trax Vol. 5:1. I Feel Free - Zig Zag Paper Company 2. Mrs. McQueen's Garden - Reasons Why 3. Shock Treatment - Python 4. Let Sleeping Dogs Lie - Page Five 5. My Babe - Keepers Of The Light 6. Gypsy - Chubby Checker 7. Ballad Of Samuel Oscar Beasley - Magpies 8. You Know What Cha Want - Wild Cherries 9. We've Found A Love - Gremlins 10. Wall - Moonstone 11. Quest For The Golden Horde - Lightmyth 12. I Been There - Heavy Breathing 13. Coming On Strong - Hunter 14. It's Alright - Carlo's Crown Jewels 15. Mr. Simms - Thundergrin 16. Colorful Love - A Warm Puppy 17. Listen - Stars & Stripes 18. She Wants To Be Free - Electric Love 19. Tell Me Your Sign - Mind's Eye 20. Peace Of Mind - Detours 21. Pink Ladies - Python 22. Amazon - Greylock Mansion 23. Catafalque - Greylock Mansion 24. Runnin' Home To Mama - Soulful Bowful 25. Little Girl Purple - Perfect Stone 26. Flyin' Machine - Wild Goose
trax Vol. 6:
1. Ode To Jimi Hendrix - Phoenix 2. Misery - The Forum Quorum 3. Daffodil Days - The Hobbits 4. I Can't Quit Her - The Arbors 5. Right Track - The Split Level 6. Gloria - Os Aranhas 7. I'm Gonna Lose My Mind - The Nite Watchmen 8. Settle Down - The Esquires 9. Mysteries - The Third Booth 10. Choose It, Pt.1 - The Smoke [Texas Blues Band] 11. Tryin' So Hard - Woody's Truck Stop 12. The Lost Platoon - The Rainbow Press 13. Green Sound - The Green Sound 14. Song of the Suicides - The Floating Opera 15. I'm Gonna Get You - The Moustache Wax 16. Saigon Girls - Family Of Apostolic 17. Red, Purple and Blue - The Bag 18. I Who Have Nothing - Liquid Smoke 19. Youll Be Mine - The Bryn-Stonz Ltd. 20. That's Tuff - Robin & The Three Hoods 21. I'm Not Going To Cry - The Sages 22. (She Can't Replace) The Love We Knew - The Times 23. Lord of the Ringside - Clown 24. Constant Journey - Music From Candy (Dave Grusin) 25. Come Down - The Honey Ltd. 26. In My Mind - The Primrose Circus 27. Invisible People - The Hamilton Streetcar 28. I Am the Walrus - Bud Shank
…Many thanks to Frans for the share, served by Gyro1966...
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14 comments:
"Lost Sixties Delights" Vol. 5
…Many thanks to Frans for the share, served by Gyro1966...
gitit! no pw
http://www22.zippyshare.com/v/fwJ46Kb0/file.html
"Lost Sixties Delights" Vol. 6
…Many thanks to Frans for the share, served by Gyro1966...
gitit! no pw
http://www47.zippyshare.com/v/Fxs2PjQC/file.html
JOE JACKSON - BEAT CRAZY
A&M Records 1980
http://www23.zippyshare.com/v/abVYp6wg/file.html
Before exploring jump blues and early R&B on 1981's Jumpin' Jive and later jazz and Latin
styles on 1982's Night and Day, Joe Jackson expanded his power pop and punk m.o. with this,
his reggae-tinged third album. Jackson sticks with the short songs and punk feel of his
first two releases, but strategically adds rocksteady and jazz elements here and there. A
direct reggae influence is heard on such dub-style cuts like "In Every Dream Home," while
more of a pastiche approach is evident on tracks like "Mad at You." Jackson even riffs off
of Linton Kwesi Johnson's dub poetry sides with the dance floor politics of "Battleground,"
while also laying down some straight ska on "Pretty Boys." One also gets intimations of the
sophisticated jazz-pop songwriting of Night and Day with torching gems like "One to One." As
is the case on most of his albums, Jackson covers a wide array of topics here, including
modern relationships, feminism, club life, and the social fringe. A solid effort. -- Steven
Cook (Allmusic)
I've seen the explosion of shares this site has received in the past few weeks and it's sort
of taken me back a bit. The last week or so has included some very good Joe Jackson records
so I lined up two of my favorites that are a little more obscure but still mainstream
releases. The first one I was going to post was Mike's Murder, Joe's failed soundtrack for
the 1984's Debra Winger movie. I say failed because the producers ended up not using the
music for the soundtrack but they did use it as background radio play. A mediocre movie but
a great record. Alas, that was posted the day before I was going to share it.
This time I'll try to sneak in Beat Crazy, the last Jackson record with his original lineup
including guitars. I'd be hard pressed to say that this isn't my favorite Jackson album
with it's hodgepodge of musical styles. When it was first released I played it for friends
and they didn't seem too impressed but I guess they were just a mirror of the general public
at large. Outside of college radio play I never heard this record played or talked about
anywhere in 1980. I've always had the vinyl issue but it wasn't until quite recently that I
have been able to find it on CD and, of course, MP3. Great album! -- JohnnyDiego
Personnel:
Joe Jackson – vocals, keyboards, melodica
Graham Maby – bass, vocals, lead vocal on 1
Gary Sanford – guitars
David Houghton – drums, vocals
Tracks:
1 Beat Crazy
2 One to One
3 In Every Dream Home (A Nightmare)
4 The Evil Eye
5 Mad at You
6 Crime Don't Pay
7 Someone Up There
8 Battleground
9 Biology
10 Pretty Boys
11 Fit
Joe Jackson - Live at Orpheum Theater, Boston, Massachusetts 16 February 1980
http://www27.zippyshare.com/v/Dn6Sp51x/file.html
Joe Jackson - Orpheum Theater, Boston, Massachusetts 16 February 1980
http://www27.zippyshare.com/v/Dn6Sp51x/file.html
Johnny,thank you for sharing all things Joe Jackson.
BONUS 4 OF 6
Andrew "Blueblood" McMahon* – Blueblood '73 @320
Chicago bassist who worked extensively with Howlin' Wolf's band before stepping out front as a vocalist with an album for the local Dharma label, Blueblood.
A1
Guitar King
A2
Fast As My Legs Can Go
A3
I Can't Stay Here
A4
Orphan Home Blues
A5
Every Goodbye Don't Mean I'm Gone
A6
Baby Child
B1
Gold Teeth
B2
Worked Hard All My Life
B3
Boogie Till The Break Of Day
B4
The Sky's The Limit
B5
Without You Baby
http://www77.zippyshare.com/v/EU8swypM/file.html
INFO
http://www.discogs.com/Andrew-Blueblood-McMahon-Blueblood/release/3710301
BONUS 5 OF 6
IAN MATTHEWS - Tigers Will Survive '72 @320
Tigers Will Survive, Ian Matthews' second release of 1971, and fifth in less than three years, continues the Anglo-American folk-rock that he began in 1968 with Fairport Convention. Following his departure from the band in early 1969, Matthews' style quickly veered from the British traditional direction that Fairport was headed, gravitating more toward the American singer/songwriter scene that was the source for much of the group's material in their early days, keeping him closer to the mid-Atlantic mix of What We Did on Our Holidays (his last record with the band). If You Saw Thro' My Eyes, his previous album, reunited him with members of his old band, as well as others from the revolving Fairport/Fotheringay cast, but this time out, with the exception of Richard Thompson's accordion on a couple of tunes (credited as Woolfe J. Flywheel), he opts for the backing of the English rock band Quiver. And while it may lack some of the cohesive personality of its predecessor, Tigers Will Survive still shares its primarily acoustic sound, augmented by a strong rhythm section and touches of electric guitar. Also, as was the case with that album, the toughest moment is courtesy of Richard Farina, whose "House of Unamerican Blues Activity Dream" brings an edginess and anger to Matthews' characteristically pretty and reflective tone, though his self-penned title track is close behind. Elsewhere, the beautiful "Morning Song" and Phil Spector's "Da Do Ron Ron" (without a change in gender) are high points for Ian Matthews, the songwriter and interpreter, respectively. The former is among the two or three best songs he'd written, while the latter, a wonderful a cappella rendition of the Crystals' classic, bolstered only by hand claps, brings a lightness and energy to the record. Tigers Will Survive, though just a rung below If You Saw Thro' My Eyes, is another fine effort for Matthews. The two recordings were later teamed together on one CD. (Allmusic)
http://www20.zippyshare.com/v/6eTV5tZM/file.html
INFO
http://www.allmusic.com/album/tigers-will-survive-mw0000765152
http://www.amazon.com/Tigers-Will-Survive-Ian-Matthews/dp/B000TP5TBQ
BONUS 6 OF 6
GRATEFUL DEAD - Workingman's Dead (1970, MFSL 2014) @320
As the '60s drew to a close, it was a heavy time for the quickly crumbling hippie movement that had reached its apex just a few years earlier in 1967’s Summer of Love. Death and violence were pervasive in the form of the Manson murders, fatalities at the Altamont concert, and the ongoing loss of young lives in Vietnam despite the best efforts of anti-war activists and peace-seeking protesters. Difficult times were also upon the Grateful Dead, unofficial house band of San Francisco’s Summer of Love festivities and outspoken advocates of psychedelic experimentation both musical and chemical. The excessive studio experimentation that resulted in their trippy but disorienting third album, Aoxomoxoa, had left the band in considerable debt to their record label, and their stress wasn't helped at all by a drug bust that had members of the band facing jail time. The rough road the Dead were traveling down seemed congruent with the hard changes faced by the youth counterculture that birthed them. Fourth studio album Workingman's Dead reflects both the looming darkness of its time, and the endless hope and openness to possibility that would become emblematic of the Dead as their legacy grew. For a group already established as exploratory free-form rockers of the highest acclaim, Workingman’s Dead's eight tunes threw off almost all improvisatory tendencies in favor of spare, thoughtful looks at folk, country, and American roots music with more subdued sounds than the band had managed up until then. The songs also focused more than ever before on singing and vocal harmonies, influenced in no small way by a growing friendship with Crosby, Stills, Nash & Young. The band embraced complex vocal arrangements with campfire-suited folk on "Uncle John's Band" and the psychedelic cowboy blues of “High Time.”
Before they blasted off into hallucinatory rock as the Grateful Dead, several founding members had performed as Mother McCree's Uptown Jug Champions, a group that played traditional jug band music with earnest, heartfelt appreciation. Those early influences came into sharp focus on the bluegrass rhythms and hillbilly harmonies of "Cumberland Blues" and the glistening pedal steel and shuffling drums of "Dire Wolf." The more rocking songs add to the album's brooding feel with "New Speedway Boogie" directly addressing the violence at Altamont, and "Casey Jones," which appeared at first to be a lighthearted celebration of cocaine, but was really a lament for troubled times that felt like they were spinning off the rails.
The abrupt shift toward sublime acoustic sounds on Workingman's Dead completely changed what the Grateful Dead meant to their listeners at large. The enormous risk they took in changing their sound entirely resulted in a heartbreakingly beautiful, unquestionably pure statement and one of the more important documents of its time. They’d continue this trend on the even more roots-minded American Beauty, recorded later the same year, but the limitlessness, fearlessness, and true power of the band began here. (Fred Thomas, Allmusic)
http://www1.zippyshare.com/v/s8YbRuIL/file.html
INFO
http://www.allmusic.com/album/workingmans-dead-mw0000651044
Extra Bonus:
GRATEFUL DEAD - American Beauty (1970, MFSL) '14 @320
With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash & Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel. Having dived headfirst into this new sound with the previous album, the bandmembers found the summit of their collaborative powers here, with lyricist Robert Hunter penning some of his most poetic work, Jerry Garcia focusing more on gliding pedal steel than his regular electric lead guitar work, and standout lead vocal performances coming from Bob Weir (on the anthem to hippie love "Sugar Magnolia"), Ron "Pigpen" McKernan (on the husky blues of "Operator"), and Phil Lesh (on the near-perfect opening tune, "Box of Rain"). This album also marked the beginning of what would become a long musical friendship between Garcia and Dave Grisman, whose mandolin playing adds depth and flavor to tracks like the outlaw country-folk of "Friend of the Devil" and the gorgeously devotional "Ripple." American Beauty eventually spawned the band's highest charting single -- "Truckin'," the greasy blues-rock tribute to nomadic counterculture -- but it also contained some of their most spiritual and open-hearted sentiments ever, their newfound love of intricate vocal arrangements finding pristine expression on the lamenting "Brokedown Palace" and the heavenly nostalgia and gratitude of "Attics of My Life." While the Dead eventually amassed a following so devoted that following the band from city to city became the center of many people’s lives, the majority of the band's magic came in the boundless heights it reached in its live sets but rarely managed to capture in the studio setting. American Beauty is a categorical exception to this, offering a look at the Dead transcending even their own exploratory heights and making some of their most powerful music by examining their most gentle and restrained impulses. It’s easily the masterwork of their studio output, and a strong contender for the best music the band ever made, even including the countless hours of live shows captured on tape in the decades that followed. (Fred Thomas, Allmusic)
http://www44.zippyshare.com/v/emQ4woMX/file.html
INFO
http://www.allmusic.com/album/american-beauty-mw0000192627
Many thanks to Frans for sending these comps from his collection @320.
This is a fine 6 CD collection of mostly West Coast Psych, garage, and garage rock (in its many varieties) from the later part of the 60’s - most have never been comped before.
(These are fully tagged with artwork - a great job by Frans)
California Love-In, Vol. 1
http://www40.zippyshare.com/v/DDHFsFyz/file.html
California Love-In, Vol. 2
http://www40.zippyshare.com/v/LuPabIaB/file.html
California Love-In, Vol. 3
http://www40.zippyshare.com/v/2aTvPdbX/file.html
California Love-In, Vol. 4
http://www78.zippyshare.com/v/K3AwYH1f/file.html
California Love-In, Vol. 5
http://www78.zippyshare.com/v/1iEg93Zo/file.html
California Love-In, Vol. 6
http://www67.zippyshare.com/v/nHw7qS6B/file.html
Thanks
Thank you Gyro1966 for a real treasure trove of a blog.
Outstanding work.
Thank you Frans for the California Love-In collection. It's like you read my mind. I was just looking for these.
Please post more psych collections if you have them.
Peace
The "Jagged" One
Thanks to Frans and RYP for these comps.
Thanks Gyro and Franz, this week-end begins very well with such posts.
LittleJack
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