Wednesday, May 20, 2009

Troggs-Wild Thing

The Troggs are an English rock band from the 1960s that had a number of hits in Britain and the USA, including their most famous song, "Wild Thing". The Troggs were from the town of Andover in southern England. The band were originally called The Troglodytes.

1 Wild Thing
2 Love Is All Around
3 Little Pretty Thing
4 Anyway That You Want Me
5 I Can't Control Myself
6 Strange Movies
7 Widge You
8 Feels Like A Woman
9 With A Girl Like You
10 I Love You Baby
11 Black Bottom
12 I Do Do
13 Bass For My Birthday
14 Last Night
15 Hot Days
16 I Don't

Troggs-Wild Thing

Jimi Hendrix-Wild Thing(Monterey 1967)

Monday, May 18, 2009

Syd Barrett-The Madcap Laughs(Re-Up)

Review By Andrian Denning

Roger Waters and Dave Gilmour helped finish this album, taking over production duties and

encouraging Syd at a point where it looked like 'The Madcap Laughs' was never going to be finished at all. Syd had bought a new flat that was so close to where Dave Gilmour lived, that Dave could see right into Syd's kitchen. Although Dave had replaced Syd in Pink Floyd, he was the one member of the group that remained closest to Syd. It's often mistakenly believed that the decline of Syd Barrett occurred seemingly overnight, the first time he took LSD, which is not the case at all. Syd's consumption of LSD was large and significant in precipitating his downfall, there's no doubt about that, but Syd was predisposed to mental-illness in any event. He was uncomfortable with the level of fame he'd achieved with Pink Floyd. Those things would have been the case, LSD or no LSD. It certainly shortened his career, battling not only with images his own mind gave him, but also the bad effects of LSD must have been extremely difficult and frightening. Personally, I was once diagnosed as suffering from 'Severe Depressive Psychosis', that psychosis part worrying me especially. I had audio and visual hallucinations, and the only drugs I'd taken were a variety of prescribed anti-depressants. Mental Illness is a terrible debilitating disease that is too often misunderstood or under-estimated. Severe depression is a very difficult thing to overcome, more often than not, a life-time battle. Chances are, you'll never achieve what you were once capable of. It hurts me. When I went to university, there was a certain time a drug related to LSD was offered to me, I turned it down flat, quite aware of what it could do to me, given the way my mind was pre-disposed. At the time Syd took LSD, the after effects were a lot less well known, and his taking of this drug certainly contributed heavily to his downfall, but was not at all the only reason he became the way he became. Another myth is that Syd was artistically washed up following his departure from Pink Floyd and had nothing more to offer bar a backlog of old compositions. At least one of the songs on this album was written virtually on the spot, in the studio. Others definitely post-date his final days with Pink Floyd, and others were indeed written whilst he was still an active member of Pink Floyd. Does any of this matter? It should give everybody a greater understanding, Syd was still writing good songs all through 1968 and 1969, his decline was harrowing but gradual. One of Syd's best new songs, 'Opel' was inexplicably left off this debut set replaced by a couple of songs produced by Roger and Dave that openly let everyone see exactly how difficult it was for Syd to record these songs at all. The sound of Syd audibly breaking up on record amid the sound of pages of lyrics being turned whilst he loses his place does nobody any favours at all, least of all Syd. The other way to look at the songs, 'Feel', 'If It's In Me' and 'She Took A Long Cold Look' is that they painted an accurate picture of the state Syd was in at the time. That was the justification Dave Gilmour later gave for their inclusion, but the oversight of 'Opel' was a tragic omission, not 'corrected' until it gave it's name to a 1988 LP of out-takes. But, given the sound of a man falling apart, I've still given this album a '9'? How so? Well, plenty of the songs, the actual words and melodies, the vocal sounds and emotionally affecting qualities - are of the highest order. The sound of the music is usually sparse, certainly in comparison with Syd's Pink Floyd material, but this light, sparse feel suits the material, and suits the state Syd was in at the time. 'Terrapin' is a lovely song with nice acoustic strumming and very interesting lyrics. 'No Good Trying' features a fuller group performance with electric instrumentation, sounds messy but somehow still holds itself together. The differing rhythms and instrumentation that seemingly doesn't know what it's doing at all actually create a very satisfying and interesting musical track. 'Love You' is super-sweet and delightfully bouncy and silly, 'No Mans Land' another performance featuring bass, electric and drums and it's pretty damn fine, actually. The distortion, the lyrics, the vocals. There is something captivating about this loose, yet still just about together performance. 'Dark Globe' is Syd and guitar, the lyrics are again something striking and worthy, the vocal here reveals the strains and state of Syd's mind. There is an incredible affecting loneliness and humanity that is pretty much unsurpassed in Rock music. 'Here I Go' for a song reputedly written on the spot in the studio is pretty damn great, very charming. 'Octopus' evolved from a composition called 'Clowns And Jugglers' and it's this type of material Syd may have brought to Pink Floyd had he still been a member. It's no great stretch of the imagination to picture this as a 'Piper' styled psychedelic adventure. As recorded here, it's still a mighty good song. This albums closing sequence is difficult, beautiful, ugly, saddening - still captivating. Syd was reportedly very proud of 'Golden Hair', a James Joyce poem set to music, and very beautiful in its simplicity and pure quality it is. 'Long Gone' is Syd, a jaunty guitar figure, another good song. 'She Took A Long Cool Look', 'Feel' and 'If Its In Me' combined together..... words fail me completely. Why does 'If Its In Me' have to include Syd singing completely waywardly, before the song falls apart? On the otherhand, there's a resonance and such emotion here. This isn't a sequence of songs, especially this latter 'If Its In Me' that is easy or 'enjoyable' in the usual sense, but if you like music that affects your emotions in a way that isn't music to party or dance to, then here's a great example. The closing song on the other hand is totally 'together' in an admittedly fragile fashion. The song is soft, delicate - the guitar sounds absolutely beautiful and gorgeous, sparse, interweaving, pretty and hypnotic. There is little else in music like this 'A Madcap Laughs' album. From an objective viewpoint, it'd be hard to justify giving this a '9', but from an emotional viewpoint and a subjective viewpoint, it's easy to give this a '9'. There's something about this album, a certainly character, that is unmatched anywhere else


The Madcap Laughs was Syd Barrett's first solo album after being replaced in Pink Floyd by his old school friend David Gilmour. After leaving his parent group, Barrett began recording sessions with former Pink Floyd-turned-Syd Barrett manager Peter Jenner in May 1968. Although the sessions were brief, and they produced some fine material, the project was abandoned for almost a year while Barrett spent much of the year as a recluse.
In April 1969, Malcolm Jones took over the project and Barrett began working on newer material, while reworking the 1968 recordings. Session musicians, namely, members of The Sof Machine, as well as Humble Pie drummer Jerry Shirley were also called in to augment Barrett's songs. It is still a mystery why Jones abandoned production responsibilities, at the end of May ,so soon after having assumed them.The Making of the Madcap Laughs Jones recollections of the sessions, show that he and Barrett got on well together and had in fact completed half of the album before the new producers took over. Roger Waters and David Gilmour were in the process of completing Pink Floyd's ambitious Ummagumma album when they got involved with The Madcap Laughs that July and helped Barrett finish his album, "in a two-day sprint" according to Rick Sanders author of 'Pink Floyd' (Futura Publications, 1976). .
The album featured a rather unorthodox recording process, in which Syd would provide a backing track of his own singing accompanied by acoustic guitar, over which the session musicians would overdub the rest of the arrangement. Unfortunately, Syd's playing and singing were highly erratic and unpredictable--he skipped or added beats seemingly at random, or otherwise he would strum on a single note for a long time before unexpectedly reverting back to the main portion of the song. This was all much to the frustration of the session musicians; a close listen to several tracks [in particular "No Good Trying" and "Love You"] will reveal the backing band hovering uncertainly here, or being caught off-guard by a chord change there. (During an interview, Robert Wyatt recounted that musicians would ask "What key is that in, Syd?" and Barrett would reply "Yeah", or "That's funny") Syd would not allow the musicians to rehearse or re-record their overdubs, insisting that they sounded fine. After several months of intermittent recording, the album was finally deemed complete.
"Octopus" was released as a single in November 1969 and the album itself followed in January 1970. It reached #40 in the UK at the time[1] and was fairly well-reviewed

Syd Barrett-The Madcap Laughs @320

2No Good Trying
3Love You
4No Man's Land
5Dark Globe
6Here I Go
8Golden Hair

9Long Gone
10She Took a Long Cold Look
12If it's In You
13Late Night
14Octopus (Takes 1 & 2)

15It's No Good Trying (Take 5)
16Love You" (Take 1)
17Love You" (Take 3)
18She Took A Long Cold Look At Me (Take 4)
19Golden Hair (Take 5)

Tracks 14-19: Bonus tracks

Thursday, May 14, 2009

Manuel de Falla

Manuel de Falla y Matheu (November 23, 1876 – November 14, 1946) was a Spanish composer of classical music.

-El amor brujo (Love, the Magician) (Tracks 1-13) @320
London Symphony Orchestra
Conductor:García Navarro
Mezzo-Soprano:Teresa Berganza

-Noches en los jardines de España (Nights in the Gardens of Spain) (13-16) @320
Bavarian Radio Symphony Orchestra
Conductor:Rafael Kubelík
Piano:Margrit Weber


Tuesday, May 12, 2009

Vivaldi Antonio

1)The Four Seasons "Le quattro stagioni" 1-12
"La primavera" 1-3
"L'estate" 4-6
"L'autunno" 7-9
"L'inverno" 10-12

2)Concerto E Major "L'amoroso". RV 271

3)Sinfonia B minor "Al Santo Sepolcro" RV 169

4)Concerto G Major "Alla rustica" RV 151

Berlin Philharmonic Orchestra.
Conductor: Herbert von Karajan


Byrds-Greatest Hits(Re-Up)

Info By Wiki:

This compilation serves as the survey of the group's hit singles from 1965 to 1967 inclusive, the time when they were a force on the singles chart. Every A-side from this time period appears, with the exceptions of "Set You Free This Time," #79 "Have You Seen Her Face" #74, and "Lady Friend," #82 none of which cracked the Top 40. The set includes three favored album tracks, with the remaining eight singles tracks peaking at the following positions on the Billboard Hit 100: "5D (Fifth Dimension)" #44; "All I Really Want to Do" #40; "Mr. Spaceman" #36; "My Back Pages" #30; "So You Want to Be a Rock 'n' Roll Star" #29; "Eight Miles High" #14; "Turn! Turn! Turn!" #1; and "Mr. Tambourine Man" also #1. I'll Feel A Whole Lot Better peaked at #103 on the Billboard Singles Chart as the B-Side of All I Really Want To Do. The last three records were among the most innovative and influential of the entire decade, at a time when singles, at least in rock and roll, were as important entities in their own right as albums, and generally more so. "Turn! Turn! Turn!" summed up sixties countercultural values as much as "Blowin' in the Wind," "(I Can't Get No) Satisfaction," or "All You Need Is Love," while "Mr. Tambourine Man" and "Eight Miles High" helped to introduce the sub-genres of folk-rock and psychedelia respectively into the popular music of the day.

Byrds-Greatest Hits @320
1 Mr. Tambourine Man
2 I'll Feel a Whole Lot Better
3 The Bells of Rhymney
4 Turn! Turn! Turn!
5 All I Really Want to Do
6 Chimes of Freedom
7 Eight Miles High
8 Mr. Spaceman
9 5D (Fifth Dimension )
10 So You Want to Be a Rock 'n' Roll Star
11 My Back Pages


The Byrds-Mr. Tambourine Man (Frankie Avalon-5/11/65)

The Byrds-Turn! Turn! Turn!

The Byrds-Eight Miles High

The Byrds-Eight Miles High

The Byrds-Eight Miles High(9/23/70)

Friday, May 8, 2009

Steely Dan-Can't Buy A Thrill

Info By Wiki:

Steely Dan is an American jazz-rock band centered on core members Walter Becker and Donald Fagen. The band reached a peak of popularity in the late 1970s, with the release of seven albums blending elements of jazz, rock, funk, R&B, and pop.Rolling Stone magazine has called them "the perfect musical antiheroes for the Seventies.

Can't Buy a Thrill
is the first album by Steely Dan. Originally released in 1972, the album was a huge success. It went gold, and then platinum, peaking at #17 on the charts. In 2003, the album was ranked number 238 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Steely Dan-Can't Buy A Thrill @320

1. Do It Again
2. Dirty Work
3. Kings
4. Midnite Cruiser
5. Only A Fool Would Say That
6. Reelin' In The Years
7. Fire In The Hole
8. Brooklyn
9. Change Of The Guard
10.Turn That Heartbeat Over Again

Here: (sent by Jimmy_B)

Steely Dan-Reelin' in the Years (Midnight Special 1973)

Saturday, May 2, 2009

King Crimson-In The Court Of The Crimson King (Re-Up)

Sort history of the group By Wiki:

King Crimson is a progressive rock band founded by guitarist Robert Fripp and drummer Michael Giles in 1969.

They have typically been categorised as a foundational progressive rock group, although they incorporate diverse influences ranging from jazz, classical and experimental music to psychedelic, New Wave, hard rock, gamelan and folk music. King Crimson have garnered little radio or music video airplay, but gained a large cult following.Their debut album, In the Court of the Crimson King, is widely regarded as a landmark in progressive rock. Their later excursions into even more unconventional territory have been influential on many contemporary musical artists.

Throughout the early-1970s, King Crimson's membership fluctuated as the band explored elements of jazz and funk. As the band developed an improvisational sound influenced by hard rock, the band's personnel became more stable in the mid-1970s, before breaking up in 1974. The band re-formed in 1981 for three years, influenced by New Wave and gamelan music, before breaking up again for around a decade. Following their 1994 reunion, King Crimson blended aspects of their 1980s and 1970s sound with influences from more recent musical genres, a synthesis which has continued into the 21st century.

King Crimson's membership has fluctuated considerably throughout their existence, with eighteen musicians and two lyricists passing through the ranks as full band members. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band's leader. He describes King Crimson as "a way of doing things",and notes that he never originally intended to be seen as the head of the group

King Crimson-In The Court Of The Crimson King @320
1)21st Century Schizoid Man
2)I Talk to the Wind
5)The Court of the Crimson King