The main attraction is the first 4 tracks. They represent a reissue of 'At The Cavern', an EP of songs performed live from the home of the Beatles and so many other great Liverpool groups. Bob Wooler, the leading Liverpool DJ at the time, welcomes us to the "best of cellars" and proclaims that "We've got the hi-fi high and the lights down low, so here we go with the Big Three show!" Then the boys launch into a tear-it-up version of Ray Charles' 'What'd I Say". Three other great rock songs follow, all to a background of screams from the girl fans. These guys can really play and the singing, though not perhaps very sophisticated, is great for stirring up excitement. This is the only recording which gives the listener a feel for what The Cavern was like in its heyday and is an absolute must-have for devotees of that period..
The rest of the CD, though not measuring up to the first 4 tracks, is good, listenable pop and rock, very representative of the time. It's perhaps most like Gerry and the Pacemakers, though the Big Three had their own sound. This is a good UK band of the British Invasion years and although they didn't hit the big time, they're well worth listening to. (John D. Muir, Record Runner)
One of the legendary Liverpool bands of the early sixties that never became part of the British Invasion, the Big Three had the reputation of being the loudest, most exciting band of all of those that were appearing at the Cavern on a regular basis. Because of differences with manager Brian Epstein, a lack of understanding on the part of their record label, Decca, and internal factors, the Big Three in its best-known form basically ceased to exist right around the time that the Beatles, the Searchers, Gerry and the Pacemakers, and other Liverpool acts seemed to rule the radio airwaves of the U.K., Europe, and North America. For many years, about the only Big Three recording that seemed to be possible to get in the States was the reissue of the famous Live at the Cavern EP. This CD contains the live tracks, plus a couple more songs recorded at the legendary club, the original Decca audition demo, "Some Other Guy," all the original Decca releases, and a 1970s reunion album (of sorts, because drummer Johnny Hutchinson did not appear). The live recordings capture the spirit of the Cavern and raise all kinds of questions about why this band didn't make the kind of impact that other Liverpool bands did--they were good, very, very good, and brought a London-like intensity to Merseybeat. And, note that it's the early material that's clearly the highlight of this CD. For serious fans of British Invasion rock, this is a highly recommended album on the basis of the early material. (Shindig)INFO
http://www.cherryred.co.uk/rpmshout-exd.asp?id=3162
http://www.amazon.com/Cavern-Stomp-Recordings-Big-Three/dp/B002KGVAYM
trax:
01 What'd I Say (Live) 02 Don't Start Running Away (Live) 03 Zip-A-Dee-Doo-Dah (Live) 04 Reelin' and Rockin' (Live) 05 Bring It on Home to Me (Live) 06 Some Other Guy 07 Let True Love Begin 08 By The Way 09 Cavern Stomp 10 I'm With You 11 Peanut Butter 12 If You Ever Change Your Mind (Bring It on Home to Me) (Single Version) 13 You've Got to Keep Her Under Hand 14 High School Confidential 15 If You Ever Change Your Mind (Bring It on Home to Me) (Alternative Version) 16 Some Other Guy 17 Lavender Blue 18 Rockin' Robin 19 Always 20 I Got It 21 Angel Baby 22 Just A Little Bit 23 Let It Rock 24 Money 25 I Know 26 I Can't Believe You Want to Leave 27 All of Me 28 Price of Love 29 Dizzy Miss Lizzy 30 If You Gotta Make A Fool of Somebody 31 Lucille
...served by Gyro1966...
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11 comments:
THE BIG THREE "Cavern Stomp"
...served by Gyro1966...
gitit! no pw
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BONUS 5 OF 8
DR. JOHN - Gris-Gris '68 @320
The ATCO Studio Albums Collection (2014)
Dr. John's Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of "Dr. John," a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny & Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist/mandolinist Richard "Didimus" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.'s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation "Gris-Gris Gumbo Ya Ya," Dr. John introduces himself as the "night tripper" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On "Danse Kalinda Boom," a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R&B comes to the fore in the killer soul groove of the breezy "Mama Roux." "Croker Courtboullion" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The set's masterpiece is saved for last, the nearly nearly eight-minute trance vamp in "I Walk on Gilded Splinters" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R&B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans' cultural iconographies and musical traits to the attention of an emergent rock audience. (Tom Jurek, Allmusic)
http://www18.zippyshare.com/v/E4pvGeuD/file.html
INFO
http://www.allmusic.com/album/gris-gris-mw0000263588
BONUS 6 OF 8
DR. JOHN - Dr. John's Gumbo '72 @320
The ATCO Studio Albums Collection (2014)
Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums. (Stephen Thomas Erlewine, Allmusic)
http://www85.zippyshare.com/v/T4xi5FMk/file.html
INFO
http://www.allmusic.com/album/dr-johns-gumbo-mw0000202957
BONUS 7 OF 8
DR. JOHN - Desitively Bonnaroo '74 @320
The ATCO Studio Albums Collection (2014)
When you latch onto a hit formula, don't mess with it, and that is just what the doctor ordered with Desitively Bonnaroo. With installment number three of Dr. John's funky New Orleans-styled rock & roll, trying to strike gold again proved elusive. There wasn't the big hit single this time around to help boost sales, and the tunes were starting to sound a little too familiar. While not a carbon copy of his previous releases, Desitively Bonnaroo was a disappointment to his fans. Good as it was, it was the end of an era for Dr. John and his type of music. (Allmusic)
http://www85.zippyshare.com/v/h76YCrtw/file.html
INFO
http://www.allmusic.com/album/desitively-bonnaroo-mw0000003571
BONUS 8 OF 8
DR. JOHN - Babylon '69 @320
The ATCO Studio Albums Collection (2014)
Dr. John's ambition remained undiminished on his second solo album, Babylon, released shortly after the groundbreaking voodoo-psychedelia-New Orleans R&B fusion of his debut, Gris-Gris. Coolly received by critics, the album nonetheless is deserving of attention, though it pales a bit in comparison with Gris-Gris. The production is sparser and more reliant on female backup vocals than his debut. Dr. John remains intent on fusing voodoo and R&B, but the mood is oddly bleak and despairing, in comparison with the wild Mardi Gras-gone-amok tone of his first LP. The hushed, damned atmosphere and after-hours R&B sound a bit like Van Morrison on a bummer trip at times, as peculiar as that might seem. "The Patriotic Flag-Waiver" (sic), in keeping with the mood of the late '60s, damns social ills and hypocrisy of all sorts. An FM underground radio favorite at the time, its ambitious structure remains admirable. It has enough of an eerie fascination to merit investigation. (Richie Unterberger, Allmusic)
http://www85.zippyshare.com/v/QOiNNmNO/file.html
INFO
http://www.allmusic.com/album/babylon-mw0000221012
http://www.amazon.com/Babylon-Dr-John/dp/B000063NET
Ah, The Big Three - I had this as an ep 50 years ago or so, long lost. Looking forward to hearing the live stuff on here....
Thanks Gyro, today I needed a good doctor, and this is the best...
Thanks for so much. Particular thanks for the Dr. John.
The epitome of NOLA funk 'n' roll! I had the privilege of seeing Dr. John about 10 years ago, with an all-black band, and they absolutely killed. "Why don't my dog bark when you come around?"
Thanks
Thanks Gyro.
LittleJack
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