genre: folk
country: us
quality: lossless (flac, cue, log, scans, size: 239 mb), mp3 (320k, scans, 82 mb)
time: 34'19"
misc.: 2001
"Open Our Eyes" (Lumkins)– 2:56
"Minstrel from Gaul" (Havens, Roth) – 3:35
"It Could Be the First Day" - 2:22
"Ring Around the Moon" (Brown, Havens) - 2:08
"It's All Over Now, Baby Blue" (Bob Dylan) - 5:01
"There's A Hole In the Future" - 2:07
"I Started A Joke" (Barry Gibb) - 2:58
"Prayer" - 2:56
"Tiny Little Blues" - 2:08
"Shouldn't All the World Be Dancing?" - 8:04
Richie Havens - gtr, bowed koto, vcls
Warren Bernhardt - orgn
Eric Oxendine - bss
Daniel Ben Zebulon - drms
Monte Dunn - gtr
Bill LaVorgna - drm
Paul Williams - gtr
Ken Lauber - pno
David Bromberg - dobro
Donald McDonald - drms
|
genre: folk
country: us
quality: lossless (flac, cue, log, scans, size: 236 mb), mp3 (320k, scans, 93 mb)
time: 38'24"
"High Flyin' Bird" (Billy Edd Wheeler) – 3:35
"I Can't Make It Anymore" (Gordon Lightfoot) – 2:48
"Morning, Morning" (Tuli Kupferberg) – 2:17
"Adam" (Havens) – 3:34
"Follow" (Jerry Merrick) – 6:22
"Three Day Eternity" (Havens) – 2:15
"Sandy" (Jean Pierre Cousineau) – 3:12
"Handsome Johnny" (Lou Gossett, Havens) – 3:53
"San Francisco Bay Blues" (Jesse Fuller) – 2:30
"Just Like a Woman" (Bob Dylan) – 4:46
"Eleanor Rigby" (John Lennon, Paul McCartney) – 2:42
Richie Havens - guitar, sitar, vocals
Harvey Brooks - bass
Paul Harris - organ, piano, keyboards
Bill Lavorgna - drums
Howard Collins - guitar
Joe Price - tabla on "Adam"
Paul "Dino" Williams - acoustic guitar on "Follow"
see also:
1993 ~ Resume. The Best Of
|
 genre: psych country: us quality: lossless (flac, cue, log, scans) time: 38'51" size: 245 mb misc.: 1989
|
 genre: psych country: us quality: mp3 (320k, scans) time: 54'39" size: 129 mb
Fuzz Acid & Flowers: A band they all love to hate? Reknowned for the utterly tasteless, and politically incorrect Spazz, this frantic punker has overshadowed their other 'pop' 45s, and probably from the bands point of view given a skewed perspective of what they were 'about'. Still a compulsive riff, with lyrics sung with in an almost (modern-day) Rap style, a bluesy mid-break, and a
Electric Prunes style arrangement are hard to ignore.
Amazingly, the Spazz 45 was also scheduled for release in the U.K. on EMI subsiduary Stateside, and demo copies were pressed, credited to The Elastick Band. Even stranger is that Spazz was played exactly once (almost) in Australia on Sydney radio station 2UW as a request.. about one minute into the track the DJ lifted the needle and apologised to the audience.. "I think we've heard about enough of that, I don't know what they're getting at and I don't care what they're getting at, but I find it offensive and I'm sure a lot of other people do too...."
Originally known as
This Side Up, they recorded a 45 for Century in 1966, before a slight personnel shuffle resulted in the new monicker The Elastic Band.
Given the reaction to Spazz, it's understandable that many people are disappointed with their other three 45s, which are in a straightforward pop-ballad vein. The final 45, Tunesmith was a Jimmy Webb composition and appears to have only been released as a Radio Promo, despite being advertised in Billboard. The Elastik Band's version was actually an attempt to beat another groups rendition which was then shooting up the charts somewhere in Oregon or Washington. They recorded it as a "cover record" for KAPP who flew them in from Arizona and within three days Universal recorded, pressed and distributed 45s of their cut. As a result, stations refused to play either record cause they didn't know which was the cover!
David Cortopassi later went on to play in Dangerfield, who recorded further 45s for Kapp and then he played with Rodan. Rodan also featured Scott Page on horns, who went on to play with Supertramp and Pink Floyd. Their manager loved them so much he put out a 12" LP for them gratis! Anyone out there with info??
If you haven't heard Spazz, and garage is your bag... then you're missing possibly one of the most tasteless records ever. (Ivor Trueman/Josh Cortopassi/Tony Allen/Joe Rein/Max Waller) |
 genre: soul country: us quality: lossless (ape, cue, log, booklet scans) time: 59'25" size: 373 mb misc.: 2003
"Only You Know and I Know" (Dave Mason) - 3:26
"Wade in the River of Jordan" (Traditional, arr. Delaney Bramlett) - 2:10
"Sound of the City" (Delaney Bramlett/Joe Hicks) - 2:39
"Well, Well" (Delaney Bramlett) - 3:03
"I Know How It Feels to Be Lonely" (Bonnie Bramlett/Leon Ware) - 3:47
"Comin' Home" (Bonnie Bramlett/Eric Clapton) - 3:13
"Move 'Em Out" (Steve Cropper/Bettye Crutcher) - 2:50
"Big Change Comin'" (Delaney Bramlett) - 3:22
"A Good Thing (I'm on Fire)" (Delaney Bramlett/Gordon DeWitty) - 2:13
"Groupie (Superstar)" (Bonnie Bramlett/Leon Russell) - 2:49
"I Know Something Good About You" (Delaney Bramlett/Joe Hicks) - 4:11
"Country Life" (Delaney Bramlett/Bobby Whitlock) - 3:38
2003 bonus:
Delaney Bramlett "Over and Over" (Delaney Bramlett) - 2:41
Delaney Bramlett "I'm Not Your Lover, Just Your Lovee" (Delaney Bramlett/Doug Gilmore) - 4:28
Bonnie Bramlett "Good Vibrations" (Gordon DeWitty) - 3:13
Delaney Bramlett "Are You a Beatle or a Rolling Stone" (Delaney Bramlett/Doug Gilmore) - 3:22
Bonnie Bramlett "(You Don't Know) How Glad I Am" (Jimmy Williams/Larry Harrison) - 3:58
Delaney Bramlett "California Rain" (Delaney Bramlett/Doug Gilmore) - 3:52
Delaney Bramlett - guitar, vocals
Bonnie Bramlett - vocals
Eric Clapton - guitar, vocals
Leon Russell - piano, keyboards, vocals
Duane Allman - guitar, vocals
Dave Mason - guitar, vocals
Carl Radle - bass, vocals
John Hartford - banjo, vocals
Steve Cropper - guitar, vocals
Jim Gordon - drums, vocals
Red Rhodes - steel guitar, vocals
Jaimoe - drums, vocals
Billy Preston - keyboards, piano, vocals
Charlie Freeman - guitar, vocals
Kenny Gradney - bass, vocals
Bobby Whitlock - keyboards, vocals
Bobby Keys - saxophone, vocals
James Jamerson - bass, vocals
Jerry Jumonville - saxophone, vocals
King Curtis - saxophone, vocals
Larry Knechtel - bass, vocals
Darrell Leonard - trumpet, vocals
Jim Price - horns, vocals
Chuck Rainey - bass, vocals
Larry Savoie - trombone, vocals
|
 genre: psych country: uk quality: lossless (ape, cue, log, scans) time: 46'38" size: 247 mb misc.: 2004
Side one
"Burlesque" - 4:04
"Bolero Babe" - 4:36
"Coronation" (Whitney-Chapman-Wetton) - 3:50
"Dark Eyes" (Chapman-Palmer) - 1:46
"Broken Nose" - 4:09
Side two
"My Friend The Sun" - 4:20
"Glove" - 4:49
"Ready To Go" - 4:36
"Top of the Hill" - 5:39
bonus on 2004 Repertoire:
10. Good Friend Of Mine 3:33
11. Today 4:58
All selections are by Charlie Whitney and Roger Chapman except where noted. Roger Chapman – vocals and percussion, soprano saxophone on "Bolero Babe"
Charlie Whitney – guitars, keyboards on "Dark Eyes"
Poli Palmer – keyboards, vibes, flute & percussion; guitar on "Dark Eyes"
John Wetton – guitars, basses, vocals
Rob Townsend – drums and percussion
Guest artists:
Linda Lewis – backing vocals on "Broken Nose"
Del Newman – string arrangements
|
 genre: psych country: uk quality: lossless (ape, cue, log, scans) time: 45'32" size: 267 mb misc.: 1989
Tapestry of Delights: Formed in Leicester in 1967 Family evolved out of
The Farinas, a R&B group who recorded for Fontana and were also known as The Roaring Sixties, but probably not the same band who in 1966 had recorded the then topical We Love The Pirates for Marmalade. The Farinas had been going since 1962 when Charlie Whitney had founded them at Leicester Art College.
In mid-1967 The Farinas moved to London and met up with American producer Kim Fowley who persuaded them to change their name to Family. They signed a one-off deal with Liberty in September 1967 for whom they cut a superb psychedelic single, Scene Thru' The Eyes Of A Lens, which also offered a foretaste of Chapman's unique vocals. It did not sell and is now extremely rare. You'll also find it on Electric Sugar Cube Flashbacks. Their debut album, Music In A Doll's House (co-produced by
Traffic's
Dave Mason) was a brilliant mind-expanding effort, full of new ideas and diversity. It surely must rate as one of the best debut albums of the sixties. Family at this time were an important part of London's underground circuit along with
Pink Floyd,
Soft Machine,
Tomorrow et al. Their stage act was electric, the charismatic Chapman would contort around the stage in a demented haze and considerable use was made of light shows and smoke clouds.
Music In A Doll's House was self-penned, save for one
Mason composition, Never Like This, and contained daringly innovative material like The Chase, Mellowing Grey, Winter, See Through Windows, New Songs Old Songs and Peace Of Mind. This was mind-expanding music that highlighted Chapman's raucous vocal dexterity and utilized a wide range of instruments. Every track was a winner. Around this time the band achieved the dubious distinction of being the anonymous subjects of Jenny Fabian's novel 'Groupie'.
Family's reputation as one of Britain's leading rock bands was consolidated by their follow-up album, which was produced by John Gilbert and Glyn Johns. Although less consistent than the debut it contained some of their most powerful work, particularly on The Weaver's Answer which captures Chapman's vocals at their most manic, Hung Up Down and Observations From A Hill (Side one's three opening tracks). The album made No 6 in the UK Charts. After a series of unsuccessful 45s (in commercial terms, at any rate) 45 Chart success eventually came in 1969 when No Mule's Fool reached No 29 in the November of that year. 1969 was a tumultuous year, for the band witnessed the first of a series of personnel changes. Ric Grech left during their first US tour to join
Blind Faith. John Weider, who was then playing with an LA-based club band Stonehenge but who had previously been with
Eric Burdon and The Animals flew out to replace him. During the tour the group got into a misunderstanding with America's top promoter at the time, Bill Graham, and they never did make it big in the States probably as a consequence of that. When they returned to Britain they parted company with Jim King too. He was ousted due to some rather unpredictable behaviour and went on to play for an outfit called Ring Of Truth.
Upon King's departure, Poli Palmer, who had played in various Birmingham-area bands including Bakerloo Blues Line and
Deep Feeling joined. The band now enjoyed its most commercially successful, if not its most innovative, period. Not only did A Song For Me and Anyway reach numbers 4 and 7 in the Album Charts respectively, they also enjoyed three hit singles. In June 1971 John Weider left to join
Stud, who having recorded an album for Deram earlier that year, went on to record a couple for the German BASF label which weren't released in Britain. John Wetton came in to replace him from
Mogul Thrash but left 15 months later for
King Crimson. However, in this time the band produced two albums:- Fearless and Bandstand, which not only gave them more success in the UK Album Charts reaching Nos 10 and 15 respectively but also gave them their only US success making Nos 177 and 183 respectively in the Album Charts over there. After these Poli Palmer left to start a new band with Ric Grech which never got off the ground. Tony Ashton was drafted in as a replacement on keyboards, and Jim Cregan joined fromStud but by now the band was past its prime. A switch from Reprise to Raft for their final album, It's Only A Movie, did not ebb the tide and by October 1973 they were gone for good. Roger Chapman and Charlie Whitney later teamed up in
Streetwalkers. Rob Townsend re-emerged in
Medicine Head and was later in The Blues Band.
...
Read more »
|
genre: prog
country: uk
quality: lossless (flac, cue, log, scans)
time: 64'24" size: 385 mb
"Ace of Wands" – 5:23
"Hands of the Priestess I" – 3:28
"A Tower Struck Down" (Steve Hackett, John Hackett) – 4:53
"Hands of the Priestess II" – 1:31
"The Hermit" – 4:49
"Star of Sirius" – 7:08
"The Lovers" – 1:50
"Shadow of the Hierophant" (Steve Hackett, Mike Rutherford) – 11:44
bonus:
09. Ace Of Wands (Live At The Theatre Royal, Drury Lane) 6:32
10. Shadow Of The Hierophant (Extended Playout Version) 17:01
All songs written by Steve Hackett; except where indicated
Steve Hackett: electric & acoustic guitars, mellotron, Harmonium, bells, autoharp, vocals on "The Hermit", effects
John Hackett: Flute, Synthesizer, bells
Mike Rutherford: Bass guitar, Bass pedals, 12-string guitar
Phil Collins: drums, vibes, percussion, vocals "on Star of Sirius"
John Acock: Elka Synthesizer, mellotron, harmonium, piano
Sally Oldfield: Vocals on "Shadow of the Hierophant"
Robin Miller: Oboe, English Horn
Nigel Warren-Green: Cello
Percy Jones: Bass guitar on "A Tower Struck Down"
Johnny Gustafson: Bass guitar on "Star of Sirius"
|
genre: psych, prog
country: uk
quality: lossless (ape, cue, log, scans)
time: 1:13'27" size: 423 mb
misc.: 2003 expanded deluxe remaster
Tapestry of Delights:
Emerson and Jackson had played with Gary Farr and The T. Bones and Emerson had also been in the short-lived V.I.P.'s prior to the above quartet establishing themselves as P.P. Arnold's backing group in 1967. The Nice would play their own set prior to her own show in which they would back her. They went down so well that Immediate offered them a recording contract in October 1967.
They became very much a part of the psychedelic era in their appearance and dress and were popular among British underground fans in the late sixties. Musically, they were dominated by Emerson's virtuoso keyboard playing and concentrated on re-vamped classics. Their debut album was well-received including lengthy renderings of Rondo and War And Peace. O'List departed after this and was replaced for a while by Longstaff the following year. After his departure the band became more centred around Emerson and his highly theatrical keyboard playing. Their second album is certainly worth investigation and included Emerson's interpretation of Leonard Berstein's America from West Side Story which also reached No 21 in the UK when issued as a seven-minute single in the Summer of 1968. Side two of the third album was recorded live at the Filmore East, New York and included renderings of Rondo '69 and Dylan's She Belongs To Me!. Overall, the album had its moments but at times was frankly tedious. Their fourth album was their most ambitious to date. By this time Immediate had folded and the band had switched to Charisma. However, by the time of their fifth album Jackson and Davidson were beginning to resent Emerson's almost total dominance of the group and the band broke up amid considerable ill-feeling. The album is not really worth purchasing as two of the four tracks are merely new arrangements of earlier compositions, America and Hang On To A Dream.
Often controversial (they were banned from London's Albert Hall in June 1968 after setting fire to the stars and stripes during a rendition of America, which Bernstein prevented them from issuing in the US), The Nice's music was unique. Despite their popularity, it was detested by some.
Emerson, of course, went on to achieve greater fame with Emerson, Lake and Palmer. O'List re-emerged in the seventies in Jet. Both Jackson and Davidson, however, were relatively unsuccessful in their attempts to launch their own bands, Jackson Heights and Every Which Way.
|
|
