Friday, July 31, 2020

Fanny - Fanny Hill (1972) [Vinyl Rip]

Year: 1972 (LP 1972)
Label: Reprise Records (UK), K44174
Style: Rock
Country: United States
Time: 41:19
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Fanny Lives: Inside the Return of the Pioneering All-Female Rock Band
In the face of flagrant sexism, they wowed David Bowie and made history with a major-label signing. Now, the members of Fanny are making a fresh start.
When Deep Purple didn’t show up for a gig once in Ohio in the early Seventies, opening act Fanny went on in their place. “And slammed,” recalls guitarist June Millington. “No one left, which impressed everyone. It was a big deal ’cause, well, you know: girls!”
Four girls, in fact. Formed in 1969, Fanny were the first all-female rock band to release an album on a major label. Yet after successfully filling in for one of the reigning acts of the day, earning critical raves and co-signs from rock royalty, and cracking the Top 40, the band still had to shrug off the dismissive “not bad for chicks” refrain from male admirers who thought they were paying a compliment. (“That was the highest accolade you could get, and we took it,” Millington says.) And in the years since their initial early-Seventies run, the group has been largely overlooked.
“They were one of the finest fucking rock bands of their time,” David Bowie told Rolling Stone of Fanny in 1999. “They were extraordinary: They wrote everything, they played like motherfuckers, they were just colossal and wonderful, and nobody’s ever mentioned them. They’re as important as anybody else who’s ever been, ever; it just wasn’t their time.”
Maybe their time is now. Nearly 45 years after the definitive Fanny lineup broke apart in 1973, Millington, now 69, has fashioned a 21st-century version of the group with her sister and original singer-bassist Jean Millington and singer-drummer Brie Darling. The group calls itself Fanny Walked the Earth, also the title of their recently released LP: a collection of 11 new songs full of big hooks, rich vocal harmonies and raucous guitars.
“They’re flag-bearers – they should be in the front of the parade,” says Bangles guitarist Vicki Peterson, who counts Fanny among her formative influences, and sings on Fanny Walked the Earth. “As a 10-year-old, or 12-year-old, I was thinking, ‘Oh, my God, these women play better than anyone needs to, and play great music and look great and rock with a ferocious spirit.'”
Though the musicians didn’t plan it this way, Fanny’s return seems especially well-timed given the #MeToo and Time’s Up movements, signs of a cultural shift that scarcely seemed imaginable when the Millingtons and Darling came up in the 1960s. At the time, the sisters – who moved from the Philippines to Sacramento, California, in 1961 – felt further marginalized by their immigrant status. “We were not supposed to believe in ourselves,” June Millington says of starting a band as an immigrant and a woman of color. “It really felt like it was warfare: It was sexism and classism at the same time, and we didn’t know whether we were going to make it.”
She describes Fanny Walked the Earth as an amalgam of Fanny and the Svelts, a band the Millington sisters started in high school in the mid-Sixties that included Darling on drums. “Somehow it’s coming full circle,” says Darling, 68. She sang in Fanny during the brief period when the band was a quintet prior to the recording of their 1970 self-titled debut, and returned to sing and play drums on their final album, 1974’s Rock and Roll Survivors. “It couldn’t be better timing. We get to stand up for what we believe in, stand up for women.”
“We’re at the center of the vortex,” adds June Millington. “I think we exemplify it. We are it. I just would not have believed you 50 years ago if you had told me this would be happening now.”
During their initial run, the musicians faced constant discrimination. “There were so many instances of egregious sexism that our minds automatically deleted them, needing the head space to learn and do our work,” Millington says. “It wasn’t worth paying attention to. You may as well have been paying attention to all the holes in the road.”
There was the time in England where a club owner showed them around backstage. “He said, ‘Here’s the room for the girls,’ and, pointing the other way, said, ‘Here’s the room for the band,'” Millington recalls. Or the time when the manager at the Troubadour in L.A. gave the group five minutes to play at a Hoot Night. After a couple of songs, “The audience was standing on the tables stamping, hooting and hollering,” the guitarist says. “The manager came running up and said, ‘Play some more! Play some more!’ Jean slowly looked down her long neck at him and said, ‘But you said, “only five minutes.”‘ Of course, we played some more, and even harder. We were definitely gonna show them. It was a peak moment, because we delivered.”
Their determination paid off: the audience that night included the secretary for producer Richard Perry, known for his work with Barbra Streisand, Carly Simon and Harry Nilsson. She arranged a private audition with Perry the next day, and Reprise signed Fanny soon after.
The group’s quasi-reunion stems from a February 2016 tribute concert held in June Millington’s honor in Northampton, Massachusetts, near the small town where she has lived since 2001. There, she and her partner run the Institute for the Musical Arts, which holds rock camps for teen girls. The event featured friends and collaborators, including Jean Millington and Darling, playing music from throughout June’s career. The sisters had occasionally recorded and performed together as a duo but the tribute was the first time they had played with Darling in 35 years.
“When we were rehearsing and we hit it, we were like, ‘Holy shit, it’s back, and it’s better,'” says June Millington. “Whatever it was that we were accessing in 1967 when Brie started playing in the Svelts was still there.”
“There were so many instances of egregious sexism that our minds automatically deleted them, needing the head space to learn and do our work.” –June Millington.
Playing in the Svelts provided a sense of community for the Millingtons and Darling, all daughters of white American fathers and Filipina mothers. After the Svelts broke up, the Millingtons joined drummer Alice de Buhr and keyboardist Nickey Barclay in another all-female group, Wild Honey, which evolved into Fanny when the band signed with Reprise. “I remember being terribly excited and also confident, because we’d already worked so hard for four years, with different girls coming in and out of the band, and we could play,” Millington says of the time.
Emphasizing tight vocal harmonies and the potent blend of Barclay’s bluesy keyboards and Millington’s fiery guitar playing, Fanny played with confident rock & roll swagger: Their first album included a searing cover of Cream’s “Badge,” and they had a Top 40 hit with the loping boogie workout “Charity Ball,” the title track from their second album. The band hit the road hard, touring internationally and opening for groups including the Kinks, Slade, Jethro Tull and Humble Pie.
Yet large-scale commercial success eluded them, and the weight of representing women in the male-dominated rock world began to wear on the musicians, particularly June Millington. “It wasn’t just the pressure,” she says. “It was the psychic and emotional energy you had to expend to prove over and over that you could play as good as guys, or in a lot of cases, better.”
It was more than Millington could manage, and she left the band following the 1973 release of Fanny’s fourth album, Mother’s Pride (produced by Todd Rundgren). When De Buhr also departed, Darling rejoined Fanny, and the band brought on Patti Quatro, older sister of Suzi, to play lead guitar and sing. That lineup recorded Rock and Roll Survivors, which yielded “Butter Boy,” a doo-wop–style tune that became their biggest hit, peaking at Number 29. By then, though, the musicians were at odds over creative issues, and the group disintegrated.
Most of the band members stayed active in music after Fanny. Darling performed with Ringo Starr, Carole King, Electric Light Orchestra and Jimmy Buffett, among others. Jean Millington, 68, has played on and off with her sister, and is currently recovering from a stroke she suffered in January. June Millington played on and produced albums by artists including Cris Williamson and Holly Near, who helped define a feminist and queer-friendly alternative to the mainstream music industry. Nearly 30 years went by before June Millington could bring herself to even listen to Fanny, which she finally did while working on the band’s 2002 compilation First Time in a Long Time. “It was too scary,” she says. “There were too many hard memories.”
The memories linger enough that when the 2016 tribute concert led to an offer for Fanny to make a new record, Millington insisted the musicians do it under a different name. “I have no attraction to competing with our 23-, 24-, 25-year-old selves,” she says. “I think that’s crazy. For us to be nostalgic about the past, there’s no point. Look at where we are now: We’re in an exalted state, doing what we do and being who we are.”
The Millingtons and Darling recorded Fanny Walked the Earth in Western Massachusetts and Los Angeles, with contributions from former Fanny members De Buhr and Quatro. They also enlisted some of the musicians Fanny influenced: Members of the Go-Go’s, the Runaways and all three current Bangles sing backing vocals on “When We Need Her,” an all-for-one celebration of sisterhood. “It just resonates for them to be stepping forward again,” the Bangles’ Peterson says. “They didn’t get the shot they maybe should have gotten in the past. I would like young women who are picking up guitars now and looking to other female musicians to realize, hey, this is a tradition and it’s been going on for a long time, and it’s powerful.”
For June Millington, there’s one more barrier to break. “Back then, we were directly facing sexism. Now I feel like it’s ageism that we’re addressing in a way,” she says. “Women in their sixties aren’t supposed to do this, are they? We’re resisting the normalization of giving up the second your looks start to morph.”
(; By ERIC R DANTON; MARCH 16, 2018 2:00PM ET)

Jean Millington: bass guitar, vocals
June Millington: guitar, vocals
Nickey Barclay: keyboards, vocals
Alice de Buhr: drums, vocals

Matrix side A: K 44174 AI, K 44174 BI

01. A1 Ain't That Peculiar (04:01)
02. A2 Knock On My Door (03:19)
03. A3 Blind Alley (04:29)
04. A4 You've Got A Home (03:45)
05. A5 Wonderful Feeling (03:15)
06. A6 Borrowed Time (03:28)
07. B1 Hey Bulldog (03:50)
08. B2 Think About The Children (04:08)
09. B3 Rock Bottom Blues (03:06)
10. B4 Sound And The Fury (03:03)
11. B5 The First Time (04:49)

Listen. Full Album: Fanny - Fanny Hill (1972) Vinyl Rip

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Saturday, July 18, 2020

Pink Floyd - The Wall (1979) (Double LP) [Vinyl Ryp]

Year: 30 November 1979, Recorded December 1978 - November 1979, (LP 19??)
Label: Harvest Records (UK), SHDW 411 SHSP 4112
Style: Progressive Rock, Rock
Country: London, England
Time: 39:28, 42:19
Format: Flac Tracks 16/44,1 kHz
Size: 215, 252 Mb

A rock opera, its story explores Pink, a jaded rockstar whose eventual self-imposed isolation from society is symbolised by a wall. The record was a commercial success, charting at number one in the US for 15 weeks, and number three in the UK. In 1982, the album was adapted into a feature film of the same name, directed by Alan Parker.
Bassist Roger Waters conceived The Wall during Pink Floyd's 1977 In The Flesh tour, modeling the character of Pink after himself and former bandmate Syd Barrett. Recording spanned from December 1978 to November 1979. Producer Bob Ezrin helped to refine the concept and bridge tensions during recording, as the band were struggling with personal and financial issues at the time. The Wall is the last album to feature Pink Floyd as a quartet; keyboardist Richard Wright was fired by Waters during production, but stayed on as a salaried musician. Three singles were issued from the album: "Another Brick in the Wall, Part 2" (the band's only US number-one single), "Run Like Hell", and "Comfortably Numb". From 1980 to 1981, Pink Floyd performed the full album on a tour that featured elaborate theatrical effects.
The Wall initially received mixed reviews from critics, many of whom found it overblown and pretentious. It later came to be considered one of the greatest albums of all time, as well as being one of the most well-known concept albums. It has sold more than 24 million copies, is the second best-selling in the band's catalog, and is one of the best-selling of all time. Some of the outtakes from the recording sessions were later used on the group's next album, The Final Cut (1983). In 2003, Rolling Stone listed The Wall at number 87 on its list of the "500 Greatest Albums of All Time". In the early 2010s, Waters staged a new Wall live tour that became the highest-grossing tour by a solo musician.


01. A1 In the Flesh (03:25)
02. A2 The Thin Ice (02:30)
03. A3 Another Brick in the Wall (Part 1) (03:16)
04. A4 The Happiest Days of Our Lives (01:43)
05. A5 Another Brick in the Wall (Part 2) (04:02)
06. A6 Mother (05:31)
07. B1 Goodbye Blue Sky (02:56)
08. B2 Empty Spaces (02:03)
09. B3 Young Lust (03:31)
10. B4 One of My Turns (03:38)
11. B5 Don't Leave Me Now (04:08)
12. B6 Another Brick in the Wall (Part 3) (02:00)
13. B7 Goodbye Cruel World (00:40)


01. C1 Hey You (04:45)
02. C2 Is There Anybody Out There (02:41)
03. C3 Nobody Home (03:28)
04. C4 Vera (01:37)
05. C5 Bring the Boys Back Home (01:20)
06. C6 Comfortably Numb (06:24)
07. D1 The Show Must Go On (01:39)
08. D2 In the Flesh (04:18)
09. D3 Run Like Hell (04:20)
10. D4 Waiting for the Worms (04:04)
11. D5 Stop (00:35)
12. D6 The Trial (05:13)
13. D7 Outside the Wall (01:49)

Listen LP1. Full Album: Pink Floyd - The Wall (1979) LP1

Listen LP2. Full Album: Pink Floyd - The Wall (1979) LP2

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Friday, July 17, 2020

Livin' Blues - Ram Jam Josey (1973) CD

Year: 1973 (CD 1997)
Label: Pseudonym Records (Europe), CDP 1042 DD
Style: Blues Rock, Rock
Country: Netherlands
Time: 50:27
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

Livin’ Blues was one of the best Dutch blues bands. Many people think the band's name came from the American magazine called Living Blues, but that wasn't established until 1970. Former members of the band claim it was based on the name of an American theatre group called Living Theatre.
They evolved in 1967 from Andy Star & the Stripes with Ted Oberg (g) and Ruud Franssen (b) and then added Bjorn Pool (v) and Niek Dijkhuis (d). In 1968, they took on board the blues duo Indiscrimination with John Lagrand (blues harp) and Nicko Christiansen (v, s), the latter replacing Pool. During the same year, Gerard Strotbaum replaced Franssen and Cesar Zuiderwijk (ex-Hu & the Hilltops, to Golden Earring) came in on drums. The band started getting more and more attention, resulting in a record contract with the mighty Phonogram (who distributed labels like Decca and Philips). They opened a show for Fleetwood Mac during a small winter tour of 1969.
After they had recorded two unsuccessful singles, Strotbaum was replaced by Henk Smitskamp (ex-Motions, to Sandy Coast). The line-up of Oberg, Lagrand, Christiansen, Zuiderwijk and Smitskamp recorded the highly acclaimed album, "Hell’s Session" in 1969, the first production of former Golden Earrings drummer Jaap Eggermont (later world-famous through his Stars On 45 productions), for a new label, Red Bullet (owned by Willem van Kooten a.k.a. DJ Joost den Draaijer).
In 1970, Smitskamp was replaced by Ruud van Buuren (ex-Groep 1850, to Long Tall Ernie & the Shakers). When Zuiderwijk joined Golden Earring, Dick Beekman (ex-Cuby + Blizzards and Ro-d-ys) was next in the long line of drummers to join the band. Livin’ Blues seemed to change drummers on a yearly basis. After "Wang Dang Doodle" became an international hit, the band started touring Europe, one highlight being their appearance at the Palermo Pop Festival in Sicily. Then John Le Jeune (ex-Island) took over the drum stool, but he also lasted for just one album. The band had another international hit with "LB Boogie" and made their first visit to Poland, where they'd become one of the most successful bands ever.
Le Jeune left for the Schick Band and was replaced by Arjan Kamminga, who was forced to quit not long after the release of "Rockin’ At The Tweedmill" (recorded in England and produced by Mike Vernon) due to back problems. He would later resurface in Mark Foggo & Secret Meeting. In 1973, Englishman Kenny Lamb became the last drummer of the first era of Livin’ Blues. The album "Ram Jam Josey" was again produced by Mike Vernon who'd also recommended Lamb (ex-Jellybread, a British blues band recording for Vernon's Blue Horizon label).
In 1974, “Mark I” Livin’ Blues fell apart. John Lagrand joined Water, Nicko Cristiansen formed Himalaya, Kenny Lamb returned to England and Ruud van Buuren joined Long Tall Ernie & the Shakers. Ted Oberg had to continue with Livin’ Blues because their manager (Ted's mother!) had signed new contracts with Ariola and Grandad Music. John Fredriksz (ex-George Cash and Q’65, the singer who always seemed to come in when a band's heyday was over) became the new vocalist. They also took on board Paul Vink (kb, ex-Finch, to Limousine), but he only lasted a few months. The line-up was completed by the returning Henk Smitskamp (b, from Shocking Blue), Ronnie Meyjes (g, ex-Brainbox) and Michel Driesten (d) and had a disco hit with "Boogie Woogie Woman", a far cry from the earlier blues-rock sound. By the time the album "Live ’75" was recorded, Meyes and Driesten had disappeared and Cor van de Beek (also from Shocking Blue) was the drummer.
The 1976 line-up was: Ted, Johnny, Andre Reynen (bass, ex-Sympathy and Brainbox) and Jacob van Heiningen (drums, ex-Galaxis, replaced by Ed Molenwijk, ex-Dizzy Daisy, to Casino). In spite of the internationally successful album, "Blue Breeze" (1977), the band were without a recording contract by 1978. Jan Piet Visser (h, ex-Houseband) joined in 1979, but a year after that the core of "Mark I" Livin’ Blues reunited for the 1980 Haagse Beatnach: Oberg, Lagrand and Christiansen were joined by Evert Willemstijn (b) and Boris (Bo, Beau) Wassenbergh (dr, ex¬Cashmere, to The Zoo). That line-up started touring again, but due to the lack of interest in the blues music, Livin’ Blues slowly ground to a halt in the first half of the 1980s. In the meantime, Johnny Frederiksz, Andre Reynen and Jan Piet Visser formed Nitehawk. When that band also turned out to be unsuccessful, Ted Oberg formed the J&T Band (Johnny & Ted) with Frederiksz, adding ex-Finch members Peter Vink (b) and Fred van Vloten (d).
In 1986, John Lagrand and Nicko Christiansen reformed Livin’ Blues and, for the first time since 1967, Ted Oberg was not present. Other members were: Joop van Nimwegen (g, ex-Q’65 and Finch), Willem van de Wall (g, ex-Himalaya), Aad van Pijlen (b, ex-Freelance Band and Himalaya) and Art Bausch (d, ex-Barrelhouse, ex-Oscar Benton, and founder member of Blue Planet). After one unsuccessful album, "Now", Lagrand left to join the Muskee Gang and Christiansen got a new line-up together. However, the rights to the name Livin’ Blues were owned by Ted Oberg's mother and Christiansen had to call the band New Livin’ Blues. Just like all preceding line-ups, New Livin’ Blues went through many changes, which are impossible to document (mainly due to the lack of press coverage and record releases). On the CD "Out Of The Blue" (1995), the line-up was: Christiansen, Loek van der Knaap (g), Frank Buschman (b) and Elout Smit (d).
In 1996, John Lagrand joined the reformed Cuby + Blizzards and two years later, Nicko Christiansen formed the Nicko C Band, keeping Loek van der Knaap on board. In 1998, Ted Oberg formed his own band Oberg with Jan Scherpenzeel (v, h), Frank Schaafsma (b) and Ramon Rambeaux (d, ex-Wild Romance, replaced by Ronald Oor, ex-Diesel and I’ve Got The Bullets). At the end of that year, Nicko Christiansen and John Lagrand toured with guitarist Eelco Gelling (ex-Cuby + Blizzards) as Nederblues Summit.
In 2003, Christiansen and Lagrand wanted to start performing again as Livin’ Blues, but Oberg objected. The new band was then named Blues A- Livin’ instead. Oberg reappeared the following year, touring with Simone Roerade (v), Rob Geboers (kb, ex-Flavlum). Marco Oonincx (b, ex- Ana Popovic Band) and drummer Arie Verhaar (ex-Tom Principato and Tino Gonzales), as Grand Slam.
On 30th June, 2005, John Lagrand died at the age of 55 from emphysema. Christiansen continued as The Livin’ Blues Experience with Loek van der Knaap (g), Yaroon Vanniele (bas), Kees van Krugten (d) and Francois Spannenburg (blues harp). In 2009, Livin’ Blues was voted as the "best international blues band" by readers of the Two Blues magazine in Poland. Ted Oberg has called his band Oberg once again, although it is now fronted by female singer Liane Hoogeveen. The other members are: Mick Hup (g, replaced Will Sophie), Nico Heilijgers (b) and Paul Damen (d).

01. Dizzy Buizy Bluesman (04:32)
02. I'm Walking (02:50)
03. Ram Jam Josey (03:44)
04. Gamble On (03:15)
05. Poinsetta Petal (04:04)
06. Isabella (03:16)
07. Hobo Joe (04:40)
08. I'm Coming Home (06:41)
09. The Great Grandfather (02:48)
10. Empty Glasses (01:55)
11. Back Stage (Bonus track) (05:43)
12. Crazy Joe (Bonus track) (04:06)
13. Lazy Lisa (Bonus track) (02:47)

Listen. Full Album: Livin' Blues - Ram Jam Josey (1973)

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Tuesday, July 14, 2020

Jade Warrior - Jade Warrior (1971) CD

Year: 1971 (CD 1988)
Label: Line Records (Germany), LICD 9.00548 O
Style: Progressive Rock, Rock
Country: 1970–2011 or 2014; United Kingdom
Time: 44:13
Format: Flac Tracks 16/44,1 kHz
Size: 161 Mb

The core membership of Jade Warrior is/was Jon Field (flute etc.) and Tony Duhig (guitar). During their youths, Jon and Tony independently developed an interest in Jazz, African music, and Latin American music. They met in the early 1960s while driving forklift trucks in a factory, and soon learned that they shared musical interests and intentions. At the time, they were just beginning to play instruments themselves (Jon a set of congas, and Tony a cheap guitar which he tuned quite unconventionally to open C).
Each of them bought a quarter-track tape recorder, capable of sound-on-sound "pingponging". They began composing their own music, and experimenting with building up multi-layered overdubbed amalgams of the sorts of music which moved them... all done with practically no money. Jon has described this process as "our training... trying to build a cathedral with the sort of things you'd find in your back yard." This complex layered and overdubbed sound would be a hallmark of Jade Warrior's music throughout their entire career to date.
They spent the next years going to clubs, listening to jazz and blues, and in 1965 formed a rhythm & blues band called "Second Thoughts" headed up by lead singer Patrick Lyons. Second Thoughts released one four-song EP. During the same period, Tom Newman (later the engineer for Mike Oldfield's Tubular Bells), Alan James, Pete Cook and Chris Jackson had formed the first incarnation of the "Tomcats" (one of several bands known to have used this name).
In 1965, both of these two bands split up. Patrick Lyons departed, joining up with Alex Spyropoulos in a duo named "Nirvana" which subsequently released an on-the-charts single "Rainbow Chaser" and a total of five LPs (with Jade Warrior members performing on one of them: 1971's Local Anaesthetic).
The Tomcats re-formed with a new line-up: Tom Newman, Alan James, Chris Jackson, Jon Field and Tony Duhig. The band spent the best part of 1965 and 1966 in Spain, acting as a spearhead for British pop music in that country. They released four EPs which did very well on the Spanish charts. The four EPs by The Tomcats were collected onto a single LP by Acme Records, and a pressing of The Second Thoughts' four-song EP was included.
After returning to England in 1966, the Tomcats were re-named "July", playing psychedelic-pop/rock written by Tom Newman and Pete Cook. July issued one album, which has been released in three different versions. The original version was July. A later release Second of July contains alternate versions and additional outtakes, and a third release Dandelion Seeds is a re-release of July plus the outtakes. July disbanded in 1968. Tony Duhig auditioned successfully for a role in a band called Unit Four Plus Two (a group which had released a hit song "Concrete and Clay" a few years earlier but had since lost all of its original members save the lead singer). Other recent additions to Unit Four Plus Two were bass guitarist and vocalist Glyn Havard, and drummer Allan Price. This line-up of Unit Four Plus Two did a brief club tour in the U.K., and then broke up.
Musical ideas continued to develop and they hooked up with Glyn again to work them in to songs. The first piece they worked on became 'The Traveller' (released on the first Vertigo album). They called the band Jade Warrior after one of the dance dramas they had composed for a London drama school.

01. The Traveller (02:40)
02. A Prenormal Day At Brighton (02:45)
03. Masai Morning (Including Casting Of The Bones, The Hunt, A Ritual Of Kings) (06:44)
04. Windweaver (03:43)
05. Dragonfly Day (Including Metamorphosis, Dance Of The Sun Spirit, Death) (07:45)
06. Petunia (04:46)
07. Telephone Girl (04:54)
08. Psychiatric Sergeant (03:08)
09. Slow Ride (02:36)
10. Sundial Song (05:08)

Listen. Full Album: Jade Warrior - Jade Warrior (1971)

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Saturday, July 11, 2020

Andrew Lloyd Webber - Jesus Christ Superstar (1970) 2xLP {Vinyl Rip]

Year: 1970 (LP 1991)
Label: AnTrop Records (Russia), ?91 00029
Style: Rock Opera, Rock
Country: UK
Time: 43:27, 42:50
Format: Flac Tracks 16/44,1 kHz
Size: 287, 277 Mb

From the late 1950s to the mid 1960s, it was common for original cast recordings of successful Broadway musicals to find their way up near the top of the pop album charts. Hit shows like West Side Story, The Sound of Music and Funny Girl, among several others, all spun off million-selling albums during this era, but by the late 1960s, the pop album charts had been decisively taken over by rock. It was in this environment that a young British composer and his lyricist partner managed to achieve a massive success by precisely reversing the old formula. On October 27, 1970, Andrew Lloyd Webber and Tim Rice, who would go on to become the most successful composer-lyricist team in modern theater history, released a double-LP “concept” album called Jesus Christ Superstar, which only later would become the smash-hit Broadway musical of the same name.
Jesus Christ Superstar was the third musical written by Lloyd Webber and Rice, following on The Likes of Us, which was staged for the first time in 2005, and Joseph and the Amazing Technicolor Dreamcoat, which saw only limited performances in various English churches between 1968 and 1970. Superstar grew out of Tim Rice’s longtime fascination with Judas Iscariot, whom he conceived not as a craven betrayer of Jesus, but rather as a dear friend struggling with the implications of Jesus’ growing celebrity. Although the musical would later find broad support among leaders of liberal Christian churches, it was nevertheless too controversial to gain the financial backing necessary for a stage production. Lloyd Webber and Rice therefore chose to package Superstar as an album first.
Working with a cast that included Murray Head—later of the pop hit “One Night In Bangkok” (1985)—in the role of Judas, and Yvonne Elliman—of the 1977 #1 hit “If I Can’t Have You”—as Mary Magdalene, Lloyd Webber and Rice recorded the Jesus Christ Superstar album in the summer of 1970 and released it in Britain and the United States the following fall.
Then as now, Lloyd Webber and Rice had their detractors in the critical establishment. Writing for TheNew York Times, critic Don Heckman questioned whether this new “rock opera” deserved praise either as rock or as an opera. “As rock, it leaves much to be desired,” he wrote. And in relation to 20th-century operas by the likes of Stravinsky and Gershwin, Heckman argued, “The comparison is pretty devastating.”
Nevertheless the Jesus Christ Superstar album spawned a Top 40 single in versions of “I Don’t Know How To Love Him” by both Yvonne Elliman and Helen Reddy, and it shot all the way to the top of the Billboard album charts in early 1971, paving the way for a smash Broadway opening later that year.


01. A1 Overture (03:55)
02. A2 Heaven on Their Minds (04:19)
03. A3 What?s the Buzz - Strange Thing Mystifying (04:12)
04. A4 Everything?s Alright (05:09)
05. A5 This Jesus Must Die (03:32)
06. A6 Hosanna (02:08)
07. B1 Simon Zealotes - Poor Jerusalem (04:46)
08. B2 Pilate?s Dream (01:26)
09. B3 The Temple (04:40)
10. B4 Everything?s Alright (00:35)
11. B5 I Don?t Know How to Love Him (03:32)
12. B6 Damned for All Time - Blood Money (05:06)


01. C1 The Last Supper (07:04)
02. C2 Gethsemane (I Only Want to Say) (05:30)
03. C3 The Arrest (03:19)
04. C4 Peter?s Denial (01:26)
05. C5 Pilate and Christ (02:43)
06. C6 Herod?s Song (Try It and See) (03:00)
07. D1 Judas' Death (04:13)
08. D2 Trial Before Pilate (05:10)
09. D3 Superstar (04:13)
10. D4 The Crucifixion (04:02)
11. D5 John Nineteen Forty-One (02:05)

Listen. Full Album LP1: LP1 Andrew Lloyd Webber - Jesus Christ Superstar (1970)

Listen. Full Album LP2: LP2 Andrew Lloyd Webber - Jesus Christ Superstar (1970)

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Friday, July 10, 2020

The Doors - The Doors (1967) CD

Year: January 4, 1967 (CD 1988)
Label: Elektra Records (Germany),7559-74007-2
Style: Psychedelic Rock, Classic Rock, Rock
Country: 1965–1973, 1978; Los Angeles, California, U.S.
Time: 44:31
Format: Flac Tracks 16/44,1 kHz
Size: 273 Mb

Sgt. Pepper’s bestrode 1967 like a kaleidoscopic colossus, but another album arguably even more revolutionary appeared that year. The eponymous debut of The Doors took popular music into areas previously thought impossible: the incitement to expand one’s consciousness of opener Break on Through was just the beginning of its incendiary agenda.
The Doors were those most dangerous of revolutionaries: populists. Their hooky melodies and the tousle-headed Greek God looks of lead singer Jim Morrison opened gates and hearts that their intellectualism and frequent musical exoticism might otherwise have caused to be closed to them. Meanwhile, that they made a concession to The Man they loudly despised by cutting down their awe-inspiring percolating anthem of lust Light My Fire from seven minutes to three for single release set them on the path to being Hit Parade regulars.
Light My Fire is the highlight of this set, but there are several other gems, particularly the glittering, stately The Crystal Ship and the playfully sensual Twentieth Century Fox. Though often excellent, The Doors is never warm. Icicles seem to hang off its organ-dominated music, however beautiful, while Morrison’s bombastic baritone is never going to lend intimacy.
Willie Dixon’s Back Door Man, covered competently herein, is a song of insinuation but the shocking innovation going on in epic closer The End inhabits a realm beyond innuendo. At a time when frank discussion of sex is still taboo, Morrison gleefully and comprehensively explores Freudian theory and Oedipal myth. That rock had never heard anything as daring gave The End a feeling of quality by default at the time, but the track has not dated well. Liberalisation of media content made it seem banal, then even ludicrous, surprisingly quickly. The End’s transition from radical to risible was rather unfortunate for the original vinyl side two of the album: much of it consisted of songs that seemed like the watery dregs of side one’s flavoursome casket.
The best parts of The Doors remain remarkable even where their revolutionary nature has been obscured by time. In fact, time has provided a disappointment of a different sort: subsequent corrected remasters have revealed we were enjoying The Doors all these years at – Ye Gods! – the wrong speed.
(; Sean Egan 2011)

The Doors is the debut album by the American rock band the Doors. Recorded in 1966 at Sunset Sound Recorders, Hollywood, California, it was produced by Paul A. Rothchild and released on January 4, 1967. The album features their breakthrough single "Light My Fire" and the lengthy song "The End" with its Oedipal spoken word section. The Doors was central to the progression of psychedelic rock, and has been critically acclaimed. In 2012 it was ranked No. 42 in Rolling Stone magazine's 500 greatest albums of all time.

01. Break On Through (To The Other Side) (02:30)
02. Soul Kitchen (03:35)
03. The Crystal Ship (02:34)
04. Twentieth Century Fox (02:33)
05. Alabama Song (Whisky Bar) (03:20)
06. Light My Fire (07:08)
07. Back Door Man (03:34)
08. I Looked At You (02:22)
09. End Of The Night (02:52)
10. Take It As It Comes (02:17)
11. The End (11:43)

Listen. Full Album: The Doors - The Doors (1967)

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Thursday, July 9, 2020

Jade Warrior - Released (1971) CD

Year: 1971 (CD 1988)
Label: Line Records (Germany), LICD 9.00550 O
Style: Progressive Rock, Rock
Country: 1970–2011 or 2014; United Kingdom
Time: 46:21
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

The music of Jade Warrior is somewhat difficult to describe. It doesn't fit conveniently into any one of the categories into which people tend to pigeonhole music... or into any two or three categories, really. That's one of the little difficulties of being a Jade Warrior fan - it's hard to explain to people just why the group's music is so fascinating. That's probably also part of why they've gotten so little airplay or recognition - they just don't "fit" in a music industry dedicated to turning out more and more "product".
Among the influences you'll hear in various aspects of Jade Warrior's music are rock, jazz, Latin, Japanese, African, ambient, and the kitchen sink (almost literally - there are spoons and an empty whiskey bottle in there somewhere!) It's often melodically simple, and rhythmically complex... or vice versa. It tends to have a characteristic sound... which changes to something completely different at the drop of a hat. It's subtle, quiet, lurking around back where you can just barely hear it... and then it leaps forward and stomps flaming circles around you. It's layered, complex, involved, inter-woven... and as pellucidly clear as a calm ocean lagoon. It originated in the heads of two guys who wanted to express their own private sense of music, not thinking that anyone else would ever be interested in it... and it's fascinated fans of the group for decades.
Sounds intriguing? I hope so. They've been making music like this for over 20 years. They've broken a lot of ground, and lead the way for much of the "world music" that's become popular in the past few years. They've made albums which are critically acknowledged as being years ahead of their time. Almost nobody has ever heard of them.
You're now among the people who have heard of them. Check 'em out - they're well worth your time.

01. Three-Horned Dragon King (06:14)
02. Eyes On You (03:10)
03. Bride Of Summer (03:24)
04. Water Curtain Cave (06:29)
05. Minnamoto's Dream (05:22)
06. We Have Reason To Believe (03:53)
07. Barazinbar (14:53)
08. Yellow Eyes (02:54)

Listen. Full Album: Jade Warrior - Released (1971)

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Wednesday, July 8, 2020

Slapp Happy with Henry Cow - Desperate Straights (1975) CD

Year: 21 February 1975 (CD 2004)
Label: ReR MEGACORP (Japan), HCSH1 LC-02677
Style: Avant-Rock, Art Pop, Cabaret, Rock
Country: 1972–1975; German / English
Time: 36:48
Format: Flac Tracks 16/44,1 kHz
Size: 202 Mb

Slapp Happy was a German/English avant-pop group, formed in Germany in 1972. Their lineup consisted of Anthony Moore (keyboards), Peter Blegvad (guitar) and Dagmar Krause (vocals). The band members moved to England in 1974 where they merged with Henry Cow, but the merger ended soon afterwards and Slapp Happy split up. Slapp Happy's sound was characterised by Dagmar Krause's unique vocal style. From 1982 there have been brief reunions to create an opera called Camera, record the album "Ca Va" in 1998, and perform shows around the world.
Slapp Happy's music was eccentric pop with an "avant-garde" twist to it. It drew on a variety of musical idioms, including waltzes, bossa novas, French chansons and tangos. The songs' lyrics were literate and playful while the mood varied from "dreamy" to sinister. However, it was Dagmar Krause's unusual and eerie high-pitched voice that was the group's most arresting feature. Her German-inflected vocals ranged from a sweet melodious croon to the "love-it-or-hate-it" Armageddon style typified on In Praise of Learning.

01. Some Questions About Hats (01:53)
02. The Owl (02:17)
03. A Worm Is at Work (01:52)
04. Bad Alchemy (03:06)
05. Europa (02:48)
06. Desperate Straights (04:14)
07. Riding Tigers (02:02)
08. Apes in Capes (02:16)
09. Strayed (01:54)
10. Giants (01:57)
11. Excerpt from the Messiah (01:49)
12. In the Sickbay (02:09)
13. Caucasian Lullaby (08:25)

Listen. Full Album: Slapp Happy with Henry Cow - Desperate Straights (1975)

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Monday, July 6, 2020

Creedence Clearwater Revival - Mardi Gras (1972) [Vinyl Rip]

Year: April 11, 1972 (LP 1972)
Label: Fantasy Records (France), 6036
Style: Country Rock, Rock
Country: 1967–1972; El Cerrito, California, U.S.
Time: 28:44
Format: Flac Tracks 16/44,1 kHz
Size: 187 Mb

In the future, Mardi Gras may be known as Fogerty’s Revenge. After all the carping about his egotism, and after the published complaints from his co-workers about his hogging the show, he has done what I never thought he would: allowed his cohorts to expose themselves in public. Ceding six of the new album’s ten selections to drummer Doug Clifford and bassist Stu Cook may have been an invitation to artistic suicide for them, but it sure proves that John was right all along. Commercially, it leaves him trying to answer the new $64 Creedence Clearwater Revival question: will the group be able to survive the catastrophe? And who will really care?
Bassist Stu Cook’s three selections are bad enough to qualify as offensive. Ringo Starr may not have much of a voice, but when he sang a song on a Beatle album, it had its own special charm. Cook, on the other hand, offers us his humorless tunes and painful voice as if they are able to stand on their own, self-sufficient as interesting music. Coasting on the name of the group, he is now able to force onto a sure-selling album music that wouldn’t qualify him for a good local high school band. That a musician of Fogerty’s stature is backing him up is depressing; that we are forced to listen to Cook instead of Fogerty, insulting.
Drummer Doug Clifford fares substantially better. He has been influenced by Fogerty himself, and at his best we can recognize something approaching Creedence’s style. His “What Are You Gonna Do” is a listenable enough song, and one is left wondering how good it might have been if someone with a really good voice and a distinctive approach sang it — someone like Fogerty himself.
Usually, when a group is a mixture of talent and mediocrity — as Creedence has generally been recognized to be — the talent tries to elevate the mediocrity. And, happily, at their best, that has been Creedence’s history. On Mardi Gras we find the process reversed and the artist brought down to the level of the hacks that surround him. Fogerty’s four songs are regrettably almost completely marginal to the body of fine work he has created in the past.
“Sweet Hitch Hiker” is marred by the stiffness so characteristic of later Creedence, from Willy and the Poor Boys onward. The cover version of “Hello Mary Lou” is one of the silliest he has attempted; his try at copying James Burton’s superb guitar ride on the Ricky Nelson original was a hopeless botch. As for his two new songs, “Looking for A Reason” is a nice, light bit of fluff and “Someday Never Comes” is the album’s one reasonably satisfying song, a good tune marred by a boring, unimaginative arrangement.
The album’s desired level of submediocrity extends not just to the songs and vocals but the arranging, performance and sound as well. The mix is part of the new democratic spirit; much of it sounds like it was done by a computer to insure that no one instrument would be louder than any other. The rhythm instruments (mainly Fogerty overdubs) are generally down so low they are only semi-audible, a further indication that the band has not successfully converted from quartet to trio.
If the group’s music ever tended to colorlessness in the past, Mardi Gras completes that tendency altogether — nothing fresh, imaginative, different, or pleasantly unexpected occurs from beginning till end. And if Fogerty’s music ever tended to be schizophrenic in the past, it is sad to realize that the struggle is over and that all of his negative tendencies — especially his musical stiffness, masquerading as professionalism — has won out.
Mardi Gras is from the same people (minus one) who gave us “Suzy Q,” “Proud Mary,” “Born on the Bayou,” “Green River,” “Commotion,” “Wrote a Song for Everyone,” “Bad Moon Rising,” “Lodi,” “Down on the Corner,” “Fortunate Son,” “Up Around the Bend,” “Travelin’ Band,” “Who’ll Stop the Rain,” and “Long As I Can See the Light.” There is not a single song or performance on it that deserves to stand in that list. Pendulum was a disappointment but it was honest and it was useful — just because it showed Fogerty reaching for new directions. On this album he seems to have just given up. The result is, relative to a group’s established level of performance, the worst album I have ever heard from a major rock band.
(; RollingStone magazine; By Jon Landau; May 26, 1976 4:00AM ET)

John Fogerty – vocals, lead and rhythm guitars, keyboards, harmonica
Stu Cook – vocals, bass, lead and rhythm guitars, keyboards
Doug Clifford – vocals, drums

01. A1 Lookin' For A Reason (03:29)
02. A2 Take It Like A Friend (03:04)
03. A3 Need Someone To Hold (03:04)
04. A4 Tearin' Up The Country (02:15)
05. A5 Someday Never Comes (04:02)
06. B1 What Are You Gonna Do (02:53)
07. B2 Sail Away (02:30)
08. B3 Hello Mary Lou (02:15)
09. B4 Door To Door (02:08)
10. B5 Sweet Hitch-Hiker (02:59)

Listen. Full Album: Creedence Clearwater Revival - Mardi Gras (1972) Vinyl Rip

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