quality: lossless (flac, cue, log, covers)
time: 34'12" size: 246 mb
Fuzz Acid & Flowers:
Their first album is rare and came out on a Texas label 'though they hailed from New Port Richey, Florida, and had earlier recorded as The Split Ends. It's basically hard rock with some psychedelic guitar work. Their second album is rather mundane heavy rock.
Jim O'Brock recalls: "Circa 1969 We changed names from The Split Ends to B.O.O.T, an anacronym for 'Blues Of Our Time'. We began playing 80% to 90% original material and began traveling more, playing larger venues. We played with Canned Heat, B.B. King, Neil Diamond, Detroit Wheels, etc. and at the Atlanta Pop Festival and Miami II Pop Festivals. Once we competed with the Allman Brothers in a contest at the University of Florida and won first prize! In Atlanta, Georgia we played with Lynyrd Skynyrd (they opened for us!) and stayed on the road for about four years. During this time we recorded our two albums in Nashville, Tn.
"We seemed to stagnate about that time. I left the band and it broke up. A couple of years later, Mike and Bruce tried to resurrect the name with a couple of new guys, but it didn't last long". ~ (Clark Faville/Max Waller/Susie Martin-Rott w/thanks to Jim O'Brock)
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quality: lossless (ape, cue, log, covers)
time: 1:06'50"+1:00'55" size: 752 mb
There is no shortage of collections of archive material by the Soft Machine and some of them are pretty good. You just can't beat BBC recordings for good sound quality and meaningful "alternate versions." This first volume covers the group's early years up to the departure of drummer Robert Wyatt, starting with a session from December 1967, when the Softs consisted of Kevin Ayers, Mike Ratledge, and Wyatt. Early demo and live versions of dubious quality of "Clarence in Wonderland," "Certain Kind," or "Hope for Happiness" are in circulation (see Turns On, Vol. 1, for instance), but these recordings are far more superior. A session from 1969 features Wyatt, Ratledge, Hugh Hopper, and Brian Hopper in a torrid medley of "Facelift" and the "Mousetrap" suite, but the jewel of the first disc is indisputably a full-band rendition (Ratledge, Wyatt, and Hugh Hopper) of "Moon in June," one of very few times it was performed as such (the studio version was mostly put together by Wyatt overdubbing all parts). Disc two presents sessions from 1971 with Elton Dean added to the regular lineup. The last track is another "Mousetrap" sequence seguing into "Esther's Nose Job," performed by the short-lived septet lineup (with a brass section formed by Dean, Lyn Dobson, Marc Charig, and Nick Evans). This is the closest thing to a studio recording existing by this particular group and it is well-worth the price of admission. If you are a relative newcomer to the music of Soft Machine and are looking to expand beyond their studio releases, start here before moving on to more obscure live sets. ~ François Couture
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