B.B. King - Live In Japan (1971) (1999 Release)




Grabado en 1971, pero inédito en los EE. UU. hasta 1999, el album B.B. King's Live in Japan merece altas calificaciones solo por su exuberancia. Si Live In Cook County Jail no hubiera saltado a las listas de éxitos, este álbum en vivo podría haber sido lanzado desde hace mucho tiempo. La grabación comienza con una oleada de vítores entusiastas, mientras King lanza en un ritmo rápido "Every Day I Have the Blues". También hay muchos otros clásicos aquí, incluidos "¿How Blue Can You Get?", "Sweet Sixteen" y "The Thrill Is Gone" (que provoca otra ronda de vítores en las notas iniciales). Quizás Live in Japan no tenga la larga reputación de Cook County Jail o Live at the Regal, pero es un excelente álbum, con una sensación decididamente diferente de estos dos clásicos. El entusiasmo evidente de King por su música y por su audiencia es contagioso, y se puede escuchar la alegría en cada nota. Y, para aquellos que realmente no sienten que necesitan versiones adicionales de canciones conocidas, hay que mencionar que Live in Japan contiene la única versión en vivo de King de "Hummingbird", sin mencionar un par de jams únicos ("Japanese Boogie","Jamming at Sankei Hall" y "Hikari # 88"). -Amazon.com


Después de 29 años "Live In Japan" llega a US.


Tomó 28 años, pero en 1999 Live in Japan finalmente estuvo disponible en los EE. UU. Grabado en Sankei Hall en Tokio el 4 y 7 de marzo de 1971, Live in Japan se lanzó originalmente como un set de dos LPs en Japón. En ese momento, el excelente album Live In Cook County Jail de King generaba respetables ventas para la ABC, y el sello también planeaba lanzar el B.B. King In London, por lo que la ABC sintió que debido a que una gran cantidad de álbumes de B.B. King en vivo salían en los Estados Unidos lo mejor era lanzar la grabación de Sankei Hall solo en Japón. Pero muchos fanáticos americanos de King lo querían de todos modos, y los coleccionistas hicieron todo lo posible para encontrar copias importadas del doble LP.

 

Un album donde hay soltura e improvisación.


Partes de Live in Japan salieron en varios lanzamientos de EE. UU., Pero no se lanzó en su totalidad en los EE. UU. Hasta esta reedición de 1999. Respaldado por muchos de los mismos músicos que se escucharon en Live In Cook County Jail, King está en excelente forma en actuaciones enérgicas y valientes de "The Thrill Is Gone" y "Sweet Sixteen", así como "Eyesight To The Blind" de Sonny Boy Williamson. "Hummingbird" de Leon Russell y "Every Day I Have the Blues" de Peter Chatman. Los instrumentales "Japanese Boogie" y "Jamming at Sankei Hall" le dan a la banda la oportunidad de soltarse e improvisar, y "Lucille" (el nombre de King para su guitarra) consigue algunos solos apasionados e inspirados. Aunque Live at the Regal y Live in Cook County Jail son los discos en vivo más esenciales de King, Live in Japan es un excelente CD que sus fanáticos definitivamente querrán. -ALLMUSIC





Tracklist

 01. Every Day I Have The Blues (02:10)

02. How Blue Can You Get? (05:17)

03. Eyesight To The Blind (04:03)

04. Niji Baby (06:27)

05. You're Still My Woman (05:56)

06. Chains And Things (05:41)

07. Sweet Sixteen (06:00)

08. Hummingbird (04:08)

09. Darlin' You Know I Love You (04:26)

10. Japanese Boogie (09:17)

11. Jamming At Sankei Hall (09:35)

12. The Thrill Is Gone (05:36)

13. Hikari #88 (07:57)

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The Answer - Raise A Little Hell (2015)



The Answer is a Northern Irish hard rock and blues-rock band from Newcastle and Downpatrick, County Down, Northern Ireland. They have achieved success with their debut album Rise selling in excess of 30,000 copies in the UK & Europe, 10,000 on day one in Japan and 100,000 worldwide. -Wikipedia

 Consisting of Cormac Neeson on vocals, Paul Mahon on guitars, Micky Waters on bass, and James Heatley on drums, The Answer bring forth a sound of fury and good old-fashioned rock and roll thunder. Side note: Cormac met Paul in school: Like so many great musicians meet. So, I have to say if you’re a musician and you hate school, stay in any way as it may lead to a career push. Now, back to the review at hand. The band formed in 2000 and have put out four previous albums. I for one cannot understand why they have not had more worldwide acclaim as they clearly deserve it and I am putting it out in the universe to give them a hand up into eternal stardom with this fine record. -METALHOLIC
 
 After emerging with ‘Rise’ close to a decade ago, The Answer received rave reviews, were lauded by their idols and even bagged a support slot with AC/DC, but never quite managed that elusive breakthrough. Then, just as blues-rock's stock was beginning to soar, they released 'New Horizon', a broadly forgettable album that sounded like their death knell. Which makes ‘Raise A Little Hell’ - quite simply the finest album of their career - a wonderful surprise.
This is a return to the uncompromising blood and guts rock ‘n' roll they did so well on their first two releases, while buzzing with a vitality, freshness and clarity of purpose that's indicative of a creative rebirth.
The songs follow the AC/DC blueprint and are not over produced, allowing the instrumental power and tightness of the group to drive proceedings while amplifying the phenomenal sense of groove on display. -Stereoboard. com

1.      Long Live the Renegades
2.      The Other Side
3.      Aristocrat
4.      Cigarettes & Regret
5.      Last Days of Summer
6.      Strange Kinda’ Nothing
7.      I Am What I Am
8.      Whiplash
9.      Gone Too Long
10.    Red
11.    I Am Cured
12.    Raise A Little Hell
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John Mayall - A Banquet In Blues (1978)




Though Mayall's 70's material majorly suffers next to his 60's output, "A banquet in blues" is one of his better 70's outings and probably the best from Mayall's Rick Vito days. The brisk opening shouter "Sunshine" features a bright and tasty Blue Mitchell trumpet solo and also has John McVie on bass, effective in the up stairs tumbler sound. Rick here is on vocals (presumably in with the shouting verse sections) and on rhythm guitar (which you can hear thinly in the background of the grumble). In fact, Rick is on every track on the album in one way or another except one, which is the horn & piano led bland mid temp track "Lady" so it's probably just as well he's not on that one. "You can't put me down" is a fast shuffle with a slight disco feel, Rick plays lead guitar and also does (background?) vocals on this one. Rick also lends vocals to the album's best track, the closing "Fantasyland", at 14 minutes, the beginning and end are flute led with more chanting verses (so I'd imagine he's singing in those parts) and then the middle section is suspenseful swirling, fiddle scratching and guitar strumming meanderings which also includes a quiet but effective bass solo by one time Peter Green sidekick Alex Dimochowski. Rick plays rhythm guitar on the dragging skipper "I got somebody" (which mainly features a bass/drums chug) and funk laden track "Turn me loose" (which also has disco possibilities but that side is not as evident on the cupped horn sections which are nicely placed on this one) and Vito also is listed as guitar for the dated sounding but nonetheless enjoyable "Seven days too long" (which is almost pop/rock as the blues hides behind that shield here) and the hard to take serious "Table top girl" (a somewhat pulsing track). It's doubtful anyone would ever recommend you get any 70's Mayall releases before anything else he's done but when the time comes when you do wish to listen to some, this would probably be your best bet from the pack.
Taken From and All Thanxs To Fleetwod Mac.Net

1 Sunshine 5:31
2 You Can't Put Me Down 3:24
3 I Got Somebody 4:02
4 Turn Me Loose 2:42
5 Seven Days Too Long 5:16
6 Table Top Girl 3:57
7 Lady 3:38
8 Fantasyland 14:13
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Gary Moore - After The War (1989)


After The War es el séptimo album de estudio del guitarrista irlandés Gary Moore. Su fecha de publicación fué el 25 de Enero de 1989 y se publicó bajo el sello Virgin. En México el LP fué publicado por EMI Capitol de México, con el código SLEM-1621. El productor fué Peter Collins. Su tiempo de duración es de 53:01 min.
El lanzamiento de Gary Moore en 1989, After the War presenta un regreso al riff de guitarra de metal de sus discos de los 80 ("Speak for Yourself" y "Running From The Storm"), mientras continúa explorando dinámicas pop más convencionales con resultados mixtos: funciona muy bien en "Ready For Love". Además, después de dedicar su último álbum a un amigo de la infancia caído y socio musical en el crimen, Philip Lynott, Moore finalmente lo honró en la canción con la conmovedora "Blood of Emeralds". Al final resultó que, este sería el último álbum de hard rock de Gary Moore antes de convertirse en un "renacido" bluesman.
Sin embargo, también hay algunos indicios de lo que vendría con la bluesera "The Messiah Will Come Again", que anuncia el nuevo nacimiento de Moore como guitarrista de blues. Ozzy Osbourne hace una aparición como invitado y vocalista principal en la canción "Led Clones", la cuál le tira a bandas como Kingdom Come y Great White, quienes, aunque tenían álbumes de Platino en ese momento, estaban obviamente tomando prestado (copiando) todo su sonido e imagen de Led Zeppelin. Ozzy también hace algunos coros en "Speak for Yourself". Gary rinde homenaje una vez más a su amigo de la infancia y hermano musical, Philip Lynott en la emotiva canción "Blood of Emeralds". En general, este álbum es muy superior a las inclinaciones pop de su último álbum "Wild Frontiers", es literalmente como comparar manzanas y cebollas. Una vez que probaste lo dulce, la otra solo apesta.
Aunque Cozy Powell tocó la batería en el album, el fué remplazado por Chris Slade para el tour, ya que Cozy fué requerido  para realizar el tour con Black Sabbath, en soporte para su album Headless Cross, en el cuál también tocó la batería.
Este terminó siendo el último álbum de "rock" que realizó Gary, y al menos fue uno bueno para despedirse. Está lleno de grandes canciones y demostró que todavía tenía la habilidad para escribir y grabar tal material. Este álbum fue una perla, y contiene lo mejor de Gary Moore como cantante, compositor y guitarrista.







Tracklist:

Dunluce (Part 1) 1:18
After The War 4:17
Speak For Yourself 3:43
Livin' On Dreams 4:15
Led Clones 6:09
The Messiah Will Come Again 7:32
Running From The Storm 4:46
This Thing Called Love 3:23
Ready For Love 5:43
Blood Of Emeralds 8:19
Dunluce (Part 2)
   
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The Beatles - The Red Album 2 (1962-1966)




THE BEATLES 1962-1966 RED ALBUM DVD
23 songs from I Feel Fine and She´s A Woman through Paperback Writer and Rain! All remastered in stereo and mono for best audio quality and best video used only
72 minutes 23 chapters!
PIX AND CONTENTS:

01. I Feel Fine
02. She's A Women
03. Rock And Roll Music
04. I Am A Looser
05. Boys
06. I'l Follow The Sun
07. I'м Down
08. Baby's In Black
09. Every Body's Trying To Be My Baby
10. Kansas City
11. Help!
12. Act Naturally
13. The Night Before
14. You've Got To Hide Your Love Away
15. I Need You
16. Another Girl
17. You're Going To Lose That Girl
18. Ticket To Ride
19. Yesterday
20. Day Tripper
21. We Can Work It Out
22. Paperback Writer
23. Rain
DVD 

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The Electric Light Orchestra - The Electric Light Orchestra (30th Anniversary Limited Edition) (1971)




Electric Light Orchestra's debut album is an astonishing creation in its own right, but neophyte listeners should be aware that it bears very little resemblance to the sound for which ELO would become known on its subsequent records. No Answer, as it ended up being called in America through a miscommunication with ELO's U.S. label, is a minimalist work by comparison with anything on the band's later albums. The core trio of Roy Wood, Jeff Lynne, and Bev Bevan, augmented by one horn player and a violinist, approaches the music alternately like a hard rock band attacking a song and a string ensemble playing a chamber piece.
 Filled with surprisingly loose playing and sounds throughout, and with a psychedelic aura hovering over most of the music, No Answer is unique in ELO's output. Written and sung by Lynne, "10538 Overture" is the opener and the best song on the album. Wood's "Look at Me Now," by comparison, plays like a sweet, melodic follow-up to "Beautiful Daughter" from the Move's Shazam, with some digressions on the oboe and a cello and violin subbing for the guitars. The rest moves from period-style popular songs to strangely cinematic conceptual pieces, on which the rock elements almost disappear in favor of quasi-classical playing by all concerned. A beautiful acoustic guitar workout by Wood, "1st Movement" also features the song's composer on the oboe, while "Mr. Radio," an exercise in 1920s nostalgia written and sung by Lynne, digresses for a moment into 1940s-style classical piano pyrotechnics. His "Whisper in the Night" ends the album with a lean and textured acoustic sound that, ironically, disappeared from ELO's repertory when he exited the lineup following these sessions. ~Allmusic
The Electric Light Orchestra (First Light Series) is a two disc expanded special 30th anniversary edition of their debut album.
Released in 2001, disc one contains the original ELO album plus bonus tracks and an interactive CD-ROM feature, while disc two features the oldest surviving live ELO material with co/founder Roy Wood and cellist Andy Craig.
All Thanxs To Al_der

cd1:
01. 10538 Overture (5:37)
02. Look At Me Now (3:20)
03. Nellie Takes Her Bow (6:02)
04. The Battle Of Marston Moor (6:05)
05. First Movement (Jumping Biz) (3:04)
06. Mr. Radio (5:07)
07. Manhattan Rumble (4:26)
08. Queen Of The Hours (3:26)
09. Whisper In The Night (4:50)
10. The Battle Of Marston Moor (Bonus Session Track) (1:00)
11. 10538 Overture (Bonus Session Track) (5:47)
~ (48:43)

 cd2:
01. Brian Matthew Introduces ELO (0:38)
02. 10538 Overture - (Acetate Version) (5:24)
03. Look At Me Now - (Quad Mix) (3:19)
04. Nellie Takes Her Bow - (Quad Mix) (6:00)
05. The Battle Of Marston Moor (July 2Nd 1644) - (Quad Mix) (5:55)
06. Jeff's Boogie No. 2 - (Live) (6:58)
07. Whisper In The Night - (Live) (5:46)
08. Great Balls Of Fire - (Live) (5:41)
09. Queen Of The Hours - (Quad Mix) (3:18)
10. Mr. Radio - (Take 9) (5:19)
11. 10538 Overture - (BBC Session) (10:39)
~ (58:57)

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ZZ Top - Live From 1st Annual La Grange Fest (2011)



The Backyard (El Patio Trasero) es un reubicado foro en donde tuvo lugar un evento con dos grandes exponentes del buen Rock (Rhytm and Blues-Southern Rock): ZZ Top y Lynyrd Skynyrd. El evento fué llamado First Annual Le Grange Fest por ser el primero de (esperemos) una serie muy larga de estos conciertos.

Rock and Blues Zone


There was all kinds of stuff goin’ on this weekend in Austin – the amazing Texas Book Festival, the always-popular Austin Film Fest, the Austin Record Convention and the nicer-if-it’s-a-nice day Gypsy Festival showcasing the city’s food trailers. So what was our big event of the weekend? The so-called “First Annual La Grange Fest,” featuring ZZ Top and Lynyrd Skynyrd.
Austin has a semi-new outdoor venue called the Backyard – kind of new, because they closed the old one and rebuilt a new one in a different location in the hills west of the city. It holds about 7,500 people and although I don’t think they had that kind of attendance Saturday night it sure seemed that way.

Taken from and Many Thanxs To: 30 Days Out blog


01. Intro
02. Got Me Under Pressure
03. Jesus Just Left Chicago
04. Waiting For The Bus
05. Band Intro > I’m Bad, I’m Nationwide
06. Future Blues
07. Cheap Sunglasses
08. Brown Sugar > Hey Joe (Jimi Hendrix cover)
09. Party On The Radio
10. Just Got Paid
11. Give Me All Your Loving
12. Sharp Dressed Man
13. Legs
 Encore:
14. La Grange
15. Tush

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Randy Bachman - Heavy Blues (2015)





Randy Bachman rounded up a few famous friends for his next album, titled ‘Heavy Blues’ and due for release on April 15, 2015.

The project, which finds the Bachman-Turner Overdrive and Guess Who legend going simply as Bachman, lives up to its title by putting the guitarist back in power trio mode. Recorded with a small core combo that includes bassist Anna Ruddick and drummer Dale Anne Brendan, it reflects the band’s “love of classic ’60s blues rock” and promises “a blistering sound” as well as “a fierce and fearless collection of Bachman originals.”

Taken From and Many Thanxs To:  http://ultimateclassicrock.com/


Where has this been for the past four decades? Randy Bachman – who made classic rock history with Bachman-Turner Overdrive and The Guess Who – has recorded his best album since 1976. The name says it all: heavy blues, delivered with help from all-star guests including Neil Young, Peter Frampton, Joe Bonamassa, Robert Randolph and Jeff Healey.
If this was 1975 and the radio still played rock, there might be a half-dozen hit singles on Heavy Blues. Opening track The Edge sounds like BTO playing a mash-up of their own You Ain’t Seen Nothin’ Yet and The Who’s Won’t Get Fooled Again. Ton of Bricks hits the listener as advertised; Little Girl Lost features some memorable, instantly recognisable fuzz-tone guitar from Young; and Confessing to the Devil features posthumous licks by Healey from a long-ago, unreleased session. The catchiest track on the album is Wild Texas Ride, featuring a boogie drum beat over raw guitars and cowbells. It’s really good to see Bachman takin’ care of business again.

Taken From and Many Thanxs To: The National Arts & Lifestyle 
 Heavy Blues:

01. The Edge
02. Ton Of Bricks (feat. Scott Holiday)
03. Bad Child (feat. Joe Bonamassa)
04. Little Girl Lost (feat. Neil Young)
05. Learn To Fly
06. Oh My Lord (feat. Robert Randolph)
07. Confessin' To The Devil (feat. Jeff Healey)
08. Heavy Blues (feat. Peter Frampton)
09. Wild Texas Ride
10. Please Come To Paris (feat. Luke Doucet)
11. We Need To Talk
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Randy Bachman rounded up a few famous friends for his next album, titled ‘Heavy Blues’ and due for release on April 15, 2015.
The project, which finds the Bachman-Turner Overdrive and Guess Who legend going simply as Bachman, lives up to its title by putting the guitarist back in power trio mode. Recorded with a small core combo that includes bassist Anna Ruddick and drummer Dale Anne Brendan, it reflects the band’s “love of classic ’60s blues rock” and promises “a blistering sound” as well as “a fierce and fearless collection of Bachman originals.”


Read More: Randy Bachman Announces New 'Heavy Blues' Album | http://ultimateclassicrock.com/randy-bachman-heavy-blues/?trackback=tsmclip
Randy Bachman rounded up a few famous friends for his next album, titled ‘Heavy Blues’ and due for release on April 15, 2015.
The project, which finds the Bachman-Turner Overdrive and Guess Who legend going simply as Bachman, lives up to its title by putting the guitarist back in power trio mode. Recorded with a small core combo that includes bassist Anna Ruddick and drummer Dale Anne Brendan, it reflects the band’s “love of classic ’60s blues rock” and promises “a blistering sound” as well as “a fierce and fearless collection of Bachman originals.”


Read More: Randy Bachman Announces New 'Heavy Blues' Album | http://ultimateclassicrock.com/randy-bachman-heavy-blues/?trackback=tsmclip
Randy Bachman rounded up a few famous friends for his next album, titled ‘Heavy Blues’ and due for release on April 15, 2015.
The project, which finds the Bachman-Turner Overdrive and Guess Who legend going simply as Bachman, lives up to its title by putting the guitarist back in power trio mode. Recorded with a small core combo that includes bassist Anna Ruddick and drummer Dale Anne Brendan, it reflects the band’s “love of classic ’60s blues rock” and promises “a blistering sound” as well as “a fierce and fearless collection of Bachman originals.”


Read More: Randy Bachman Announces New 'Heavy Blues' Album | http://ultimateclassicrock.com/randy-bachman-heavy-blues/?trackback=tsmclip

The Beatles - The Red Album 1 (1962-1966)



THE BEATLES 1962-1966 RED ALBUM DVD
36 songs from Some Other Guy and Love Me Do through Paperback Writer and Rain! All remastered in stereo and mono for best audio quality and best video used only
90 minutes 36 chapters!
PIX AND CONTENTS:

 01. Some Other Guy - 1962 The Cavern
02. Love Me Do - 1963 Promo
03. Please Please Me - 1982 Promo
04. Twist and Shout - 1963 Scene at 6:30
05. From Me To You - 1963 Big Night Out
06. She Loves You - 1963 Ready Steady Go!
07. I'll Get You - 1963 Ready Steady Go!
08. All My Loving - 1963 Thank Your Lucky Stars
09. I Want To Hold Your Hand - 1963 Late Scene Extra
10. This Boy - 1963 Late Scene Extra
11. It Won't Be Long - 1964 Ready Steady Go!
12. Can't Buy Me Love - 1964 Ready Steady Go!
13. You Can't Do That - 1964 Ready Steady Go!
14. A Hard Day's Night - 1964 Movie
15. If I Fell - 1964 Movie
16. And I Love Her - 1964 Movie
17. Roll Over Beethoven - 1964 In Tres Hillegrom
18. Long Tall Sally - 1964 In Tres Hillegrom
19. I Feel Fine - 1964 Ready Steady Go!
20. She's a Woman - 1964 Ready Steady Go!
21. Rock and Roll Music - 1964 Thank Your Lucky Stars
22. Eight Days a Week - 1965 Cartoon
23. I Feel Fine - 1965 Intertel
24. Ticket to Ride - 1965 Intertel
25. Help! - 1965 Promo
26. You've Got to Hide Your Love Away - 1965 Movie
27. Yesterday - 1965 Blackpool Night Out
28. Help! - 1965 Intertel
29. We Can Work It Out (Dark suits) - 1965 Intertel
30. Day Tripper (Dark suits) - 1965 Intertel
31. We Can Work It Out (Shea suits) - 1965 Intertel
32. Day Tripper (Shea suits) - 1965 Intertel
33. Paperback Writer - 1966 Intertel
34. Rain - 1966 Intertel
35. Paperback Writer (Outside) - 1966 Intertel
36. Rain (Outside) - 1966 Intertel
DVD

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Def Leppard The Joint @ The Hard Rock Cafe Las Vegas, NV Viva Hysteria Residency (2013)

Gracias a un foro hermano, y particularmente a un gran amigo y administrador del mismo, llegó hasta mi un album muy, muy especial, se trata del set completo de la grabacion de los varios shows que realizó Def Leppard en la arena The Joint en el Hard Rock Hotel y Casino Las Vegas, directamente de la consola de sonido a los fans…



Aqui las notas de quién amablemente se tomó la molestia de crear esta excelente recopilación para compartirla con todos: “Esta fué una serie de shows verdaderamente especial para Def Leppard. La Banda realmente la agarró con ella misma para desafiarse tocando en vivo de una forma en la que ellos no habían tocado por mucho tiempo. Para ponerle sabor al caldo, ellos abrazaron la idea de abrirse a si mismos, optando por presentarse como la banda toca-covers de Def Leppard: “Ded Flatbird“. A cada presentación de Ded Flatbird le tocó un setlist que cambió cada noche, escógiendola de un selecto grupo de canciones. Un corto intermedio siguió al brutal set de 45 minutos, y Def Leppard (ellos mismos) regresarían para tocar el album de Hysteria entero y un encore de 2 canciones.


Esta es una compilación de todas las canciones que ellos tocaron durante su residencia, organizadas de acuerdo a su criterio. Esta incluye tres grupos de canciones interpretando como los Ded Flatbirds más el conjunto completo de Hysteria.
Las canciones son extraídas de diversas noches durante la jornada.Esta mezcla está dedicada a todos los fans que fueron a los shows y ayudaron motivando a la banda a mejorar su juego! Abre una bolsa de Doritos, relájate y escucha este album muy fuerte… Si tienes algún problema con el sonido, la selección de las canciones, esta recopilación o conmigo en general… bueno, hazte de una bolsa extra de Doritos picantes a mi salúd y trágate el coraje…” Hoserama.




11 shows completos en esta grabación audiófila para fans y no tan fans de los Leopardos Sordos, como podrán esperar el album es algo así como artesanal, el orden inclusive es dejado para que el escucha decida en que forma organizarlo, un album exclusivo que no creo vea la luz de manera oficial, es para no dejarlo pasar, asi que si eres miembro de R&BZ, buena oportunidad de difrutar algo exclusivo, que sea de su agrado…..



Lineage: Sound > Recording device > Laptop > Nuendo Mixing > Adobe Audition > Trader’s little helper

All songs are recorded from the Las Vegas Viva Hysteria Residency, which included 11 shows from 3/22-4/13.

Big collaborative effort by the entire crew of SOS Mobile Recording Studio to cover the entire run in high quality audio. Big props go to all who helped in many different ways.


Set 1 (Ded Flatbird):
01. Intro
02. Won’t Get Fooled Again
03. Good Morning Freedom
04. Wasted
05. Rock Brigade
06. Band Intros
07. Too Late For Love
08. Another Hit and Run
09. High ‘n’ Dry (Saturday Night)
10. Bringing on the Heartbreak
11. Switch 625

Set 2 (Ded Flatbird):
01. Intro
02. Won’t Get Fooled Again
03. On Through The Night
04. Mirror Mirror
05. Slang
06. Foolin’
07. When Love and Hate Collide
08. Band Intros
09. Promises
10. Let’s Get Rocket

Set 3 (Ded Flatbird):
01. Intro
02. Won’t Get Fooled Again
03. Rock Rock
04. Stagefright
05. Action
06. C’mon C’mon
07. Band Intros
08. Rock On
09. Let It Go
10. Make Love Like A Man

Set 4 (Hysteria Set):
01. Album Intro
02. Women
03. Rocket
04. Animal
05. Love Bites
06. Pour Some Sugar On Me
07. Armageddon It
08. Steve Clark Video
09. Gods of War
10. Don’t Shoot Shotgun
11. Run Riot
12. Hysteria
13. Excitable
14. Love and Affection
15. Encore
16. Rock of Ages
17. Photograph

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Cinthya Lennon - John (2005)




The time has come when I feel ready to tell the truth about John and me, our years together and the years since his death. There is so much that I have never said, so many incidents I have never spoken of and so many feelings I have never expressed: great love on one hand; pain, torment, and humiliation on the other. Only I know what really happened between us, why we stayed together, why we parted, and the price I have paid for being John’s wife.

EPUB | Three Rivers | 2005 | 352 pages |

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The Beatles - Las 13 cosas que NO sabías de Abbey Road



1.- El último álbum lanzado por The Beatles oficialmente fue Let It Be, sin embargo, fue Abbey Road el último en grabarse (durante los primeros meses de 1969), es por eso que este, aunque fue lanzado en 1969, es considerado el último disco de The Beatles. Let It Be fue lanzado en mayo de 1970, poco tiempo después que la banda anunció su disolución definitiva.
2.- Este podría considerarse el álbum más exitoso para George Harrison siendo un beatle. Dos de sus mejores y más conocidas canciones aparecen en esta placa: Here Comes The Sun y Something .
3.- Durante parte de la grabación del álbum John Lennon no estuvo presente debido a un accidente. Lennon no estuvo presente debido a un accidente. Sumado a lo anterior, el ambiente adentro del estudio era demasiado tenso, a menudo cada integrante de la banda grababa sus canciones con músicos de estudio. En Here Comes The Sun, John Lennon por primera vez no toca ningún instrumento. La canción fue grabada en su ausencia.
4.- Ringo Starr también grabó una de sus más importantes composiciones para este álbum. Ayudado por George Harrison e inspirado durante una visita a la costa después de renunciar a la banda por unos pocos días mientras se grababa el White Album, Starr escribe  Octopus’s Garden.
5.- Ringo es nuevamente protagonista durante el final del medley presente en el “Lado B” del disco, considerado el mejor de todos los tiempos. La última canción del medley es “The End”, canción que tiene la particularidad de tener el único solo de batería que Ringo grabó jamás. Además la canción cuenta con 3 solos de guitarra seguidos, primero McCartney, luego Harrison y finalmente Lennon. Al finalizar la canción se pronuncia la frase que marca el final de la banda más importante de todos los tiempos: “and in the end, the love you take is equal to the love you make” (“en el final (o en conclusión), el amor que recibes es igual al amor que das”).
6.- El disco inicialmente se llamaría Everest y se estaba organizando un viaje a los Himalaya para la realización de una sesión fotográfica.
7.- Desechada la idea anterior, The Beatles decidió nombrar el disco Abbey Road, en honor a la calle donde estaba ubicado el estudio de grabación.
8.- En una sesión completamente improvisada, los cuatro oriundos de Liverpool decidieron salir a la esquina y tomarse unas fotografías cruzando la calle, las cuales serían utilizadas para la portada del disco. La vestimenta utilizada fue la que usualmente ellos llevaban por esos días, de hecho, no hubo previa preparación en este aspecto.  Paul McCartney utilizaba sandalias ese día, las cuales se sacó para la fotografía y así entregó más absurdos argumentos a la teoría de su muerte (ver foto 1).
9.- El fotógrafo Ian McMillan le pidió a George, Paul, John y Ringo que caminaran 4 veces de un lado a otro de la calzada por sobre el paso de cebra. Se tomaron unas seis fotografías y se dio por finalizada la sesión fotográfica.
10.-  El automóvil Volkswagen Escarabajo que aparece estacionado detrás, placa patente LMW 281F, solía estar a menudo en ese lugar y se intentó pedir que fuera removido, pero su dueño no fue ubicado. El mismo automóvil fue subastado en 1986 en un precio millonario.
11. – Tanto la placa patente del automóvil, como el cartel de la calle Abbey Road en Londres, fueron por décadas robados por los fanáticos de la banda. Hoy el cartel no existe y el mismo está pintado en una pared.
12.- El hombre que aparece a la derecha mirando hacia la banda cruzar la calle es Paul Cole, un turista norteamericano que ni siquiera se percató que fue fotografiado hasta tiempos después, cuando se vio en la portada del disco.
13.- Sobre la teoría de la muerte de “Macca”, esta portada solo contribuyó a la imaginación de los fanáticos que sacaron absurdas y rebuscadas conclusiones para encontrar respuesta donde no las había. Se basaba en la manera en que aparecía The Beatles en la portada: cruzando el paso cebra de la calle en fila india, como escenificando un cortejo fúnebre. Lennon iba vestido de blanco: era el predicador o sacerdote; Ringo iba de luto, era el amigo del difunto. Harrison, a su vez, iba vestido con ropa vaquera e informal: era el enterrador. Paul era el único de los cuatro que iba descalzo, caminando con los ojos cerrados. En muchas culturas orientales, los difuntos eran quemados descalzos. Además, su paso estaba descoordinado respecto al resto de The Beatles, como si no perteneciera a la procesión. Por último, el coche negro estacionado a la derecha, en segundo plano, parecía un coche fúnebre o un coche de policía, la cual tuvo el sigilo adecuado para no revelar la supuesta muerte del músico, y el número 281F de la matrícula del Volkswagen Escarabajo estacionado a la izquierda, fue interpretado como 28 años (“28 IF”) que tendría Paul si el artista aún siguiera vivo.

Gracias a Guioteca.com

Pattie Boyd - Wonderful Tonight: George Harrison, Eric Clapton, and Me (2008)



For the first time, rock music’s most famous muse tells her incredible story. Pattie Boyd, former wife of both George Harrison and Eric Clapton, finally breaks a forty-year silence and tells the story of how she found herself bound to two of the most addictive, promiscuous musical geniuses of the twentieth century and became the most legendary muse in the history of rock and roll. The woman who inspired Harrison’s song “Something” and Clapton’s anthem “Layla,” Pattie Boyd has written a book that is rich and raw, funny and heartbreaking–and totally honest.
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 Three Rivers | 2008 | 336 pages | PDF | 2 MB

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AC/DC - In The Studio: The Stories Behind Every Album by Jake Brown (2013)

Exclusive interviews with producers and engineers and extensive commentary from band members on the making of such classics as Back in Black and Highway to Hell



Having transcended their Australian roots to become a global phenomenon, AC/DC has reigned over rock 'n' roll for almost four decades, and here the band members help provide a definitive account of the making of the greatest hard rock anthems of all time. Every album is discussed in incredible detail, from 1975's TNT to 2008's Black Ice, which sold more than 1.5 million copies in its first week, making history by debuting at No 1. on album charts in 29 countries simultaneously. The book also covers the making of the Iron Man 2 film soundtrack, AC/DC: Iron Man 2, and includes exclusive interviews with the band's drummer from the 1980s and their engineer of the past 20 years and six albums, Mike Fraser.
EPUB

2013 | English | 228 pages | EPUB | 3 MB

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Jo Harman - Dirt On My Tongue (2013)



Continuando con algo de música suave y exquisita aqui les comparto algo para no dejar pasar, Jo Harman una hembra con mucho talento, no, no hablo de sus atributos físicos, que si los tiene claro, pero lo que ocupa ahora es sus atributos artísticos, en este caso su voz y calidad interpretativa, nada mas que decir que: tremendísimos, si no denle una escuchadita y opinen por favor, pero neta que no la dejen pasar porque yo creo que se enfila a las grandes líneas de la escena del Blues internacional…



  Jo Harman es una cantante-compositora que incursiona en estilos como el Blues, el Rock, el Soul, el Country, el Gospel y otras sensibles raices musicales. Aunque con muchos años perseverando en la escena del Blues de Inglaterra, la carrera musical de Jo Harman despegó de manera súbita y meteórica coincidiendo con el lanzamiento de su primer album -DIRT ON MY TONGUE- probablemente debido a la calidad del mismo, llegando a ser considerado por algunas personas el mejor album del 2013, particularmente, yo lo consideraría si no el mejor, uno de los mejores del 2013. Ya en este recién terminado año 2014, Jo Harman fué elegida como la Vocalista Femenina del Año por parte de los British Blues Awards…



 01 I Shall Not Be Moved (4:07)
02 Worthy of Love (3:28)
03 (This Is My) Amnesty (4:46)
04 Heartstring (3:25)
05 I Don't Live Here Anymore (4:37)
06 Sweet Man Moses (5:46)
07 Underneath the River (4:29)
08 Fragile (5:58)
09 Cold Heart (5:08)
10 Better Woman (6:56)
11 What You Did for Me (4:18)
12 Sweet Man Moses (Radio Edit) (Bonus Track) (4:31)
13 Sideways (Bonus Track) (4:28)



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Hal Leonard: Guitar Play Along Volume 28 - Blues Rock (2015)



The Guitar Play-Along DVD series lets you hear and see how to play songs like never before. Just watch, listen and learn! Each song starts with a lesson from a professional guitar teacher. Then, the teacher performs the complete song along with professionally recorded backing tracks. You can choose to turn the guitar off if you want to play along, or leave the guitar in the mix to hear how it should sound. You can also choose from three viewing options: fret hand with tab, wide view with tab, pick & fret hands close-up. Each DVD includes great songs that all guitarists will want to know!

Includes: Come On (Part 1) • Crossfire • Damn Right, I've Got the Blues • Day of the Eagle • I Can't Quit You Baby • Key to the Highway • Statesboro Blues • Tube Snake Boogie. 2 hrs., 16 min.

Guitar.Play-Along.28.Blues.Rock.part1.rar
Guitar.Play-Along.28.Blues.Rock.part2.rar
Guitar.Play-Along.28.Blues.Rock.part3.rar

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Allman Brothers Band & Friends - Another One For Woody (2010)


En Septiembre 21 del 2000, 25 días después de la muerte de Allen Woody, miembro fundador de Gov't Mule y bajista de mucho tiempo de Allman Brothers Band, muchos de sus amigos y héroes musicales se unieron para celebrar su vida en un concierto histórico en Roseland Ballroom in Nueva York. "Una más para Woody" fué un evento histórico que vive como un apreciado recuerdo para todos aquellos que asistieron.
Una noche de música absolutamente histórica. Una noche agridulce de música. Una combinación mágica de artistas de trituración de guitarra que se unieron por el recuerdo de un hombre. Allen Woody! Este era un hombre cuya presencia musical tocó las vidas de numerosos músicos, inspiró un género y cuya contribución musical merece reconocimiento.

Allen Woody extraordinario amigo y bajista.

Allen Woody: para aquellos de nosotros que tendemos a buscar una línea de bajo en una canción, el nombre Allen Woody debe registrarse en la biblioteca musical de su cerebro. Específicamente, en el género de rock sureño. Fue el bajista destacado de bandas como The Allman Brothers Band, Gov’t Mule, The Artimus Pyle Band y más.
Su fallecimiento inesperado el 26 de agosto de 2000 alentó a sus compañeros músicos a celebrar el primer beneficio llamado One For Woody en septiembre de 2000. Diez años más tarde, Warren Haynes y un ARSENAL de amigos que empuñaban la guitarra reunieron el segundo beneficio para este músico muy extrañado: Another One For Woody: "¡Ojalá estuvieras aquí!"
Esta grabación marca el décimo aniversario del evento. Los CDs de este álbum fueron grabados en vivo el 22 de noviembre de 2010 en el Roseland Ballroom, y presentaron los sets de The Allman Brothers Band, Gov't Mule y The North Mississippi Duo de Estrellas (Luther y Cody Dickinson) junto con muchos invitados especiales quienes fueron tocados por la amistad, la música y la memoria de Allen. Al igual que el concierto original, todos los ingresos netos de "Another One For Woody" irán a una causa cercana al corazón de Allen: la educación musical en las escuelas.


Warren Haynes

Edwin McCain & Kevin Kinney
The North Mississippi All-stars

Disc 1
01. Just Outside Of Heaven (6:55)
02. The Lucky One (4:39)
03. I Shall Be Released (7:01)
04. Shimmy The Wobble > Station Blues > Preachin' Blues (7:58)
05. Glory Glory Glory (6:12)
06. Po Black Maddie > Skinny Woman > Jumpercable (10:42)
07. Whiskey Rock Rolla (6:49)
Gov't Mule
Disc 2
01. Railroad Boy (5:27)
02. Blind Man In The Dark (8:57)
03. Steppin' Lightly (7:31)
04. Banks Of The Deep End (6:18)
05. Stage banter 1 (0:44)
06. I'm A Ram (10:50)
07. Stage banter 2 (1:47)
08. Dear Prudence (9:02)
09. Stage banter 3 (0:27)
10. 32/20 Blues (10:33)
Disc 3
01. Announcement (0:28)
02. Stay With Me (6:29)
03. Sometimes Salvation (4:43)
04. Stage banter 4 (0:28)
05. Simple Man (8:49)
06. Wishing Well (5:35)
07. Soulshine (7:49)
Allman Brothers Band
Disc 4
01. Don't Want You No More (2:40)
02. It's Not My Cross To Bear (5:03)
03. End Of The Line (7:05)
04. No One To Run With (10:50)
05. Black Hearted Woman (10:57)
06. Who's Been Talking (9:42)
07. Midnight Rider (3:21)
Disc 5
01. Stage banter 5 (0:22)
02. One Way Out (6:08)
03. Statesboro Blues (5:21)
04. Stage banter 6 (0:30)
05. The Weight (11:15)
06. Stage banter 7 (0:34)
07. Franklin's Tower (12:19)
08. Stage banter 8 (0:56)
09. Southbound (8:00)
10. Whipping Post (15:22)
11. Wish You Were Here (7:00)
Gov't Mule
Warren Haynes — Guitar, Vocals
Matt Abts — Drums
Danny Louis — keyboards
Jorgen Carlsson — Bass
Allman Brothers Band
Gregg Allman — Hammond B-3 Organ, Acoustic Guitar, Vocals
Butch Trucks — Drums & Tympani
Jaimoe — Drums
Derek Trucks — Lead & Slide Guitar
Oteil Burbridge — Bass, Vocals
Marc Quinones — Congas, Percussion, Vocals
# Po Black Maddie through Whiskey Rock Rolla with Gordie Johnson on bass
# Whiskey Rock Rolla with Artimis Pyle, Danny Louis, Audley Freed & Robert Kearns.
# I'm A Ram with Gordie Johnson, Jim Loughlin & Vinnie Amico
# Dear Prudence with Chuck Garvey, Jim Loughlin & Vinnie Amico
# 32/20 Blues with Hook Herrera, Luther Dickinson, Cody Dickinson & Artemis Pyle
# Stay With Me with Rich Robinson & Artemis Pyle
# Sometimes Salvation with Rich Robinson, Robert Kearns & Artemis Pyle (without Jorgen Carlsson)
# Simple Man with Artemis Pyle, Audley Freed & Robert Kearns (without Matt Abts & Jorgen Carlsson)
# Wishing Well with Artemis Pyle & Audley Freed
# Soulshine with Savannah Woody & Artemis Pyle
# Who's Been Talking with Hook Herrera
# One Way Out with Rich Robinson, Berry Oakley Jr. & Artemus Pyle
# Statesboro Blues with Berry Oakley Jr.
# The Weight with Danny Louis & Audley Freed
# Franklin's Tower with Chuck Garvey, Jim Loughlin, James van de Bogert & Vinnie Amico
# Southbound with Cody Dickenson, Luther Dickenson, Hook Herrera & Danny Louis
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Pink Floyd - The Best Of Tour ´72




This historical recording captures Dark Side Of The Moon in its earliest stage.
No other recording available from the Juanuary-Frebruary 1972 tour (in wich Dark Side Of The Moon was first performed) sound as good as this. It has one ugly flaw (still) with the annoying cuts in "Time", Us And Them" & "Eclipse" but the music and sound is just too good to leave alone.
This upgrade is by far the best sounding version of this recording. You need this whether you are an average or diehard Floyd fan. (Artwork is included)

 PINK FLOYD
Rainbow Theatre, London
20 February, 1972

"The Best Of Tour '72 - Restored"
Remastered From Original 1st LP Pressing

 01. Speak to me (cuts in, only last 8s left) 
02. Breathe   
03. Travel Sequence
04. Time (cut within) 
05. Home again
06. Religious Theme  
07. Money  
08. Us & Them (cut within, misses most)   
09. Dave's Scat Section   
10. The Lunatic Song
11. Eclipse (cuts off)

Time: 40:52:66
Sound: A
Source Info:
High Quality Condensator Stereo Mics -> Reel-to-Reel Master -> Mastering -> Mastered source (likely recorded on Hi-Speed Reel-to-Reel) -> 1st Pressing Vinyl Bootleg (16-421/422) -> Technics 1210mk2 with -881mk2s stylus -> Tascam DA20mk2 (A-D conversion 16 bit, 48kHz) -> PC -> Cubase SX 2.0 -> Wave (downsampled to 44.1k) -> FLAC -> Torrent

See below for clarification.
Re-Mastered @ the Soundhouse by Prof. Stoned, February 2006.

 A note from the Prof.:

Today, 34 years and a couple of days after this was first recorded, I present to you all a significant digital upgrade -maybe even the definitive version- of the legendary "The Best of Tour 72" boot. It KILLS both the "Swinging Pig" and the "Original Masters Series" bootleg CD's of this album that most of you all know.
These two boots were both taken from the same inferior source which is ruined by a heavy NoNoise treatment. This is a trueful reproduction of the original vinyl bootleg and will make you hear details in the recording that you never heard before.

***About the Original Bootleg***

The content of this CDR has been carefully mastered from a rare vintage (1972) vinyl copy (strictly rated: EX), the very 1st pressing of this classic floyd bootleg, and therefore the closest source to the (unfindable) original tape.
The recorded content of the original LP was handled professionally from start to finish (not counting the cuts in the recording). The sound is beautiful. A very wide stereo image with clear separation of instruments & voices. There is little hiss or distortion. The unmastered source that the bootleggers used must have been 0th or maybe 1st generation tape. The original pre-vinyl tape has had a mastering treatment with a compressor, Dolby(A) and likely some EQ-ing.

The vinyl itself is nice and thick, made to last.
This could very well have been pressed at a pressing plant which was used by major record company's as well.
As you can read in Clinton Heylin's excellent book "Bootleg! The Rise and Fall of the Secret recording industry" this used to happen a lot in the early 70"s, and it would explain why the bootleggers were so keen to hide the name Pink Floyd, even on the record label itself.

Although the pre-vinyl part in the source info chain is speculated, it's 100% certain that this is NOT a soundboard and/or FM. Ever since this came out, the SQ has led people to believe it is. Even the above mentioned book, erroneously stated this was taken from a BBC radio broadcast.
And even to this day, this recording is way more often labelled as "radio" or "soundboard" than as what it is: "EX audience".

(NB: A few more details to identify the first pressing:
The record label is dark blue with silver characters and edge.
The matrix number on Side 1 is 16-421 and can be seen both on the label and also in small characters between the running grooves. The label says: "We did it for you".
Same goes for Side 2 but the number is 16-422 instead and the label says: "We did it for you too" 
On both sides you can see: "composed and arranged by TOUR 72".
There's no mention of Pink Floyd anywhere.
The only direct sign referring to PF are the tour dates on the back of the laminated sleeve.
This LP or the 2nd pressing are very much worth the hunt.)

***About the Mastering***

The vinyl was cleaned carefully one hour long using anti-stat.
Because both the SQ of the original recording and the mastering of the LP are so outstanding, I felt it would be a waste to correct anything in that aspect.
This means that no further eq-ing or compression has been applied by me. ObviousIy, I did not use any noise reduction; the big sin that made the previous (and unfortunately) common cd(r) versions of this recording sound like poop.
There is a little bit of vinyl distortion hearable, most notably in the gentle parts during the last 11 min. of Side 2 on the left channel.
It's nothing to write home about but still.
I picked out the biggest clicks by hand and handled the rest with the excellent 'Waves' Click & Crackle plug-ins.
I corrected the speed of the recording with +0.15 semitones.
I tuned Rick Wright's organ with great precision to an exact A (440 Hz), bringing down the playing time from 41:13 to 40:52.
I also swapped the channels as heard on the LP to match the stereo image as much as possible with PF's then stage order;
Dave's guitar & vocal are clearly on the left, the toms are coming from the left to the floor-tom on the right, (as if you are standing in front of the drums).
An edit was done to make side 1 run seamlessly into Side 2.
The point where the edit was made can be heard on both sides of the LP, so not a millisecond got lost.

Enjoy,
Prof. Stoned

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All credits to: 100 Greatest Bootlegs BlogSpot