Saturday, January 31, 2009

Truth And Janey-No Rest For The Wicked

Taking their name from the seminal Jeff Beck Group album, vocalist/guitarist Billy Janey, vocalist/bassist Steven Bock, and drummer John Fillingsworth formed Truth in Cedar Rock, Iowa late 1969 .This line-up lasted one year then drummer Fillingsworth was replaced by Denis Bunce.The new line-up began penning original material, recorded a pair of singles in 1972/1973:In 1972 their first singles "Midnight Horsemen" "Under My Thumb" were released.In 1973 "Around and Around" and "Straight Eight Pontiac" .Then they evolved into Truth and Janey when informed that another band already held rights to the Truth moniker before them.
They did an amount of touring during 1973-75.
In 1976 their debut album "No Rest For The Wicked" was released.Only 1000 copies were pressed on the local Montross records.Shortly after the LP's release they disbanded when Denis Bunce left the group.Janey reformed the group with a completly new personnel in 1977.This new line-up released album "Just A Little Bit Of Magic" in 1978 and then disbanded.
Bassist Steven Bock joined Nowhere Fast
Denis Bunce left music industry.
Billy Janey followed a solo career

Truth And Janey-No Rest For The Wicked @320

1. Down the Road I Go
2. The Light
3. I'm Ready
4. Remember
5. No Rest for the Wicked
6. It's All Above Us
7. Ain't No Tellin'
8. My Mind
9. Midnight Horsemen
10. Around and Around
11. Under My Thumb
12. Straight Eight Pontiac

Tracks 9-12: Bonus (Released as singles in the early '70s)


Sunday, January 25, 2009

Shadows Of Knight-Gloria

Short History Of The Group By Wiki:

The Shadows of Knight are an American rock band from the Chicago suburbs, formed in the 1960s, who play a form of British blues mixed with influences from their native city (see Chicago blues). At the time they first started recording, the band's self-description was as follows: "The Stones, Animals and Yardbirds took the Chicago Blues and gave it an English interpretation. We've taken the English version of the Blues and re-added a Chicago touch.", to which noted rock critic Richie Unterberger commented: "The Shadows of Knight's self-description was fairly accurate. Although this mid-'60s garage band from the Windy City did not match the excellence of either their British or African-American idols, the teen energy of their recordings remains enjoyable,if not overwhelmingly original. The group took a tamer version of Them's classic Gloria into the American Top Ten in 1966, and also took a Yardbirdized version of Bo Diddley's 'Oh Yeah' into the Top 40 the same year

Shadows Of Knight-Gloria @320

1. Gloria
2. Light Bulb Blues
3. I Got My Mojo Working
4. Darkside
5. Boom Boom
6. Let It Rock
7. Oh Yeah
8. It Always Happens That Way
9. You Can't Judge a Book
10.Hoochie Coochie Man
11.I Just Want to Make Love to You
12.Oh Yeah (alternate version)
13.I Got My Mojo Working ((alternate version)
14. Someone Like Me (single release not on original album)



Saturday, January 24, 2009

Amboy Dukes-Amboy Dukes(Re-up)

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

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


Mike Pinera, Ted Nugent Jam

Ted Nugent guitar jam and interview 1971

Thursday, January 22, 2009


Review By George Starostin:

By that time the group was already officially disbanded, but this album cannot be qualified as an 'archive document': its release was pre-planned and they even wanted to repeat the format of Wheels, but there just wasn't enough studio material, so they agreed on a mini-scheme: one side live, one side studio. Even with that, the studio side is one of the shortest in history - just three middle length songs. (I haven't seen the LP, but I might suggest that the third live cut could have been put on the second side; otherwise, the time balance is really unjustified). Out of these, 'Badge' is unarguably the best, being co-written by Clapton with George Harrison (who appears on the credits as 'L'Angelo Misterioso' on rhythm guitar): however, it should be pointed out that it's by now much more associated with Clapton's solo career than with Cream: it's long since become a stage favourite, and one can hardly imagine a Clapton live show without him putting it on and having the entire audience chanting the stupid 'love is my badge, love is my badge' refrain which wasn't even present on the original recording: it was later 'ad libbed' by Eric in order to justify the song title. He forgot to edit the nonsensical psychedelic lyrics, though, so the contrast between the improved refrain and lines like 'I told you not to venture out in the park, I told you about the swans that they live in the park' is kinda strange. In any case, this studio version, with 'mystical' guitar overdubs and fabulous harmonies, is superior to any subsequent live ones - although I'd highly recommend the one off Rainbow Concert, where Pete Townshend fabulously 'deconstructs' the rhythm part in his own unique way.
The other two are downers. Jack contributes the childish electric piano disaster 'Doing That Scrapyard Thing' (what thing exactly, Jack?) that hardly measures up even to his solo records which I'm not a terrible fan of: it manages to be somewhat catchy, but at the expense of good taste. The goofball vocal intonations on the third line of each verse make me sick, and he even makes Eric's guitarwork to seem clumsy and obnoxious. As for Ginger's 'What A Bringdown', it really builds on the legacy of 'Pressed Rat And Warthog' which is not a compliment. Then again, on a general level it's still better; there are some fast parts, there's a strange disturbing atmosphere all over the place, there's some catchiness, and it does feature some nice thunderstormy guitarwork near the end, when Eric picks up the wah wah, twists it, distorts it and brews up a real tempest. But only for a few moments.
Plus, the re-issue of the album is somewhat improved since it has 'Anyone For Tennis' - a flop single from 1968 (it was earlier issued at the tail end of some Wheels Of Fire pressings). It's a very nice psycho ditty that came from Eric's hand. He himself hated it, but I find it silly and charming, even though it really doesn't belong to this record. But imagining it as some kind of a 'swan song' for one of the greatest psychedelic bands in existence is pretty easy, and I suppose we should just close our eyes on the chronological misplacing. 'Anyone for tennis, wouldn't that be nice?'
Anyway, amateurs are nevertheless recommended to stick away from this record and let the diehard fans come in and grab it for side A - three more live cuts which add little to the Wheels Of Fire legacy but are at least different. The nine-minute 'I'm So Glad' is rambling but features some great speedy Clapton solos - some of the fastest, in fact, he's ever layed down on record. The slightly shortier 'Politician' features some more great Clapton vibrato solos, some of the most vibrating he's ever layed down on record. And the five-minute 'Sitting On Top Of The World' features... guess what. Actually, the solos on the last one surpass even the studio version, making it probably the second most important live Cream song you have to own after 'Crossroads'. My real complaint here is that the recording engineers should be shot! The sound on Wheels Of Fire was loud, bright and comprehensible; here, everything sounds so muddy you hardly hear Clapton at all - especially on the most crucial moments of 'I'm So Glad'. Bruce, on the other hand, is mixed incredibly high - you'd think the audiences went over to the Fillmore East to hear his bass. Not that it's bad - it's amazing, but you sometimes wonder whether you are really listening to a nine-minute bass solo...
Overall, this is only recommendable for huge fans. I could give it a low seven, if it weren't so blatantly short: but any decent Cream hits collection includes 'Badge', and the amateur can safely sleep without any feelings of remorse that he hasn't heard the others. The studio stuff, good or bad, shows the band as nothing but three solo performers serving as backing groups to each other, just like the Beatles on the White Album; the days of brilliant idea-exchanging are long gone by. (By the way, it is rumoured that during the band's last tour, they hated each other so much they always arrived and departed in separate limousins). Unfortunately, quite unlike the Beatles, all three of the songwriters manage to really suck (do you really think Clapton's the real author for 'Badge'? Okay, so he is, for half of the song. That's no big compliment, either). The album cover is cool, though: as if these three were perfect friends

Cream-Goodbye @320

1) I'm So Glad
2) Politician
3) Sitting On Top Ofember The World
4) Badge
5) Doing That Scrapyard Thing
6) What A Bringdown
7) Anyone For Tennis


Anyone For Tennis

I'm So Glad - Cream Farewell Concert November 1968

Omega-10000 Lepes

History Of The Group By Wiki:

Omega is one of the most successful Hungarian rock bands. Formed in Budapest in September, 1962 by the winds player László Benkő on organ and János Kóbor as a singer and rhythm guitarist, they initially performed covers of British and American rock songs, frequently changing the lineup of members. In 1967 Tamás Mihály came on bass, Gábor Presser joined on keyboards and began writing original music for the band (in 1968 György Molnár became a lead guitarist),contributing to the release of three LPs before leaving the band with József Laux, a drummer from 1962, to form Locomotiv GT. These first albums were heavily influenced by the music of The Beatles, but they also looked forward to the band's future more progressive, space-rock style. After Presser and Laux's departure, the band found a new drummer (Ferenc Debreceni came from group Neoton) and appointed Benkő as the main keyboardsman, creating the current lineup, which has remained the same for over 30 years:

János Kóbor ("Mecky"), lead vocals
György Molnár ("Elefánt"), guitars
László Benkő ("Laci"), keyboards, vocals
Tamás Mihály ("Misi"), bass, vocals
Ferenc Debreceni ("Ciki"), drums
This lineup of Omega released ten more albums from 1972 to 1987. Many of these were released both in Hungarian and in English, in the hopes of generating wider interest in their music. However, the contents of the English albums often differed from their Hungarian counterparts, sometimes assembling tracks from several different albums and nearly always changing the song order. Following a few years of inactivity, the band reunited in 1994, with former member Gábor Presser joining them at concerts and contributing several tracks to 1995's Trans And Dance.

Omega has achieved great international success through releases in multiple languages, and tours in England and Germany in the late 1960s and throughout the 1970s. Their 1969 song "Gyöngyhajú lány" became an international hit, and was later covered by Griva on a 1987 self-titled album, with the title "Devojka biserne kose", and by Scorpions on a 1995 live release, with new lyrics and the title "White Dove" (the Hungarian title officially was translated as "Pearls In Her Hair").

Omega’s latest (16th) Hungarian studio release is 2006’s Égi jel ("Divine Sign"), and their latest English release is 1996’s Transcendent. In spring and summer of 2006, they performed their "EurOmega 2006" tour, including concerts in Hungary, Slovakia, Romania. Further performances are scheduled for October in Berlin and Basel.

10 000 lépés was the second album of the Hungarian band Omega. It was released in 1969

Omega-10000 Lepes @320
1. Petróleum lámpa
2. Gyöngyhajú Lány
3. Túzvihar
4. Udvari Bolond Kenyere
5. Kérgeskezü Favágók
6. Tékozló Fiúk
7. Tízezer Lépés
8. 1958-As Boogie-Woogie Klubban
9. Spanyolgitár Lengenda
10. Télbeszakadt Koncert
11. Halott Virágok
12. Nem Tilthatom Meg
13. Volt Egy Bohóc
14. Régi Csibészek
15. Naplemente



Petróleum lámpa

Gyöngyhajú lány

Wednesday, January 21, 2009


Short History Of The Group By Wiki:

The Kinks first gained prominence in 1964 with their third single, the hit "You Really Got Me", written by Ray Davies. The band's name came from their "kinky" dress sense of leather capes and boots worn on stage.The group's original line-up consisted of Ray Davies on lead vocals/rhythm guitar/keyboards, Dave Davies on lead guitar/vocals, Pete Quaife on backing vocals/bass guitar, and Mick Avory on drums and percussion. Following Quaife's departure in 1969, the band centred around the three remaining original members and frequently changed bassists and keyboardists. In 1984, friction between Dave Davies and Mick Avory resulted in the latter's departure, leaving only the brothers from the original line-up. However, the increasingly deteriorating relationship between the Davies brothers, with a string of unsuccessful records, led to the break-up of the band in 1996. In late 2008, Ray Davies confirmed that the band are reuniting and are gearing for a possible new album and tour.

The band's early hard-driving singles set a standard in the mid-1960s for rock and roll, while albums such as Face to Face, Something Else, The Kinks Are the Village Green Preservation Society, Arthur, Lola versus Powerman and the Moneygoround, Part One and Muswell Hillbillies are highly regarded by fans, critics, and peers, and are considered amongst the most influential recordings of the era. During the New Wave era, groups such as The Jam, The Knack, and The Pretenders covered Kinks songs and Britpop acts such as Blur, Oasis and Supergrass have cited them as a major influence. Many modern bands such as The Killers, The Libertines, and Franz Ferdinand acknowledge The Kinks and Ray Davies' songwriting skills. In the VH1 documentary HEAVY: the Story of Metal The Kinks are mentioned as one of the early bands that can be traced with a heavy metal sound.

Kinks is the self-titled debut album by the English rock band The Kinks, released in 1964. It was released with an altered track listing as You Really Got Me in the United States

Kinks-Kinks @320

1. Beautiful Delilah
2. So Mystifying
3. Just Can't Go To Sleep
4. Long Tall Shorty
5. I Took My Baby Home
6. I'm A Lover Not A Fighter
7. You Really Got Me
8. Cadillac
9. Bald Headed Woman
10. Revenge
11. Too Much Monkey Business
12. I've Been Driving On Bald Mountain
13. Stop Your Sobbing
14. Got Love If You Want It
15. Long Tall Sally
16. You Still Want Me
17. You Do Something To Me
18. It's Alright
19. All Day And All Of The Night
20. I Gotta Move
21. Louie, Louie
22. I Gotta Go Now
23. Things Are Getting Better
24. I've Got That Feeling
25. Too Much Monkey Business (Alternate)
26. I Don't Need You Anymore (Previously Unreleased)


You Really Got Me

All Day And All Of The Night

Tuesday, January 20, 2009

Jimi Hendrix-Woke Up This Morning And Found Myself Dead( Re-up)

Info By Wikipedia:

This Album was recorded by Hendrix himself at New York's Scene Club in March 1968. Contrary to urban legend, however, Johnny Winter was not included in the lineup. During track 3, Jim Morrison of the Doors joins the band onstage and remains onstage until Uranus Rock, when he leaves after twice knocking the microphone over.
This recording has been released under a number of titles including High, Live, 'N Dirty, Bleeding Heart, Sunshine of Your Love, Live at the Scene Club and Red House

Jimi Hendrix-Woke Up This Morning And Found Myself Dead @320
1 Red House
2 Woke up this Morning and Found Myself Dead
3 Bleeding Heart
4 Tomorrow Never Knows
5 Morrison's Lament
6 Uranus Rock
7 Outside Woman Blues
8 Sunshine of Your Love


Jimi Hendrix - Hear My Train A Comin' (Acoustic)

Saturday, January 17, 2009

Mott The Hoople-Mott

Info By Wiki:

Mott is a 1973 album by British band Mott the Hoople. "All the Way from Memphis", an edited version of which was released as a single, received considerable airplay on U.S. radio and captured the band many overseas fans, as well as reaching the UK Top 10.

It was clear by the time Mott was released that Ian Hunter had become the dominant figure of the band. Aside from the lead track, the album includes introspective songs such as "Ballad of Mott The Hoople", which exposes Mott’s near break-up, and the peculiar "I Wish I Was Your Mother", featuring multi-tracked mandolin, in which Hunter sings of his wish to see his love as a child. Hard rockers are given their due with "Drivin’ Sister", "Violence" and "Honaloochie Boogie", the last-named being another UK single. A fine performance is delivered by Hunter in the almost religious "Hymn for the Dudes."

The album has featured different covers among the number of UK and U.S. releases, as well as remastered tracks on some editions. A US cover featured a photo of the four band members. In the UK the front cover featured a motif based on the bust of a Roman Emperor, and initial copies had a gatefold sleeve with the Emperor motif printed on a transparent plastic sheet. A remastered and expanded version was released by Sony's Columbia/Legacy imprint in the United States in 2006.

In 2003, the album was ranked number 366 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Mott the Hoople-Mott @320

1. All The Way From Memphis
2. Whizz Kid
3. Hymn For The Dudes
4. Honaloochie Boogie
5. Violence
6. Drivin' Sister
7. Ballad Of Mott The Hoople
8. I'm A Cadillac
9. I Wish I Was Your Mother
10. Rose
11. Honaloochie Boogie
12. Nightmare
13. Drivin' Sister

10-13 : Bonus tracks


All The Way From Memphis (Live)

Wednesday, January 14, 2009

Argent-All Together Now

Info By Erik Neuteboom (Progarchives)
Eighteen months after keyboard virtuoso Rod ARGENT left the famous sixties band The ZOMBIES, their single "Time Of The Season" from their last album "Odyssey & Oracle" topped the US charts and sold one million copies! There was a hugh demand to re-group The ZOMBIES but Rod ARGENT preferred to form his own band to make more progressive music. He recruted bass player John Rodford, drummer Bob Henritt and guitarist Russ Ballard and called the quartet ARGENT.

Under this name they released the eponymous debut album "Argent" in '70, the song "Liar" became a USA hit and was covered by THREE DOG NIGHT. With the next albums "Ring Of Hands" ('71) and "All Together Now" ('72) ARGENT gained more appreciation and the single "Hold Your Head Up" became a smash hit all over the world. The following album "In Deep" and single "God gave Rock 'N' To You" charted good but the increasing musical problems between Rod ARGENT and Russ Ballard finally escalated after the next album "Nexus" ('74): Russ wasn't pleased at all with Rod's synthesizer escapades, he liked the shorter and more catchy rocksongs. In '74 Russ departure was a fact but without hard feelings. Later that year ARGENT released the double-live record "Encore". Russ was replaced by multi-instrumentalist John Grimaldi and guitarist/vocalist John Verity. Rod was so excited about this new ARGENT that he refused an offer to join YES after WAKEMAN's departure! In '75 ARGENT made the album "Circus" but despite good critics the sales were poor. In '76 ARGENT released the disappointing LP "Counterpoints", ARGENT took his conclusions and broke up his band.

The early ARGENT made catchy heavy progressive rock with powerful organplay by Rod ARGENT. Their most progressive and acclaimed album is "Nexus": the Hammond organ has almost dispappeared in favor of the Fender Rhodes – and Hohner electric piano, the Mellotron, Grand piano and the famous Moog synthesizer. The album shows great sense of dynamics and splendid shifting moods: lush symphonic, slow and dreamy and fluent and powerful with strong electric guitar and tasteful keyboard play. In ’95 their was the release of a great live album titled "In Concert" (on the Windsong label) including most of their best songs, superior to the rather excellent live album "Encore" (’74).

All Together Now is a 1972 album and the third released by British rock band Argent

Argent-All Together Now @320

1. Hold Your Head Up
2. Keep on Rollin'
3. Tragedy
4. I Am the Dance of Ages
5. Be My Lover, Be My Friend
6. He's a Dynamo
7. Pure Love
8. Celebration
9. Kingdom
10. Closer to Heaven
11. Rejoice
12. God Gave Rock & Roll to You
13. Christmas for the Free
14. It's Only Money


Argent-Hold Your Head Up (Live Midnight Special)

Monday, January 12, 2009

Deep Purple-30 The Very Best Of

Deep Purple-30 The Very Best Of @320

1. Hush (4:29)
2. Black Night (3:29)
3. Speed King (4:28)
4. Child In Time (4:15)
5. Strange Kind Of Woman (3:54)
6. Fireball (3:26)
7. Demon's Eye (5:23)
8. Smoke On The Water (5:43)
9. Highway Star (6:33)
10. When A Blind Man Cries (3:32)
11. Never Before (3:30)
12. Woman From Tokyo (2:48)
13. Burn (4:33)
14. Stormbringer (4:08)
15. You Keep On Moving (4:30)
16. Perfect Strangers (4:16)
17. Ted The Mechanic (4:19)
18. Any Fule Kno That (4:28)


Deep Purple-Bloack Night (Live)

Deep Purple-Highway Star (Live)

Deep Purple - Smoke On The Water (Live, 1973)

Friday, January 9, 2009

It's A Beautiful Day-It's A Beautiful Day

Info By Wiki:
LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members were his wife Linda (keyboards), Pattie Santos (vocals), Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from the Summer of Love, It’s a Beautiful Day never quite achieved the success of their contemporaries such as The Grateful Dead and Santana, with whom they had connections. It’s A Beautiful Day created a unique blend of rock, jazz, folk, classical and world beat styles during the seven years the band was officially together.

The band's debut album, It's a Beautiful Day, released in 1969, featured the tracks "White Bird", "Hot Summer Day", "Time Is" and "Bombay Calling". The intro of the latter was used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its In Rock album.The vocals and violin playing of David LaFlamme plus Pattie Santos' singing attracted attention including FM radio play, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at #118.

By 1970 the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb. The following album, Marrying Maiden, released in 1970, included memorable tracks and was also a chart hit. In that year, the group also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, The Netherlands and at the UK Bath Festival.

The band continued on to record Choice Quality Stuff/Anytime in 1971 and the live album Live At Carnegie Hall in 1972, touring until 1974 when they split up. In 1976, LaFlamme's solo version of "White Bird" finally cracked the Hot 100 Chart, peaking at #89. Pattie Santos was killed in a car crash on December 14, 1989.

It's a Beautiful Day reunited in 1997 under the name "David LaFlamme Band" for a new recording label. The band still features founder David LaFlamme and original drummer Val Fuentes. Other band members are LaFlamme's current wife, Linda Baker LaFlamme (vocals), Toby Gray (basses), Gary Thomas (keyboards), Rob Espinosa (guitars), Michael Prichard (percussion). They completed a string of shows in 2005 and 2006 and toured with Jefferson Starship in 2007, and LaFlamme contributed to Jefferson Starship's 2008 release, Jefferson's Tree of Liberty.

A version of "White Bird" by violinist Vanessa-Mae was released in 2001 and reached number 66 in the UK Singles Chart.

It's a Beautiful Day is the self-titled debut album by San Francisco psychedelic band It's a Beautiful Day. This album's song "White Bird" was the band's biggest hit

It's A Beautiful Day-It's A Beautiful Day @320

1 White Bird
2 Hot Summer Day
3 Wasted Union Blues
4 Girl With No Eyes
5 Bombay Calling
6 Bulgaria
7 Time Is


White Bird(Live)

Bombay Calling (Live 1978)

Monday, January 5, 2009

Quicksilver Messenger Service-Happy Trails

Short history of the group by Wiki:

Quicksilver Messenger Service is an American psychedelic rock band, formed in 1965 in San Francisco and considered to be a part of the city's psychedelic scene. Essentially a jam band, Quicksilver Messenger Service gained wide popularity in the Bay Area and with psychedelic rock enthusiasts around the globe. Many of their albums ranked in the top 30 of the Billboard Pop charts. Though not ultimately as popular as contemporaries Jefferson Airplane and the Grateful Dead, the band was integral to the beginnings of their genre. With their jazz and classical influences, as well as a strong folk background, the band attempted to create a sound that was individual and innovative.Member Dino Valente pulled heavily from musical influences learned during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swung rhythms and twanging guitar sounds.After many years, the band has attempted to reform despite the deaths of band members. With the modest success of these ventures, many members have also attempted solo careers. Among these is Gary Duncan, former guitarist of Quicksilver Messenger Service. He has had a prolific musical career after parting ways with the group.

Happy Trails is the second album of the American band Quicksilver Messenger Service.
Happy Trails consists mainly of a performance cover of Bo Diddley's - aka Ellas McDaniel - "Who Do You Love?" spread out over 25 minutes. The song was divided into several parts ("What Do You Love," "How Do You Love," "Where Do You Love," etc.) in order to recoup a greater share of royalty payments.The live portions of the album were recorded at the Fillmore East and at the Fillmore West.
The second half of the album consists of an almost continuous suite. Beginning with another Bo Diddley song ("Mona"), guitarist Gary Duncan's "Maiden of the Cancer Moon" follows and the album closes with "Calvary", which manifested itself during a studio acid trip. As a coda, the band sing the theme tune from Roy Rogers' western television show, which lends its title to the album.
The record was released by Capitol records in stereo.

In 2003, the album was ranked number 189 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Quicksilver Messenger Service-Happy Trails @320

1 Who Do You Love - Part 1
2 When You Love
3 Where You Love
4 How You Love
5 Which Do You Love
6 Who Do You Love - Part 2
7 Mona
8 Maiden of the Cancer Moon
9 Calvary
10 Happy Trails