aunt" – 5:46 Take 15, Recorded 27 February 1970, overdubs added 2 April
8) Waving My Arms In The Air" – 2:09 Take 1, Recorded 27 February 1970 overdubs and new vocal track 2 April
9)I Never Lied To You" – 1:50 Take 1, Recorded 27 February 1970, overdubs and new vocal track 2 April
10)Wined And Dined" – 2:58 Take 10, Recorded 14 July 1970
11)Wolfpack – 3:41 Take 2, Recorded 3 April 1970
12)Effervescing Elephant" – 1:52 Take 9, Recorded 14 July 1970

Bonus Tracks
13)Baby Lemonade Take 1
14)Waving My Arms In The Air Take 1
15)I Never Lied To You Take 1
16)Love Song Take 1
17)Dominoes Take 1
18)Dominoes Take 2
19)It Is Obvious Take 2

Part 1:
Part 2:


Tuesday, December 18, 2007

Cream-Farewell Concert .Albert Hall November 1968

In July 1968, Cream announced they were disbanding at the end of the year
Cream played two final shows at the Royal Albert Hall, on the twenty sixth of November, 1968. Both shows sold out within two hours .The shows were supported by Yes and Taste(featuring Rory Gallagher).Ginger Baker didn't feel that they were very good . "It wasn’t a good gig ... Cream was better than that ... We knew it was all over. We knew we were just finishing it off, getting it over with." .

I have the 90 min DVD version of the farewell concert and i always thought that this was one of their best live performances despite Baker's opinion :) Just listen to the raw,high powered "sunshine of your love"

I' ve found this cd version on .

Cream-Farewell Concert.Albert Hall November 1968 @192

01 - White Room
02 - Politician
03 - I'm So Glad
04 - Sitting On Top Of The World
05 - Crossroads
06 - Toad (Missing Intro)
07 - Spoonful
08 - Sunshine Of Your Love
09 - Steppin' Out


Blue Cheer-Vincebus Eruptum

Review by The Seth Man:

A crazy singularity, Blue Cheer’s debut album flows with a relentless feeling and attitude from the guts thrown as hard as possible against the studio wall and was captured as the double vulgar non sequitur tripped-out, biker Pig Latin-entitled vinyl slab, “Vincebus Eruptum.” This album shows Blue Cheer as much out of their time as they were ahead of it as they set down a bedrock hard representation of the earliest power trio to disregard the then-current vogue of electric blues and just concentrate on going for broke while slamming together truly groundbreaking noise in an approach null and void of everything except power, energy and a collective sense of defiance funneled through a truly unique barrage that makes “Vincebus Eruptum” an orgy of heaviosity and unanimous proponent of Rock music at one of it’s boldest heights. For its entirety, Blue Cheer keeps their snotty noses to the grindstone while kicking a bigger ass all the time: The overall strafing and forced landings of Leigh Stephens’ staccato-ed, running-pus blister burning guitar, Paul Whaley’s engine-room sweating and wholesale walloping of drums/cymbals/your head and Dick Peterson’s low-slung bass jabs while gruff strutting vocalising combine into a three-tiered crown of powerdrive so forceful and stripped down that the title of a single by Whaley’s previous band, The Oxford Circle accurately describes this decibellicose rampage: “Mind destruction.”Stephens’ overbearing, over-recorded and out of control Gibson SG guitar is strung with high tension wires that soar and sail upon successive waves of roaming feedback, surfing sustain and total disdain of the sonically correct as all three members donate a limb to a sonic third rail they piss on and subsequently jolt upwards into the stratosphere, luckily recording this album as it happened.To discuss “Vincebus Eruptum” in depth without any mention of its amped-up’n’over use of volume as abrasive soul cleanser would be nearly impossible because it defined their sound and set them apart so significantly from the swirling, fading Art Nouveau emanating forth from the majority of their San Franciscan contemporaries of the late sixties (With the possible exception of Shiver, who I’ve yet to hear due to a rare attack of caution I landed recently after checking out the very promising White Lightning, a heavy group formed by Zippy Caplan after his departure from The Litter. By all reports, it was nothing less than MC5-meets-Blue Cheer-meets-The Litter’s own “Emerge” but wound up sounding more molehill than even Mountain, dammit!)“Vincebus Eruptum” is a summation of a group head steeped in one of the most addled and economical rock albums, ever: six tracks equally split over two sides and although half of them are cover versions it’s all reduced to the unique sonic parallelogram pushing into over-amplitude-ness for its entire 31 and a half minute duration (I kid you not.) And Abe “Voco” Kesh’s production is every bit as gruff, crude and effective as Peterson’s vocals, recording the band at just a measure below their actual playing volume in order to capture its impact so the album itself would be as sonically true as possible. The dynamic range tips over from the introductory, pummeling waves that open the album’s first track, the utterly bent and highly flammable cover of Eddie Cochran’s “Summertime Blues” into a pace of intentionally slothful viciousness that continues unabated for the rest of the album. Everything sounds like the aural equivalent of a colour photograph printed off-register by an eighth of an inch so that it vibrates in four separate versions of black, magenta, yellow and blue and although obviously wrong, the sensation is so intriguing it keeps you hooked on gazing at its moirι pattern that suspends perceptional realisation but is such a wonder to behold, anyway. They drop their signal overload through six churning tracks: “Summertime Blues,” “”Rock Me Baby,” “Doctor Please,” “Out Of Focus,” “Parchment Farm,” “Second Time Around” and there’s not a single moment wasted at all.Equally impossible would be to leave unmentioned the effect The Jimi Hendrix Experience had on Blue Cheer (especially, their live performance at Monterey that began in distortion and ended in flames and topped off with many spins of their “Are You Experienced?” album) only because at first blush everybody thought that their cover of “Summertime Blues” was a little like ‘retarded Jimi’ (well, at least a high school comrade-in-rock and yours truly did upon first impact with “Vincebus Eruptum” for the first time in early 1980 and consequently were nonplussed by it all for ages) and I think I finally figgered out why. The easy answer is because two guitar phrases in “Summertime Blues” are fantastic purple hazed vamps to be sure, but a more detailed exploration relates more to Blue Cheer’s inspiration with which The Experience wielded their equipment so explosively huge. So they did it in an even HUGER way but they did it their own way and then went ALL the way with it -- by throwing caution to the four winds and bleaching out all the finessing Hendrix qualities by throwing their amps up to the highest contrast possible: to the crushing heights of the feedback intro to Hendrix’s encore at Monterey (“Wild Thing”) and subsequently leaving their amps at THAT level while rendering it all into a shit-and barn-storming thing to mess up your mind forevermore; or leave you with tinnitus trying or girlfriend crying for you to shut the fucking stereo off already.The album closer, “Second Time Around” is truly exceptional. It’s where everything gets thrown into the red/ultra-violet/violent end of the sound spectrum itself: Especially at one point near the end of the album where they finally bring their billowing, rippling sonic parachute down to earth in two clearings of pindrop quietude only for Stephens’ to rend the rare and precious silence with two shrieking guitar lines that run up outta nowhere in swift vengeance as though seeking to erase it forever. He displays all the confidence and recklessness of one who’d re-written the rulebook and then promptly gave it old heave-ho over the shoulder without another thought as his metal-on-metal/gear stripping-ness/fingernails on chalkboard/crosshatching playing hovers just beneath the tempo as it groans and shudders in zig-zags with proto-metal fatigue. The bleeding of the guitar lines into everything else creates a weird lag between the time they’re struck into life and the millisecond it comes coursing outta that heated line of Marshall amplifiers via his distortion stomp box. This in turn creates a further disjuncture with the tempo, tagging onto the delay by slipping in yet another split second of lag time that is subtle but creates a tension that is anything but because this differential interplay has been the surging dynamo powering each and every song on “Vincebus Eruptum” beyond its buckling limits: gathering behind into a momentum that pushes forward unstoppably into a Mφbius strip-tease that feeds on itself like a freakin’ electric ouroboros shitting itself through its eyeballs for the rest of eternity.Despite (or probably because of) this extreme use of volume, there’s something else at play behind that straining wall of amps, and it’s a weird sensation of nearly standing stock still. Of course, there are rhythms, beats and therefore, movement but the tempo is weirdly s-l-l-l-o-o-o-w-w-w: as though groaning under its own weight and that of a protective nitrogen blanket, the result of a messy struggle, against the driving heavy weather of amplitude blowing directly in their faces and rooted to the spot, as though caught in the searchlights of its own power.Blue Cheer were not just knockin’ on Heavy’s door and they weren’t invited, either: they broke on through it, tore off the hinges, tore up the threshold, took a huge chunk outta each side of the wall and then dropped a huge napalm log in the fireplace and split. Casually inventing a genre as they did so, no less.

Blue Cheer-Vincebus Eruptum @320

1.Summertime Blues
2.Rock Me Baby
3.Doctor Please
4.Out of Focus
5.Parchment Farm
6.Second Time Around

Saturday, December 15, 2007

Jimi Hendrix-Live At The Isle Of Wight Festival

Isle Of Wight Festival was the last music gathering of the 60's.
It marked the return of Jimi Hendrix in England after eighteen months.
Three weeks later Hendrix died in London.

Note:This isn't the complete concert.A 2CD album was released in 2002.

Jimi Hendrix-Live at the isle of Wight festival @320 Artwork included

1. Intro, God Save The Queen
2. Message To Love
3. Voodoo Child
4. Lover Man
5. Machine Gun
6. Dolly Dagger
7. Red House
8. In From the Storm
9. New Rising Sun
Part 1: URL=
Part 2: URL=

Thursday, December 13, 2007

Amboy Dukes-Selftitled

Review by Joe Viglione:

The debut album by the Amboy Dukes should be high on collectors' lists. Fusing the psychedelia of the early Blues Magoos with Hendrix riffs and British pop, the band which launched the legend of Ted Nugent has surprises galore in these lost grooves. More experimental than Ambrose Slade's Ballzy � could you conceive of the Cat Scratch Fever guy performing on Peter Townshend's "It's Not True" and Joe Williams' classic "Baby Please Don't Go"? The latter tune was the flip side of the group Them's single "Gloria," but Ted Nugent and the boys totally twist it to their point-of-view, even tossing a complete Jimi Hendrix nick into the mix. The Amboy Dukes issued this as the single backed with their sitar-laden and heady "Psalms of Aftermath." "Baby Please Don't Go" is extraordinary, but isn't the hit single that "Journey to the Center of the Mind" would be from their follow-up LP titled after that radio-friendly gem. Producer Bob Shad's work with Vic Damone, Dinah Washington, and Sarah Vaughan wasn't what prepared him for the psychedelic hard rock of "Colors," a song with some of the experimentation Nugent would take further on the Survival of the Fittest, Live and Marriage on the Rocks/Rock Bottom albums further down the road. Those latter-day Dukes projects took themselves too seriously and got a bit too out there. The fun that is the Amboy Dukes take on the Ashford/Simpson/Armstead standard "Let's Go Get Stoned"; it's the kind of thing that could have stripped away the pretension of the post-Mainstream discs. The dancing piano runs and Ted Nugent confined to a pop-blues structure certainly got the benefit of Shad's record making experience, and it is a treat. Of the 11 tunes, seven are band originals. Taking on a faithful version of Cream's "I Feel Free" is interesting, and like Slade's first disc, they inject enough cover material to make the product interesting for those who had never heard of this group. "Down on Philips Escalator" could be early Syd Barrett Pink Floyd, and that's what makes this album so very inviting. As essential to the Amboy Dukes' catalog as the non-hit material on Psychedelic Lollipop was to the Blues Magoos, the first album from the Amboy Dukes is a real find and fun listening experience. "The Lovely Lady" almost sounds like the Velvet Underground meets the Small Faces by way of Peanut Butter Conspiracy. This is a far cry from Cat Scratch Fever, and that's why fans of psychedelia and '60s music should cherish this early diamond.

Amboy Dukes-Selftitled @320 Arwork Included

1 Baby Please Don't Go
2 I Feel Free
3 Young Love
4 Psalms of Aftermath
5 Colors
6 Let's Got Get Stoned
7 Down on the Philips Escalator
8 The Lovely Lady
9 Night Time
10 It's Not True
11 Gimme Love
12 J.B Special


Tuesday, December 11, 2007

The Jimi Hendrix Concerts


The record industry probably has no greater sin on its conscience than the artistic and commercial rape of Jimi Hendrix. Unofficial releases of old hack studio sessions with Curtis Knight and the Isley Brothers dogged him during his lifetime. Since his death in 1970, "greatest hits" reruns, concert and studio-outtake compilations and a virtual torrent of pre-Experience dross have flooded the marketplace. Precious few of them have shown even a fraction of the care and imagination Hendrix diligently applied to record making.
At first glance, The Jimi Hendrix Concerts seems a noble attempt to right a few of those wrongs. Unlike other live Hendrix albums, bootlegs excepted, this set attempts to simulate a complete Hendrix concert performance with selections taken mostly from a 1968 stand at San Francisco's Winterland with the original Experience. Yet for all the incendiary rage and manic daring with which Hendrix attacks his guitar on nowclassic blasts like "Fire" and "Voodoo Chile (Slight Return)," this album is hardly "a collection of his most exciting performances," which is how it's billed on the back cover. For starters, producer Alan Douglas has put these tracks through a studio ringer that compresses the Stratocaster shriek that shook the world into a seductively muted sting. Where "Little Wing"–with its high cathedrallike grace and serenading melody – should sing, it merely shrugs, the dulled edge of Hendrix' guitar aggravated by the moping pace of the Experience. And compare the slightly glazed guitar tone of the breathless opener, "Fire," with the savage, unretouched bite of "Johnny B. Goode" on the now deleted Hendrix in the West.
More significant, The Jimi Hendrix Concerts finds Hendrix, a year after Monterey, already caught between his rock & roll muse and the hard place of stardom. His frustration with the "wild man of rock" image is evident in the rote recitation of his Monterey show-stopper, "Wild Thing." He introduces a London 1969 take of "Stone Free" as a "blast from the past," opening up the song in an extended solo that falls back on familiar licks and feedback grandstanding before dissolving into a blustery Mitch Mitchell drum break. There are moments when he breaks gloriously free. "I Don't Live Today" explodes in metallic shards of guitar and feedback flames, Hendrix painting white-noise abstractions with a stupefying harmonic logic. "Are You Experienced" is rich in dissonant grandeur, an electrifying example of Hendrix' orchestral manipulation of high volume and harmonic overtones. His inventive blues expansions get ample space in "Bleeding Heart," and the soul at the heart of it all hits a locomotive peak in the passionate finale, "Hear My Train a-Comin'."
On the whole, this is a marked improvement over previous "official" live issues, and occasionally it approaches his real genius. But the emasculating postproduction and sometimes confused performances are a distorted mirror of Jimi Hendrix' true achievements. The Jimi Hendrix Concerts, for all its good intentions, is not the real experience

The Jimi Hendrix Concerts @320 Artwork Included

1. Fire
2. I Don't Live Today
3. Red House
4. Stone Free
5. Are You Experienced?
6. Litte Wing
7. Voodoo Chile
8. Bleeding Heart
9. Hey Joe
10. Wild Thing
11. Hear My Train a Comin'
12. Foxey Lady

Part 1 URL :

Part 2 URL :
PS :

Friday, December 7, 2007

Psychedelic Years Revisited

Review by Lindsay Planer :
This three-CD U.K. collection is the companion to Psychedelic Years, Vol. 1 (1991); both include 50 seminal platters from either side of the Atlantic. Rather than simply retreading material that is easily obtainable on a plethora of other "oldies" compilations, Psychedelic Years Revisited delves into a secondary layer of harder-to-locate hits and deep-catalog album cuts from a wide spectrum of artists ranging from well-known pop/folk rockers such as the Byrds ("5D [Fifth Dimension]" and "Change Is Now") to the virtually and utterly obscure Freudian Complex ("Lake Baikal"). Disc one includes one and a half dozen cuts that are parenthetically corralled under the moniker "Back in the U.S.A." and run the gamut from early contributions by Captain Beefheart ("Abba Zabba") and criminally unknown Bay Area psych rocker Kak ("Rain") to the trippy side of one-hit wonders such as the Electric Prunes ("Get Me to the World on Time") and the Lemon Pipers ("Through With You"). Disc two crosses the pond with 18 platters from "Back in the British Isles." Once again, more established acts such as Traffic ("Paper Sun") and Cream ("Sweet Wine") are juxtaposed with the comparatively obscure Art ("Supernatural Fairy-Tales") and Heavy Jelly ("I Keep Singing That Same Old Song"). In between are initial works from Electric Light Orchestra predecessors the Move ("I Can Hear the Grass Grow") and Keith Emerson's pre-ELP combo the Nice ("America"). Disc three is the proverbial sweet windowpane (or microdot) on the proceedings with an additional 14 "Far Out" numbers. Included here are some of the greatest "lost" classics and somewhat obscured psych from the likes of H.P. Lovecraft ("Electrallentando"), Nico ("Evening of Light"), and Steppenwolf precursors the Sparrow ("Isn't It Strange"). Accompanying the discs is a 24-page liner-notes booklet containing brief annotative paragraphs, photos, and pertinent discographical information. Although a majority of the material on Psychedelic Years Revisited has been issued on artist-related discs as well as other compilations -- such as the Nuggets series -- there are few as thorough or as consistently entertaining

Note :This compilation was originally uploaded by aXDgwad so all the credit goes to him>

Psychedelic Years Revisited

@320 Artwork Included 502MB MP3

CD1: 01) The Electric Prunes - Get Me To The World On Time 02) The Byrds - 5D (Fifth Dimension) 03) Love - Your Mind And We Belong Together 04) Spirit - Dark Eyed Woman 05) Captain Beefheart - Abba Zabba 06) Kaleidoscope- Little Orphan Annie 07) Kak - Rain 08) The Sopwith Camel - Cellophane Woman 09) The Left Banke - Desiree 10) Ultimate Spinach- Ego Trip 11) The Amboy Dukes - Journey To The Centre Of The Mind 12) The Velvet Underground - What Goes On (Live) 13) Nico - Little Sister 14) The Vacels - Can You Please Crawl Out Your Window 15) The Lemon Pipers - Through With You 16) Eric Burdon & The Animals - Monterey 17) Eric Burdon & The Animals - Sky Pilot 18) H.P. Lovecraft - The White Ship

CD2: 01) Traffic - Paper Sun 02) The Move - I Can Hear The Grass Grow 03) Cream - Sweet Wine 04) Nirvana (UK) - Rainbow Chaser 05) The Misunderstood - I Can Take You To The Sun 06) The Misunderstood - Children Of The Sun 07) Les Fleurs De Lys - Circles 08) The Crazy World Of Arthur Brown - Devil's Grip 09) The Purple Gang - Granny Takes A Trip 10) The Nice - America 11) Art Supernatural - Fairy Tales 12) Quintessence - Gungamai 13) Steamhammer - Passing Through 14) The Incredible String Band - Log Cabin Home In The Sky 15) Dr. Strangely Strange - Strangely Strange But Oddly Normal 16) Eire Apparent - Yes, I Need Someone 17) Man - Sudden Life 18) Heavy Jelly - I Keep Singing That Same Old Song

CD3: 01) The Byrds - Change Is Now 02) Country Joe & The Fish - Bass Strings 03) Country Joe & The Fish - Section 43 04) The Sparrow - Isn't It Strange 05) H.P. Lovecraft - Electrallentando 06) Jimi Hendrix - Voodoo Chile (Slight Return)(Live) 07) Love - August 08) Moby Grape - He 09) Kak - Lemonaide Kid 10) Pearls Before Swine - Wizard Of Is 11) Nico - Evening Of Light 12) John Cale - Gideon's Bible 13) Captain Beefheart - Trust Us (Alternate Version) 14) The Freudian Complex - Lake Baikal

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PS: aXDgwad

Thursday, December 6, 2007

Pink Floyd-The First Singles

@320 Artwork Included

1 Arnold Layne
2 Candy And A Currant Bun
3 See Emily Play
4 Scarecrow
5 Apples And Oranges
6Paint Box

Monday, December 3, 2007


Yardbirds is one of my favorite bands especially in the Beck,Page era.This album features 11 live tracks, recorded in Europe in 1965 and 1967.

I bought this album long time ago(1992) and still is one of my favorite ones.Later i'll post other Yardbirds alboums including the complete Giorgio Gomelski recordings.

Yardbirds-Happenings @320 Artwork Included


1 Shapes Of Things

2 Heart Full Of Soul

3 Mr You're A Better Man Than I

4 Most Likely You'll Go Your Way

5 Over Under Sideways Down

6 Litle Games

7 My Baby

8 I'm a Man

9 I Wish You Would

10 Shapes Of Things

11 Happenings Ten Years Time Ago

1-8 Live in Stockholm on April 14th. 1967

9 Live in Paris on June 20th. 1965

10-11 Live in Germany, March 1967 You can find tracks 10-11 on youtube


Pink Floyd-Live Playhouse Theatre ,London 1970


Password: EchoesOfThePast

Hope you like it.

First Post

Hello everybody.For about a year i'm surfin' on some wonderful 60's 70's rock,garage,psychedelia blogs.I've discovered bands i've never heard of , from all over the world.
So i've decided to make my own contribution as a pay back to all these bloggers and share with you albums from my small collection.