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Celebrating 30 years of King Crimson, DEJA VROOOM features previously unreleased material, including re-edited concert footage from Tokyo throughout the 1990's. Tracklist: Circular Improv - Vrooom Vrooom - Frame By Frame - Dinosaur - One Time - Red - B'Boom - Thrak - Matte Kudasai - Three of a Perfect Pair - Vrooom/Marine 475 - Sex Sleep Eat Drink Dream - Elephant Talk - Indiscipline - Talking Drum/Larks' Tongues in Aspic II - People - Walking on Air
John Mayall, OBE (born 29 November 1933) is a pioneering English blues singer, songwriter, and multi-instrumentalist. His musical career spans over fifty years but the most notable episode in it occurred during the late '60s. He was the founder of John Mayall & the Bluesbreakers and has been influential in the careers of many instrumentalists, including Eric Clapton, Jack Bruce, Peter Green, John McVie, Mick Fleetwood, Mick Taylor, Don "Sugarcane" Harris, Harvey Mandel, Larry Taylor, Aynsley Dunbar, Hughie Flint, Jon Hiseman, Dick Heckstall-Smith, Andy Fraser, Johnny Almond, Jon Mark, Walter Trout, Coco Montoya, and Buddy Whittington.
Mayall's father was Murray Mayall, a guitarist and jazz music enthusiast. From an early age, he was drawn to the sounds of American blues players such as Leadbelly, Albert Ammons, Pinetop Smith, and Eddie Lang, and taught himself to play the piano, guitars, and harmonica. Mayall served three years of national service in Korea and, during a period of leave, he bought his first electric guitar. Back in Manchester he enrolled at Manchester College of Art, now part of Manchester Metropolitan University, and started playing with semi-professional bands. After graduation he obtained a job as an art designer but continued to play with local musicians. In 1963 he opted for a full time musical career and moved to London. His previous craft was put to good use in the designing of covers for many of his own albums. John Mayall married twice and has six grand-children. Mrs Maggie Mayall is an American blues performer and since the early 1980s takes an active part in the management of her husband's career. In 2005 Mayall was appointed Officer of the Order of the British Empire (OBE) in the Honours List.
Original John Mayall albums 1965: John Mayall Plays John Mayall (Decca) [live, Dec. '64] 1966: Blues Breakers with Eric Clapton (Decca) UK # 6 1967: A Hard Road (Decca) UK # 10 1967: Crusade (Decca) UK # 8 1967: The Blues Alone (Ace of Clubs) UK # 24 1968: The Diary of a Band Volume 1 (Decca) UK # 27 1968: The Diary of a Band Volume 2 (Decca) UK # 28 1968: Bare Wires (Decca) UK # 3 1968: Blues from Laurel Canyon (Decca) UK # 33 1969: The Turning Point (Polydor) UK # 11 1970: Empty Rooms (Polydor) UK # 9 1970: USA Union (Polydor) UK # 50 1971: Back to the Roots (Polydor, 2LP) UK # 31 1971: Memories (Polydor) 1971 (<-1968): John Mayall - Live In Europe (London PS 589) [a USA release of The Diary Of A Band Vol. 2] 1972: Jazz Blues Fusion (Polydor) [live, USA, Nov.-Dec. '71] 1973: Moving On (Polydor) [live, USA, July '72] 1973: Ten Years Are Gone (Polydor, 2LP/ no CD reissue) [studio + live NY'72] 1974: The Latest Edition (Polydor) 1975: New Year, New Band, New Company (ABC - One Way) 1975: Notice to Appear (ABC - One Way) 1976: Banquet in Blues (ABC - One Way) 1977: Lots of People (ABC - One Way) [live LA, Nov. '76] 1977: A Hard Core Package (ABC - One Way) 1977: Primal Solos (Decca) [live '66 and '68, UK] 1978: The Last of the British Blues (ABC - One Way) [live USA] 1979: Bottom Line (DJM) 1980: No More Interviews (DJM) 1982: Road Show Blues (DJM) (Reissue 1995 : Why Worry. 2000 : Lost and Gone. 2001 : Reaching for the blues. 2006 : Godfather of the Blues. 2007 : Big Man) 1985: Return Of The Bluesbreakers (AIM Australia) ['81 and '82] 1985: Behind the Iron Curtain (GNP Crescendo) [live Hungary](Reissue 2004:Steppin' out) 1987: Chicago Line (Entente - Island) 1988: The Power of the Blues (Entente) [live Germany '87] (Reissue 2003 : Blues Forever) 1988: (<-1971) Archives to Eighties (Polydor) 1990: A Sense of Place (Island) 1992: Cross Country Blues (One Way) ['81 and '84] 1993: Wake Up Call (Silvertone) UK # 61 1994: The 1982 Reunion Concert (One Way) [live, USA] 1995: Spinning Coin (Silvertone) 1997: Blues for the Lost Days (Silvertone) 1999: Padlock on the Blues (Eagle) 1999: Rock the Blues Tonight (Indigo) [live 2CD '70-'71, Canada] 1999: Live at the Marquee 1969 (Eagle) [live '69, London] 1999: The Masters (Eagle) [live 2CD, UK '69 +interv.] 2001: Along for The Ride (Eagle/Red Ink) 2002: Stories (Eagle/Red Ink) 2003: (<-1987-8): Blues Forever (Fuel) ['87 & '88] 2003: 70th Birthday Concert (Eagle) [live in Liverpool] 2005: Road Dogs (Eagle) 2005: Rolling with the Blues (Recall) [live '72-73 and '80+'82, various countries, 2CD +DVD interview] (Reissue 2006 The private Collection (Snapper 2CD) 2007: Live at the BBC (Decca) ['65-67 & '75] 2007: In the Palace of the King (Eagle) 2007: Live from Austin, Tx (NWRecords) [live'93]
John Mayall - Bare Wires (264.9 MB) LINK: h!!p://www.megaupload.com/?d=SF0LA7M4
John Mayall - Empty Rooms (246.89 MB) LINK: h!!p://www.megaupload.com/?d=I1SY8ZF4
John Mayall - The Turning Point (253.28 MB) LINK: h!!p://www.megaupload.com/?d=M8OLIFLG
John Mayall - USA Union (260.11 MB) LINK: h!!p://www.megaupload.com/?d=VM3W53LJ
In spite of Jon Hiseman's reluctance to reform Colosseum, in the early nineties the spate of band reissues generated new interest in the band. Whilst on tour in Germany, Hiseman was encouraged to rethink, & a debut reunion concert was arranged at the Freiburg Zelt-Musik-Festival in June 1994. Original band members Chris Farlowe (vocals), Dick Heckstall-Smith (saxes), Clem Clempson (guitars), Dave Greenslade (keyboards) were joined by Mark Clarke (vocals). This DVD features the entire second concert of that first reunion after some 23 years, & as a bonus there is a 90-minute 'Story Of' documentary.
One of the best DVDs ever made!!!
LINKS: Part 1 h!!p://www.megaupload.com/?d=0IKSPY4R Part 2 h!!p://www.megaupload.com/?d=X0EMY848 Part 3 h!!p://www.megaupload.com/?d=BFDQM40M Part 4 h!!p://www.megaupload.com/?d=HKZQI2Y4 Part 5 h!!p://www.megaupload.com/?d=O5BN6307 Part 6 h!!p://www.megaupload.com/?d=A0W5ZHI8 Part 7 h!!p://www.megaupload.com/?d=X445SSBG Scans h!!p://www.megaupload.com/?d=C3VVE57D
Listening to it now, Rain’s neglected sole album was just chiming with its musical times. Recorded in 1971, but straddling the decade just past, the Philadelphian quartet’s free-flowing mood swings charted a gentle path—often within the same song—from the sun-kissed psych-pop harmonies of the mid-’60s to early dalliances with the dark forces of progressive rock. The songs flawlessly fuse together co-songwriter Cobb Bussinger’s jazzy, oscillating keyboards with Mike Kennedy’s immovable electric guitar solos. Anyone searching for touchstones can hear snippets of Procol Harum, King Crimson and the Zombies (oh yeah, the Beatles feature too) throughout these liquid arrangements. Yet Rain are clearly masters over their own domain whether it’s pure pop confections like “Love Me Still” and bonus track “Springtime”, or the heavy organ atmospherics of “He Could Have Known”. Actually, this record is one of those instances when collectors of obscure vinyl are correct—this is worth seeking out. And thanks to Sunbeam Records, now you don’t even have to get covered in dust to do it.
"Counting Leslie West's July 1969 solo album, Flowers of Evil was the fourth album in 28 months for West and Felix Pappalardi's Mountain, and the pace was catching up with them: Flowers of Evil was only half of a studio album with five new songs, its second side filled up with a live 25-minute rock & roll medley and encore of Mountain's sole Top 40 hit, "Mississippi Queen." This was unmistakable evidence that Mountain had run their course. There would be live albums, compilations, and reunions over the succeeding years, but Flowers of Evil marked the creative end of a surprisingly short-lived enterprise. [Originally released in November 1971 as Windfall 5501.]
The breakup of Cream in late 1968 had consequences that rippled across the rock music world — in its wake were formed directly such bands as Blind Faith (whose tragedy was they never had a chance to actually become a band) and Ginger Baker's Air Force, as well as the rich solo careers of members Eric Clapton and Jack Bruce. And it yielded — by way of Cream associate and producer Felix Pappalardi — something of a successor band in 1969, in the form of Mountain.
The band's history all started with a Long Island-based psychedelic/garage band called the Vagrants, who'd acquired a serious local following and always seemed poised to break out, without ever actually doing so. Their lead guitarist, Leslie West, was a physically outsized figure as well as a musician extraordinaire whose playing had been completely transformed by his experience of hearing Clapton's playing in Cream. The Vagrants and West first crossed paths with Pappalardi in 1968, when he saw their potential and got them signed to Atlantic Records, where he was working as a producer. He had already made a name for himself producing Cream's Disraeli Gears album, and had played numerous background instruments on their follow-up, Wheels of Fire (and on the studio tracks that would form their Goodbye album). He did produce some of the best work that the Vagrants ever released, but none of it sold; and when West left the band in late 1968 to do a solo album, titled Mountain, Pappalardi produced it for him, as well as played keyboards and bass on the record.
The results were the most impressive of West's career up to that time, a solid, blues-based hard rock workout, showing off just how profoundly he incorporated Clapton's playing into his own style — Mountain sounded a great deal like the now-disbanded Cream, and was satisfying enough for the two to form a partnership, also called Mountain. Their first lineup was built around the one used on the album, with N.D. Smart on drums, and Steve Knight added on keyboards, while Pappalardi concentrated on playing the bass. Following a debut performance at the Fillmore West in July 1969, the group played its fourth live performance ever at Woodstock, in front of an audience of several hundred thousand, on a bill with the likes of Jimi Hendrix, the Who, the Jefferson Airplane, Janis Joplin, Creedence Clearwater Revival, and — also getting their first national exposure at the same festival — Crosby, Stills, Nash & Young. The event was an auspicious one, even though it was followed by a personnel shift, as Smart was replaced by Corky Laing, West's oldest friend.
The group was signed to the Windfall label and released their debut LP, Mountain Climbing!, in the spring of 1970, accompanied by their debut single, "Mississippi Queen," which reached number 21 in June of 1970. That chart placement doesn't begin to delineate the impact of that single, a hard rock boogie that was a killer showcase for West's guitar and an unlikely piece of Southern-fried rock & roll, coming from the pens of the Queens- and Brooklyn-born West and Pappalardi, and the Canadian-born Laing — it was as improbable as the California-born John Fogerty authoring "Born on the Bayou" or "Green River," and almost as enduring in popular culture. The single may not have reached the Top 20, but the album it was on peaked at number 17, driven by listeners drawn to the single but wanting more from the band behind it, and the high-energy mix of hard rock and blues they generated. And the debut album offered some surprises, such as the quartet's successful digression into progressive rock with "Theme from an Imaginary Western" (co-authored by Cream's Jack Bruce, which only further emphasized the indirect connections and musical debt owed the other band). The latter got lots of play on FM radio, as did "Never in My Life."
Equally important to the band's fortunes, they were able to deliver on-stage what they promised on their records — indeed, their records were a surprisingly accurate representation of their actual sound, except that Mountain was even louder live than they were in the studio. The group scored another hit at the Atlanta International Pop Festival in 1970, alongside the Allman Brothers, Cactus. and others. Mountain's second album, Nantucket Sleighride, was equally successful commercially and unveiled the title track, which would take on epic proportions in concert. Flowers of Evil followed in November of 1971, just ten months after its predecessor, and it began to clearly show the strain of the pace the band had been keeping up since July of 1969 — half of it consisted of lackluster studio originals, while the other half was a live medley and a concert version of "Mississippi Queen." Lackluster sales and reviews were inevitable, and the impression of a band running on empty was reinforced by their next release, Mountain Live (The Road Goes Ever On) (1972), which had only four cuts on it, all of them characterized by extended solos. Hardcore fans appreciated the record as an extension of their recordings, but many listeners and most critics found it lacking musical cohesion.
The group broke up soon after the release of that album, due in part to Pappalardi's concerns about his hearing, which been damaged by the high volume the band generated in concert. He returned to production, while West and Laing — staying close to their hard rock roots, as well as the orbit whence Pappalardi had come — teamed up with ex-Cream bassist Jack Bruce as West, Bruce & Laing, a hard rock power trio that cut a brief but memorable swathe of their own across the musical landscape in the early/mid-'70s. Meanwhile, a Best of Mountain LP released in the wake of the breakup helped to sustain interest in the group. And later in 1973, Mountain was back together, West and Pappalardi reactivating the band with Bob Mann on keyboards and guitar and Allan Schwartzberg on drums for a tour of Japan. This resulted in the live double LP Twin Peaks (1974), a much better representation of the group's concert sound, including a 32-minute version of "Nantucket Sleighride." During 1974, in the wake of the second live album, West, Laing, and Pappalardi revived Mountain again to record a studio LP, Avalanche. In subsequent years, West and Laing revived the group for live shows, sometimes joined by Pappalardi; West also performed with his own Leslie West Band. Sadly, Pappalardi was shot and killed by his wife in 1983. Two years later, West and Laing regrouped with Mark Clarke on bass and recorded an album before once again calling it quits. Laing served as PolyGram's A&R vice president in Canada between 1989 and 1995. In 1996, he reunited with West and Clarke for a new Mountain album, Man's World. West and Laing teamed up again in 2002 for another album as Mountain, Mystic Fire. (CGR)
"Rare Earth began as an R&B band called the Sunliners in Detroit in 1961. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in 1962. Rod Richards became a guitarist with the group in 1966. Keyboardist Kenny James came into the fold the same year. After years of doing the club circuit, the group changed their name to Rare Earth and released Dreams/Answers on Verve. The album received little reaction and the group was picked up by Motown Records as the first act on their yet-to-be-named new label. Rare Earth suggested to Motown that the label name their new subsidiary after the band and Rare Earth Records was born.
When they set out to record their first album, they essentially ran out of material and did a 21-minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time. So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U.S. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June of 1970, a couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third. An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The first was "(I Know) I'm Losing You" (another Temptations cover), which also broke the Top Ten. The second single, "Born to Wander," did not fare quite so well, but did make the Top 20. The album was catapulted to number 15.
Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at number seven and the album broke the Top 50. They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp. Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top 50.
Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day. The resulting album, Ma, was released in May of 1973 and fared just a little better than Willie Remembers, peaking at number 65. The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released. Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though.
What followed was a series of lineup changes and legal battles, and the group stopped touring altogether in 1974. The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. The single, appropriately entitled "It Makes You Happy (But It Ain't Gonna Last Too Long)" stalled just outside the Top 100. A disco-oriented excursion entitled Midnight Lady was released in 1976, but failed to really go anywhere. To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time.
As fate would have it, though, this was not the end of Rare Earth. Instead, Barney Ales, who had presided over Rare Earth Records, started his own label Prodigal Records. He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in 1977 and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year. That session yielded not one, but two albums. The first was Band Together, released in April of 1978, with Grand Slam following in September. Neither of those albums every really took off, either. The group essentially broke up in 1978, although a version of the original lineup was touring all the way into 1983. A different incarnation of the group, with just two original members, still makes the circuits.
Child of the Novelty + Maxoom + Strange Universe first 3 albums on 2 CDs
"Frank Marino (Francesco Antonio Marino), born November 20, 1954 in Montreal, is the guitarist and leader of Canadian hard rock band Mahogany Rush.
The band had its peak of popularity in the 1970s and toured extensively playing such venues as California Jam II together with bands such as Aerosmith and Heart. Marino is still active; as of 2008, recording and touring under his own name and has also been involved in blues recordings with other artists as well.
* To explain the name, Mahogany Rush, Marino says, "In fact, the mental condition (the acid trip) that became my daily life in my early teens, was due to having taken psychedelic drugs to the point of being hospitalized, and that condition produced, eventually, the name or term "mahogany rush", so in a way it was "related" to the drugs themselves. But it was more related to the mental experience. Mahogany Rush was, basically, the only way I could describe a certain aspect of that "trip" to others who couldn't understand it at the time, and still can't really do so now." * Early on in his career, it was stated in the music press that he claimed to be the reincarnation of Jimi Hendrix, a claim stemming from Marino's playing style being similar to Hendrix'. This claim was dismissed by Marino himself as falsified information created by the press and he has continued to forge a style of his own through the 1970s up to present day. This is discussed in-depth on the MySpace page for Frank Marino & Mahagony Rush. * Marino started to record his first album, "Maxoom", when he was only 16. * Frank Marino has three daughters. * When he quit music business in 1993 he supported his family by building computers. After returning to record and perform, his wife Denise took over the computer business. * Frank Marino is Orthodox Christian. * The Song: "Something's Coming Our Way" is about expectation of a day in which we all need to come in terms with our way of life and how we have spent our time here and the fact that we have to understand that the day of judgment that we refer to being someday in the future is in fact upon us at the moment. * Frank Marino is the uncle of the guitarist and songwriter Danny Marino of the melodic death metal band The Agonist.
Discography: * 1972 Maxoom * 1974 Child of the Novelty * 1975 Strange Universe * 1976 Mahogany Rush IV * 1977 World Anthem * 1978 Live * 1979 Tales Of The Unexpected * 1980 What's Next * 1981 The Power of Rock & Roll * 1982 Juggernaut * 1987 Full Circle * 1988 Double Live * 1990 From The Hip * 1997 Dragonfly-Best of Mahogany Rush * 2000 Eye of the Storm * 2003 RealLIVE!
Other recordings and collections * 1978 California jam II * 1980 Fit for A.King * 1988 Metal giants(Collection-Various artists) * 1990 Guitar Speak II * 1993 Hats off to Stevie Ray * 1997 Bryan Lee:Live at the old absinthe house bar Friday night
About this release: 1995 release on Big Beat featuring the first three albums bythis Hendrix-influenced Canadian heavy trio, includingthe first legitimate appearance on CD of their rare & often bootlegged 1973 debut album 'Maxoom'. The other two albums are 1974's 'Child Of The Novelty' & 1975's 'Strange Universe'. 30 tracks total, all taken from the original master tapes.
LINKS: CD 1 (356.18 MB) h!!p://www.megaupload.com/?d=AG9VO8KJ CD 2 (398.66 MB) h!!p://www.megaupload.com/?d=JV54N49B Covers (508.04 KB) h!!p://www.megaupload.com/?d=YC7U3Y05
The Flock was a Chicago-based jazz-rock band that released two records on Columbia records in 1969 (The Flock) and 1970 (Dinosaur Swamps). The Flock did not achieve the commercial success of other Columbia jazz-rock groups of the era such as Chicago and Blood Sweat & Tears, but were most notable for their inclusion of a prominent violin in their recordings. The violinist, Jerry Goodman, went on to become a member of Mahavishnu Orchestra and a solo artist.
The members at the time of their 1969 studio recording were Fred Glickstein (guitar, lead vocals), Jerry Goodman (violin), Jerry Smith (bass), Ron Karpman (drums), Rick Canoff (saxophone), Tom Webb (saxophone) and Frank Posa (trumpet).
After a highly promising first album that was further "outside," jazz/fusion-wise than either Chicago or BS&T (owing, to a great extent, to the influence of Miles Davis' Bitches Brew album, which Webb participated in, but whose performance was not recorded), Columbia Records' Clive Davis raided The Flock, stealing Goodman for the Mahavishnu Orchestra project: apparently jazz violinist Jean-Luc Ponty was guitarist-bandleader Mahavishnu John McLaughlin's first choice, but the U.S. government would not grant Ponty a work-permit visa. The effect of taking Goodman out of The Flock was predictably disastrous, the rough equivalent of pulling George Harrison out of The Beatles.
The Flock reunited briefly in 1975 for an album Inside Out, and in 2004 a CD was released of a 1973 live concert called Live in Europe, which features Michael Zydowsky on violin in place of Goodman and includes original members Fred Glickstein, Jerry Smith, and Ron Karpman.
In late 1976, Fred Glickstein & Ron Karpman recruited bassist/cellist Thom Blecka from Chicago {formerly of T.S Henry Webb Group featuring Frank Posa}-Corky Siegel w/Sam Lay- Albert King- Joe Jammer-Johnny Ross & The Babysitters- & others) and formed a power trio that chose the title of: "FLOCK 3". The new outfit featured a handful of older, established Flock compositions, but yet emphasized new material, co-written by Glickstein & Karpman with some arrangement contributions by Blecka. The new hornless, violin-free, rock-oriented/ fusion trio `tore up` a few local gigs- opening for Cheap Trick, The Cryan' Shames-and standing on their own, occasionally joined onstage by original Flock alumnus T. S. Henry Webb (sax/vocal) and also friends: Dennis Tiger (blues harp/vocal)& Jeff Gates (keyboards). Unfortunately, the band's live performances were never captured on tape and any attempts at studio recording fell by the wayside due to personal issues amongst the band.
Years later, another lineup named Flock was formed, featuring at least two former original members, with expanded horn section and arrangements under the direction of T. S. Henry Webb. They recorded 4 singles for a label called Destination ("can't you see", "are you the kind," "sunshine and lollipops", plus a fourth title). None appear on an album. However, Webb's 18-piece band Obvious Necessity has recorded two CDs, "Wee Willie's Whizzer" (1995) and "Number Two: Signal Flow" (1997).
"Originally formed in 1964 as the Classics (adopting the name CFUN Classics when they gigged to promote local Vancouver, BC radio station CFUN-AM), the group were featured as the house band on Let's Go, a weekly TV show. In 1965, they released two singles as the Canadian Classics -- "Til I Met You" (Jaguar 2002A) and "I Don't Know" (Valiant 723). The band reinvented themselves as the Collectors in 1966. With former horn player Howie Vickers handling lead vocals, they cut "Eyes" and "Don't Feel Bad" -- both of which later appeared on the History of Vancouver Rock and Roll, Volume 4 (VRCA 004; 1991.) "Eyes" -- a fine folk tune seasoned with tasty guitar and just a dash of psychedelia -- is easily the better track. "Don't Feel Bad" has a vague "On Broadway" feel. More elaborately produced, it also seems a less genuine effort. By 1967, in addition to lead singer Howie Vickers, the Collectors included Claire Lawrence (tenor sax, organ, recorder, flute), Bill Henderson (lead guitar), Glenn Miller (bass) and Ross Turney (drums) -- the band's "classic" line-up. Recordings from this period include the Vancouver smash hit "Lookin' at a Baby" (New Syndrome 16, 1967, subsequently reissued on the History of Vancouver Rock, Volume 3 VRCA 001, 1983) and two other 45s, "Fisherwoman" and "Fat Bird." "Lookin' at a Baby" is MOR flute-pop floating amidst heady clouds of psychedelia. Vickers' departure from the Collectors in 1969 necessitated Henderson's promotion to lead vocalist. Eventually, the band rechristened themselves Chilliwack.
The Aynsley Dunbar Retaliation + Doctor Dunbar's Prescription
"This CD is great and the digital remix is even better. Aynsley Dunbar is one of the greatest drummers of our time and this was his first effort to do his own thing. The AD Retaliation band was huge and had/has a world wide fan base. Aynsley was eventually recruited out of this band by Frank Zappa to become one of the Mothers and complete another successful chapter in his career. He went on to record with the biggest names in the busines including Lou Reed, Journey, Jefferson Starship, Whitesnake, and many, many others.
On July 4, 1993, Paul Rodgers, the voice of Bad Company, Free, the Firm and the Law, assembled a first-rate band in Miami, Fl to play for Independence Day festivities. On this occasion, his guitarist was Neal Schon, former Santana protege and driving force behind Journey. Among the tunes they played that eve was a fabulous, hard-driving set composed by ultimate guitar man Jimi Hendrix. Starting with all-time fave "Purple Haze," Rodgers and co. rocked their way through twenty five minutes of pure magic. Schon wails away as if Jimi himself were playing the strings, while Rodgers, that master of understated passion, gives fresh vocal nuances to "Little Wing", finds the playfulness in "Foxy Lady," and grafts a couple of verses of Cream's "I Feel Free" onto "Stone Free". The combination fits like the proverbial glove! One last reminder: This set is an EP, not an LP, and as such is only about 25 minutes long, rather than the customary 50-60 minutes or more. However, Rodgers and Schon give more value to the music on this EP than most artists give to "full length" CDs.
"Stray Dog was a heavy blues-based hard rock band of the early seventies. Their early sound could be described as crunching blues rock typical of the time and place, but was very original and distinct through Snuffy Walden's unique guitar playing. They recorded three albums throughout their career before disbanding around 1975 due to a "combination of drugs, alcohol, and immaturity."
They originally formed in Texas but relocated to London in hopes of making it, since there were many blues rock groups coming out of England at that time. While there, they met Emerson, Lake and Palmer bassist/singer/guitar player Greg Lake, who subsequently signed them to the ELP label Manticore Records and produced their first two albums. Their first album, Fasten Your Seat Belts includes contributions by John "Rabbit" Bundrick and Mel Collins
"The rarities included in this box set overcome the one or two shortcomings.
PROS: 1. The Sampler for the Thoughts of Emerlist Davjack LP is an extremely rare radio promo for the great 1967 first album.
2. America : I) America/II) Second Amendment [Live Newcastle '68] is a rare live track that contains Davy O'List who is obviously on something here as he barely gets through the beggining of the number and is out of sync with the rest of the band, no wonder he was fired soon after this live recording.
3. Pathetique Symphony 4th [Live Fairfields Hall '69]- They had already released the Pathetique Symphony movement 3, this is the rarely performed movement 4 with Lee Jacksons eerie narration.
CONS: 1. single 4 minute version of the Brandenburger is right after the long version of ARS LONGA Vita Brevis(brandenburger suite) which is a little redundant, they should of placed it on the 3rd rarities disc.
2. Between Rondo "69" & She Belongs to Me (Live at Fillmore East, New York)there is an awful edit not heard on the original record "everything as nice as mother makes it" Keith originally says "this is a song by Bob Dylan call She Belongs to me" here he says "this is a song by Bo.......then the song starts abruptly,a bad edit of a classic live show from the Fillmore.
On a positive note, IF you get this, Five Bridges and Elegy, you'll have a complete Nice collection.
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