Εφυγε ο Λάκης Καραλής

Σήμερα 1η Ιουλίου 2009 πέθανε ο Λάκης Καραλής.

Η νεκρώσιμη ακολόυθία θα ψαλεί αύριο 2η Ιουλίου 2009 στη 13.00, στην Παναγιά Μαρμαριώτισσα (οδός Σοφοκλή Βενιζέλου) στο Χαλάνδρι, και η ταφή θα γίνει στις 15.00 στο Νεκροταφείο Χαλανδρίου.
Για κακή τύχη όλων όσων "μεγάλων" της Αριστεράς μένουν πίσω του, όλων των επαγγελματιών κομματαρχών-γραφειοκρατών, για κακή τύχη όλων των Τσίπρων και των Παπαρήγων, όλων των ανίκανων ηγετίσκων, γκρούπων και γκρουπούσκουλων κοινοβουλευτικών και εξωκοινοβουλευτικών, για κακή τύχη όλων όσων ζουν από τον αργό θάνατο της Αριστεράς, όσων έμπλεξαν τα μπούτια τους με δημοσκοπήσεις και σαλονάκια, όσων έχουν μοιράσει την τράπουλα ανάμεσα στον προϊστορικό σταλινοειδή δογματισμό και τον "ανανεωτικό" κυριλέ ρεφορμισμό, για κακή τύχη όλων αυτών...
...το όραμα μιας υγιούς, ισχυρής και ενωμένης Αριστεράς, ένα όραμα ΚΑΙ του Λάκη Καραλή, μένει πίσω του και μετά τον θάνατό του, παρακαταθήκη πολύτιμη και ελπίδα παντοτινή.
ηρ.οικ.
ΥΓ1: Για το δίσκο "SUPERMARKET":
http://mousikaproastia.blogspot.com/2008/07/supermarket.html
ΥΓ2: Ο Bosko γράφει:http://bosko-hippydippy.blogspot.com/2009/07/blog-post.html
απο Μουσικά Προάστια

6/7/2008

Επανακυκλοφορεί ο δίσκος SUPERMARKET του Λάκη Καραλή


Κυκλοφορεί για πρώτη φορά στην Ελλάδα, 37 χρόνια μετά,
μαζί με πρόσθετο υλικό
ακυκλοφόρητα τραγούδια των Μίκη Θεοδωράκη και Λάκη Καραλή,
σε στίχους Γιάννη Νεγρεπόντη, Περικλή Κοροβέση και Λάκη Καραλή.
Ο πρωτότυπος δίσκος Supermarket με 14 τραγούδια του Λάκη Καραλή (στίχοι, μουσική, ερμηνεία) κυκλοφόρησε το 1971 –ως δίσκος βινυλίου- σε 500 αντίτυπα στο Λονδίνο.
Σήμερα, 37 χρόνια μετά, ο δίσκος κυκλοφορεί (σε CD) από την ανεξάρτητη εταιρία ΤΡΟΧΟΣ (των αδελφών Αλέξη και Δημήτρη Βάκη) μαζί με έξι επιπλέον τραγούδια, μεταξύ των οποίων και δύο τραγούδια του Μίκη Θεοδωράκη σε στίχους του Γιάννη Νεγρεπόντη: «Μου μιλάτε για κείνον» και «Σκέψου καλά κυρ- Βουλευτή». Το δεύτερο μάλιστα δισκογραφείται για πρώτη φορά.
Στις νέες αυτές ηχογραφήσεις του 2008 συναντάμε επίσης τη συνεργασία του Περικλή Κοροβέση, που απαγγέλλει ένα απόσπασμα από τον «Κοινό Τόπο» και έχει γράψει τους στίχους στο τραγούδι «Κυριακή Απομεσήμερο», αλλά και της εννιάχρονης Μαρίας Λαχανά, που τραγουδά «Πιφ πως βρωμάει».
Το 1971, το Supermarket ηχογραφήθηκε σε ένα στούντιο της Camden Street στο Λονδίνο, με τα έξοδα να καλύπτονται δια της μεθόδου του ρεφενέ.
Είχε προηγηθεί (τρία χρόνια νωρίτερα, στη Βουδαπέστη), η διάσπαση του Κομμουνιστικού Κόμματος της Ελλάδας. Οι αντιδράσεις στο δίσκο –που κυκλοφορούσε χέρι με χέρι στους αντιδικτατορικούς κύκλους των Ελλήνων- ήταν ποικίλες, αφού τα τραγούδια του Καραλή δεν έπαιρναν τη θέση καμμιάς από τις δύο αντιμαχόμενες πλευρές, αλλά σχολίαζαν ειρωνικά την πάλη για τη «σφραγίδα», την ίδια στιγμή που η επίσημη Αριστερά ήταν ανήμπορη να παρακολουθήσει τις εξελίξεις και να παρέμβει ουσιαστικά.
Ο τίτλος «Supermarket» δεν ήταν τυχαίος: προέρχεται από μια φράση κάποιου κομματικού στελέχους, τότε, που έλεγε πως «το κόμμα, έτσι καθώς διασπάται και διαλύεται, έχει καταντήσει σούπερ μάρκετ». Απογοητευμένος από τα συμβάντα, ο Λάκης Καραλής γράφει για «τη γραμμή του κόμματος» όπου «κάποιος είναι αόμματος», ενώ «σ’ άλλους τάζουνε λουκούμια, σε άλλους παίρνουν μέτρα για κουστούμια»…
Τα τραγούδια του «Supermarket» ισορροπούν ανάμεσα στο πέταγμα του συνειρμού και τον σκληρό ρεαλισμό, ανάμεσα στην ποίηση και την πολιτική, με την ακραία χρήση του στίχου. Από αυτήν προκύπτει τελικά η μουσικότητα και ο Λάκης γίνεται η εξαίρεση που επιβεβαιώνει τον κανόνα. Είναι ο γιος του παπά-Θανάση από τη μια και ο σουρρεαλιστής ριμαδόρος από την άλλη. Επαναστάτης (με και χωρίς αιτία) από τη μια, ανένταχτος της αριστεράς από την άλλη. Δεν τον άφηναν οι φίλοι του να οργανωθεί, δε θα το άντεχε ούτε θα τον άντεχαν. Φοιτητής ιατρικής από τη μια, κιθαρίστας και τραγουδιστής στα «Τραγούδια του αγώνα» του Μίκη, από την άλλη.
Το «Supermarket» είναι ένας δίσκος αιρετικός, πού προκάλεσε την αντίδραση πολλών και που στα χρόνια της μεταπολίτευσης εξελίχτηκε σε ένα δυσεύρετο ντοκουμέντο μιας ταραγμένης και άβολης εποχής.-----

Σημείωμα του Λάκη Καραλή για την πρώτη έκδοση του 1971
Τα οχτώ τραγούδια της πρώτης πλευράς γράφτηκαν το ‘68. Ήταν η εποχή που η διάσπαση του κόμματος μας συγκλόνισε. Όσα αποκαλύφθηκαν, με το ξέσπασμα της μακρόχρονης κρίσης, στάθηκαν για μας –τη νέα γενιά– ένα οδυνηρό ξάφνιασμα. Γράφτηκαν και ειπώθηκαν πολλά. Δεν είχα άλλο τρόπο έκφρασης, από το τραγούδι μου. Δεν είχα άλλο όπλο, από την κιθάρα μου. Αυτά τα τραγούδια εκφράζουν τη δική μου αγωνία μέσα σ’ αυτή την αποσύνθεση. Το όνομα του Κολιγιάννη μπορεί κάλλιστα να αντικατασταθεί με οποιοδήποτε άλλο της καθοδηγητικής βιτρίνας. Τα ερωτήματα δεν έχουν προσωπικό στόχο. Αφορούν ολόκληρη την πολιτική της Ελληνικής Αριστεράς, όπως εκφράζεται είτε από τη μια, είτε από την άλλη μερίδα του κόμματος.
Είναι σίγουρο πως θα ενοχληθούν πολλοί -κι από το ύφος κι από την αθυροστομία μου. Αλλά τα τραγούδια μου δεν απευθύνονται στα –ανεπανόρθωτα– βουλωμένα αυτιά της καθωσπρεπικής υποκρισίας. Αν σε κάτι ωφέλησε η δικτατορία –όσο κι αν αυτό φαίνεται οξύμωρο– είναι γιατί έβαλε σε μας καυτά ερωτηματικά, ανύπαρκτα προηγουμένως. Τα «ταμπού» γκρεμίστηκαν, μαζί με τους μύθους και τα είδωλα. Η «γραμμή», που ερχόταν από κάποια μυστικά κι αόρατα κέντρα, μπήκε σε αμφισβήτηση –συζητιέται.
Τα υπόλοιπα τραγούδια γεννήθηκαν από τις τωρινές εμπειρίες μου, από τους νέους προβληματισμούς, την επιτακτική αναζήτηση του νέου δρόμου, την προσωπική στάση απέναντι στα προβλήματα που σήμερα αντιμετωπίζουμε, τις ευθύνες που πρέπει επί τέλους ν’ αναλάβουμε. Ειδικότερα «η περίοδος της Ροζέτας» είναι γραμμένη από τίτλους της «Νέας Πολιτείας», αποσπάσματα λόγων του Παπαδόπουλου και κειμένων του «Ρομάντσου».
Καταλήγοντας, θα ‘θελα να πω ότι κανείς δεν θα στενοχωρηθεί αν αυτά τα τραγούδια ξεχαστούν, όσο γίνεται πιο γρήγορα.
Κι ένα υστερόγραφο από το 2008…
Ο Μίκης Θεοδωράκης είναι αυτός που, το 1966, μου έδωσε τη σπρωξιά λέγοντας “γιατρός Λάκη δε γίνεσαι, παρ’ το απόφαση, είσαι μουσικός”. Και μου εμπιστεύτηκε τα δύο πρώτα τραγούδια που είπα στη σκηνή, σε στίχους του αξέχαστου Γιάννη Νεγρεπόντη. Κατά κάποιο τρόπο, ο Μίκης “ευθύνεται” για όσα επακολούθησαν. Όπως και να’ χει, τους ευχαριστώ και τους δυο μέσα από την καρδιά μου.
Ο Περικλής Κοροβέσης (κείμενο του οποίου περιλαμβάνεται στο ένθετο του CD, μαζί με κείμενα του Γιώργου Βότση και του Δημήτρη Παπαχρήστου) σημειώνει «Αυτός ο δίσκος, που ξανακυκλοφορεί, κάποτε ήταν ένα παράνομο μπεστ σέλλερ. Αν ξαναγίνει και δεύτερη φορά, σημαίνει πως τίποτε δεν πήγε χαμένο».-----

SUPERMARKET, 1971
01. Η σφραγίδα (1:12)
02. Κολιγιάννης (2:21)
03. Το σεργιάνι (2:22)
04. Το ασβέστωμα (1:36)
05. Οι εκπρόσωποι (1:47)
06. Η συνέλευση (1:36)
07. Χαφιές (1:20)
08. Ο Μαρξ δεν τό ‘πε (0:56)
09. Ο τοίχος (1:36)
10. Μια μέρα (4:20)
11. Τα παιδιά (2:06)
12. Η περίοδος της Ροζέτας (12:32)
13. Επανάσταση (2:19)
14. Οι σαλτιμπάγκοι (3:27)
ΠΡΟΣΘΕΤΕΣ ΗΧΟΓΡΑΦΗΣΕΙΣ 2008
15. Μου μιλάτε για κείνον / Γιάννη Νεγρεπόντη-Μίκη Θεοδωράκη (3:06)
16. Σκέψου καλά κυρ-βουλευτή* / Γιάννη Νεγρεπόντη-Μίκη Θεοδωράκη (2:32)
17. Πιφ, πως βρωμάει* / Τραγουδά η Μαρία Λαχανά (4:32)
18. Κάτω το κεφάλαιο, ζήτω το προλετάριο* (10:40)
19. Ξέρω πως θα είναι ο θάνατος / Απαγγελία: Περικλής Κοροβέσης (1:06)
20. Κυριακή απομεσήμερο* / Περικλή Κοροβέση-Λάκη Καραλή (4:40)
21. Το θύμα θυμάται* (1:28)
* Δισκογραφούνται για πρώτη φορά
Συνολική διάρκεια: 68:28
Πρώτη έκδοση: Μάρτιος 1971, Λονδίνο
Δεύτερη έκδοση: Ιούλιος 2008, Αθήνα
Διεύθυνση παραγωγής: Αλέξης Βάκης, Δημήτρης Βάκης
Συντελεστές:
Supermarket, 1971
Στίχοι-μουσική: Λάκης Καραλής
Λάκης Καραλής: κιθάρα, τραγούδι
Χαράλαμπος Βιολάρης: βιολί (12)
Ηχογράφηση, μίξη: David Vorhaus / Kaleidophone Studios, Λονδίνο
Σχέδιο εξωφύλλου: Νίκος Ναυπλιώτης
Παραγωγή: Λάκης Καραλής
Ηχογραφήσεις 2008
Στίχοι: Γιάννης Νεγρεπόντης, Περικλής Κοροβέσης, Λάκης Καραλής
Μουσική: Μίκης Θεοδωράκης, Λάκης Καραλής
Ενορχήστρωση: Αλέξης Βάκης (15,16,17)
Τραγουδούν: Λάκης Καραλής, Μαρία Λαχανά (17)
Παίζουν οι μουσικοί:
Λάκης Καραλής: κλασσική κιθάρα (18,20,21)
Βασίλης Μασσαλάς: ακουστική κιθάρα (15,16), κλασσική κιθάρα (17)
Θανάσης Σοφράς: ηλεκτρικό μπάσσο (15,16), κοντραμπάσσο (17)
Νίκος Τουλιάτος: τύμπανα (16)
Γιάννης Βιλλιώτης: μαντολίνο (15,16)
Μόδεστος Τριπολιτσιώτης: τούμπα (16)
Φωνητικά: Δημήτρης Βάκης (15)
Χορωδία: Τάσος Ράπτης, Μαρία Σκούπα, Γρηγόρης Καραντινάκης, Γρηγόρης Ψαριανός, Έρη Μανουρά, Χαρίλαος Τρουβάς, Αλέξης Βάκης, Δημήτρης Βάκης
Ηχογράφηση, μίξη, mastering: Χάρης Ζουρελίδης / Feedback Sound Studio
Επιμέλεια εντύπου: Δημήτρης Βάκης
Φωτογραφίες: Δημήτρης Κοιλαλούς
Παραγωγή: Αλέξης Βάκης, Δημήτρης Βάκης / ΤΡΟΧΟΣ
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απο Μουσικά Προάστια 6.7.08

δες και εδω

Devil's Kitchen Band - US Psych San Francisco 1968 ~ 1970.

The short story:
Devil's Kitchen Band was a four piece rock and roll band that lived and performed in San Francisco from the Spring of 1968 through the Summer of 1970.

We were the "house band" at Chet Helm's "Family Dog Ballroom on the Great Highway" opening for, and often jamming with, many of the most well known groups of the times. We performed at all of the major West Coast venues from San Francisco's Fillmore West to L.A.'s Whisky A Go Go.
During the summer of 1970 while in the midst of a Midwest tour, the band fell apart when a series of gigs at colleges and universities was cancelled in response to the Kent State shootings. Our last big gig was Labor Day weekend 1970 at the Kickapoo Creek Rock Festival in Hayward, IL.

The Name:Devil's Kitchen Band

Everybody wants to know about the name: Devil's Kitchen... No we weren't a devil-worship-motorcycle-gang-heavy-metal-band... That wasn't what we were called when we formed and for the first year or two we were playing. We started out as "Om", the Hindu word/concept (click on the symbol to learn more about the meaning)... but when we got to San Francisco there were two or three other bands named that or some variation of spelling (most notably, AUM) playing in the Bay Area. We had spent a couple months practicing at the lakeside vacation cabin of one of our good friends and roadies, Rolf Olmsted. We had fond memories of our time there and named the group after the lake - Devil's Kitchen Lake, an 810-acre lake about 8 miles from Carbondale (home of Southern Illinois University).

Formation :

How did the band start? The full version could be a very long story, but the short version is that Brett, Robbie, Bob, and Steve knew each other from playing in different groups. Bob had been a driving force as the bassist in a local blues rock band called the Nite Owls and also played multiple instruments in various groups as part of the Folk Arts Society, perhaps most notably, the bluegrass group, the "Dusty Roads Boys". Steve had been the standout drummer playing with a local psychedelic rock group, "Hearts of Darkness" where he picked up the nickname "Naz". Robbie had gained notoriety as the exceptionally talented young lead guitarist and band leader in a series of local high school bands, most recently the "Viscounts". Brett played in various folk groups and was an active in the Folk Arts Society, and was the band leader, vocalist and guitarist for a typical college party band, "Om", whose personnel changed from semester to semester. One semester, they decided to re-form "Om" with the best players from the best local groups.
Early days...

...parties, protests and teen clubs... Besides playing the usual campus parties and local teen clubs and campus gigs, we were the "house band" for a new teen club aka rock emporium in nearby Murphysboro called the Hippodrome. Early song lists were mostly covers of Folk-rock, blues, Brit-rock and classic American rock and roll - "Purple Haze", "Sunshine of Your Love", "Rock Me Baby", "Mr. Fantasy", "I Can See For Miles", "Johnny B. Goode", etc... As we continued to play, we started adding more and more original songs to our repertoire until we were ready to start doing sets of mainly original material.

Brett, who was from the Bay Area, had visited San Francisco for the "Summer of Love" the previous summer and wanted the band to go there to live and play. The band practiced intensely for a month and then hit the road - everybody and our equipment packed up in Brett's Blue VW bus. The first time we only got as far as Freeport, IL before burning out the motor. After getting a new motor, we set out again and drove cross-country to San Francisco...
San Francisco...

...practice, practice, practice... When we got to San Francisco, we rented an old auto garage in the Mission District across the street from a pie factory and set up a practice space surrounded by improvised living space. We played for anyone who would let us perform in front of an audience, getting several gigs in small local venues and doing benefits for the SF Mime troupe, etc. (see the Photos/Posters for some of our earlier gigs) Eventually we started getting the occasional opening slot in local concert halls.
The Haight-Ashbury Years...

sex, drugs, and rock & roll... not necessarily in that order... Yeah, we did the whole rock and roll band life style with all that involves, but it wasn't all just one big party...
After a while and with a growing coterie of roadies, girlfriends and just friends of the band passing through San Francisco, we needed a better living space and found a roach infested but huge 12-room apartment on the second floor of the building on the NE corner of Haight and Ashbury, right in the heart of "the scene". Janice Joplin lived around the corner and we were close to Golden Gate Park and the weekend concerts where we played several times. We got more and more paying gigs all around the Bay Area, auditioned at the Fillmore where Bill Graham took an interest in us and helped us get more gigs and sent us into a studio to learn how to record.
Eventually we hooked up with a new manager, Harvey Morrison, who knew the local music scene well and who moved us to an old rooming house on Fell Street across from the panhandle of GG Park. He also got us in with Chet Helms who was in the process of opening a new venue

after the Avalon had been shut down. We opened the Family Dog Ballroom with the Jefferson Airplane and the Amazing Charlatans, and played there on a regular basis as sort of the "house band" for the next year and a half.
We did one LA tour, playing the Golden Bear, the Brass Ring, and the Whiskey a Go Go, where we opened for Savoy Brown. Mostly though, we played the Bay Area at places like Keystone Korner, the San Francisco Art Institute, Santa Rosa, Berkeley, Santa Cruz, Palo Alto, San Jose, Boulder Creek, Monterrey, etc. while living in the Fell St house. One of our favorite gigs was a week playing every evening at a Ski Resort, Bear Valley... skiing all day, party all night...
The End

The Midwest tour and the trip back home...
During the summer of 1970 while in the midst of a Midwest tour, the band fell apart when a series of gigs at colleges and universities was cancelled in response to the Kent State shootings. We had played Cincinnati again and had returned to Carbondale where we were performing at many of the local clubs. First Steve and then Bob left, heading back to the West Coast with no intention of re-forming the band back in San Francisco.
For several months, Robbie and Brett continued to play as Devil's Kitchen in and around Carbondale. They formed a trio with Robbie on guitar, Brett on bass and a new drummer, Randy Bradle. They also started jamming with some old friends who had a group, Coal Dust (Carla Peyton and Bob Pina). Eventually, the groups merged to become "Coal Kitchen". Shortly after that, Brett dropped out of the group. Robbie and Randy stayed with Coal Kitchen for a little while, but eventually Robbie, Randy & Bob Pina broke out to form another band, "Rolls Hardly". Robbie later returned to the West Coast where he performed with Mickey Hart and Robert Hunter on their solo albums and played bass with the Quicksilver Messenger Service,.
Some of the venues we played:

Family Dog Ballroom on the Great Highway (Magic at the Edge of the Western World)
Fillmore West, SF
Keystone Korner, SF
Whiskey A Go Go, L.A.
Golden Gate Park, SF
Kickapoo Creek Rock Festival, IL
Some of the groups we played with:
Grateful Dead
Jefferson Airplane
Santana Blues Band
Big Brother & the Holding Company
Creedance Clearwater Revival
Allman Brothers Band

Live Concert Recordings:
Live concerts available for listening or purchase at Wolfgang's Concert Vault:
Family Dog Ballroom - March 21st, 1970
Things on My Mind (Incomplete)
3:38
You’ve Got Your Head On Right
4:15
Route 66 ***
3:39
Earthfields
5:30
Farm Bust Blues
8:46
Family Dog Ballroom - March 22nd 1970
Feel So Alone
3:57
Mellow Pot Blues
5:58
All In A Day's Existence
7:03
Bullfrog
7:17
Chlorine
3:58
Muddy River Flatboat (Floating On Down)
3:37
Dream Green, Red And Gold
2:19
Farm Bust Blues
11:19
EL Hasho (El Basho, El Crasho)
28:46
Muddy River Flatboat (The Quality of Life is Fine)
4:01
Keep Yourself Around Me, Woman
3:11
Chlorine
4:12
IGot A Lotta Things On My Mind
4:39

http://www.devilskitchenband.com/

For licensing or information about Devil's Kitchen Music, write to Old Kitchen Music:

Email us: info@devilskitchenband.com

V.A. Celebration - The Big Sur Folk Festival 1970(AM Records - ODE 70)

The Big Sur Poster Of 1970

Seventh Big Sur Folk Festival
Saturday, October 3, 1970
Held at Monterey County Fairgrounds
1:00pm Concert:
Beach Boys (Sloop John B, Riot in Cell Block 9, Good Vibrations)
John Phillips
Joan Baez
Merry Clayton and Love Ltd. (soul music; hour, with 25-minute instrumental set)
Kris Kristofferson (with Chris Gantry and Vince Matthews) (hour)
John Hartford (half hour)

8:00pm Concert:
Beach Boys
John Phillips
Linda Ronstadt, with Swamp Water
Mimi Fariρa & Tom Jans
Mark Spoelstra
Country Joe McDonald ("drew the strongest support of the evening show")
Tom Ghent
Joan Baez
Finale: All sing "You Ain't Going Nowhere"

Joe Cocker and Leon Russell were scheduled but not announced in order to keep audience small. Both canceled.

The Big Sur Crowd

Celebration - The Big Sur Folk Festival 1970

Recorded live at Monterey, California 1970.

Performers and tracks:

Joan Baez:The night they drove old Dixie down
Joan Baez: Let it be
Linda Ronstadt with Swampwater:The only Mama that'll walk the line
Linda Ronstadt with Swampwater: Lovesick blues
Merry Clayton: Bridge over troubled water
Merry Clayton: The times they are a changin'
The Beach Boys: Wouldn't it be nice
Country Joe McDonald: Entertainment is my business
Country Joe McDonald: Air algiers
Kris Kristofferson: The law is for the protection of the people
Kris Kristofferson: To beat the devil

The Big Sur Poster Of 1970

Big Sur Coast

Celebration at Big Sur

Big Sur Folk Festival September '69

REVIEW

by Lindsay Planer(AMG)
REVIEWby Lindsay PlanerWhile issued as Merry Clayton's (vocals), the live set included on Celebration (1970) features a host of additional luminaries from the October 3, 1970 Big Sur Folk Festival. The LP jacket proclaims that "...the money that ordinarily goes to the artists and producer, will go to the institute for the study of non-violence, Palo Alto, California to be shared with the united farm workers and war resisters international." That in itself is a major political (if not somewhat financial) statement by those involved in both the event and this long-player. Suitably commencing the affair is Joan Baez, who is joined by Clayton and other backing vocalists for rousing readings of Baez' concurrent hit, "The Night They Drove Old Dixie Down" and a heartfelt acoustic remake of the Beatles' "Let It Be," which is both poignant and spiritually hopeful. At the time, Linda Ronstadt (vocals) was a relative newcomer to the scene. She ably pulls off a pair of C&W classics with "The Only Mama That'll Walk the Line" and "Lovesick Blues." These spirited performances recall her country/rock leanings and the authority in her pre- rock & roll days. Ronstadt was part of the tight-knit coterie of musicians who were influenced by the likes of the Flying Burrito Brothers, or the post-David Crosby Byrds. With Clayton's heady entries of "The Times They Are a Changin'" and the equally emotive "Bridge Over Troubled Water," it is easy to understand why the platter was released with Clayton at the vortex. Arguably, the rest pales in comparison, although Country Joe McDonald and Kris Kristofferson provide a balance of original material. McDonald's comedic "Entertainment Is My Business" is a well-placed parody that takes a few direct digs at a business whose adage concurs that "the show must go on." At the time, Kristofferson was undoubtedly the least-known act on the concert bill or this recording. Ironically, his songs are among the best of the lot. Both "The Law Is for the Protection of the People" and "To Beat the Devil" keep in touch with his no-nonsense political stances

See the 9 videos

Get The full DVD

Enjoy!

A musical documentary of the 1969 Big Sur Folk Festival, filmed in a chaotic style reminiscent of Woodstock. It features performances by Joan Baez, John Sebastian, Crosby, Stills, Nash & Young, and the Combs Sisters.Some of the finest folk singers and musicians in the world positioned themselves on the edge of some of America's most glorious scenery for a farewell to summer and a celebration of nonviolence in mid-September. It was the sixth annual Big Sur Folk Festival.The festival, held on the tree-shaded lawns of Esalen, also differed from other recent celebrations in that here the "scene" did not eclipse the music, but merely served as a complement. According to its producers, Nancy Carlen and Paula Kates, Big Sur was designed as a "performers festival," an opportunity for artists to come together after a hectic summer on the festival circuit for some peace and solitude.Crosby Stills Nash and Young played the final set, as on Saturday, repeatedly bringing the thinning crowd to it's feet. For a finale - with the audience pushed forward around the pool, closer to the performers now - everyone at the festival reprise "Oh Happy Day".

US 69 - Yesterday's Folks (Buddha, 1969)

US 69 - YESTERDAY'S FOLKS 1969 - USA Buddah - LP Vinyl

"What can ya say? I NEVER ever get tired of hearing this cos I hear something new every time I put it on the turntable and there ain't too many LPs thesedays that you can say that about - are there? '2069: A Spaced Odyssey' is simply outta this world + 'African Sunshine' is also well-loved plus DJ Shadow also recently sampled 'Miss Goodbody' on his 'Red Bus' track

Not quite sure how to classify this one as it blends psych/sitar rock with funk and jazz influences and mixes them together impressively. I was only expecting to like a song or two off of this, but discovered that many of the songs (written and arranged by Bill Durso) were kind of fly. The title song has a guitar line that sounds a lot like Grand Funk Railroad's "Closer to Home" and it's open in two places. "I'm a Nobody" is a bluesy funk-rock cut with sharp drum snaps and a tight rhythm section. And then there's the difficult-to-describe "African Sunshine" which is sort on its own tip. "Miss Goodbody" kicks off with a cymbal-enchanced drumbreak.
U.S._69_-_Yesterday_s_Folk_-_1969_vinyl.rar

Re: West Coast Natural Gas + Indian Puddin' and Pipe

~~~
West Coast Natural Gas

Seattle, Washington About 1966 ~ 1968

Members
Chuck Bates ~ Guitar Dave Burke ~ Bass Pat Craig ~ Vocals Steve Guinn ~ Guitar Dean Herrick ~ Guitar Michael "Kep" Kepley ~ Guitar, Vocals Jeff LaBrache ~ Drums Kris Larson ~ Guitar, 12 String Steve Mack ~ Guitar

Photo Courtesy of Jeff LaBrache

West Coast Natural Gas became Indian Puddin' and Pipe after we had recorded in San Francisco in 1968. Just after the tracks were recorded, the band basically broke up and Matthew Katz changed the name to Indian Puddin' and Pipe. Then in late 1968 Pat Craig went back to San Francisco, called Steve Mack and he went down to put together the performing version of Indian Puddin' and Pipe which was: Pat Craig, Steve Mack, Rex Larsen, Paul Trousdale, Dennis Lannigan, Steve Jackson, Barry Lewis. The most well known version of Indian Puddin' and Pipe lost Lewis and added Rick Quintanal on Drums and Jock Ellis on Trombone. Lydia Moreno did some sessions with us.

Pat Craig, November 2002

Indian Puddin' and Pipe

Seattle, Washington San Francisco, California

About 1968 ~ 1969

Members

Jeff LaBrache ~ Drums Kris Larson ~ Guitar Dave Burke ~ Bass Pat Craig ~ Keyboards, Vocals Steve Mack ~ Guitar, Violin, Vocals Paul Trousdale ~ Tenor Saxophone, Flute, Vocals Steve "Warthog" Jackson ~ Bass, Vocals Barry Lewis ~ Drums Dennis Lannigan ~ Alto Saxophone, Piano, Vocals Rex Larsen ~ Guitar, Vocals Rick Quintanal ~ Drums David Savage ~ Trumpet Jock Ellis ~ Trombone Lydia Moreno ~ Vocals
In Memory of Paul Trousdale 1949 -2005

Psych-rock combo Indian Puddin' and Pipe formed in Seattle in 1966--originally dubbed the West Coast Natural Gas, the group initially comprised singer/guitarist Kep, guitarists Chuck Bates and Kris Larson, bassist Dave Burke and drummer Jeff LaBrache. A latter-day lineup minus Kep and Bates and featuring vocalist Pat Craig and guitarist Steve Mack relocated to San Francisco and in late 1967 issued the lone WCNG single, the Matthew Katz-produced "Go Run and Play." Katz--the manager of Moby Grape, It's a Beautiful Day and other luminaries of the San Francisco psych scene--structured his contracts so that different lineups could appear under a given group's name anytime and anywhere he desired; one lineup of Indian Puddin' and Pipe already existed, but Katz nevertheless rechristened West Coast Natural Gas with the name as well, moving Craig to keyboards and recruiting vocalist Lydia Mareno for what is now considered the definitive version of the group. Indian Puddin' and Pipe never recorded a full-length LP, but did produce four excellent tracks for the compilation Fifth Pipe Dream, issued on Katz's San Francisco Sound label in 1968. This incarnation of the group split soon after, with Mareno later resurfacing in Stoneground and Craig and Mack reuniting in Pipe. ~ Jason Ankeny, All Music Guide

the whole story see Links below :

http://psychspaniolos.blogspot.com/2008/11/west-coast-natural-gas.html

http://24hourdejavu.blogspot.com/2009/05/cats-creation.html

http://velhorockeiro.blogspot.com/2008/12/1024-jeff-simmons-lucille-has-messed-my.html

http://highallthetimeuk.blogspot.com/search?q=pipe+dream

http://www.answers.com/topic/indian-puddin-pipe

http://www.answers.com/topic/fifth-pipedream-vol-1-1968-album

http://www.answers.com/topic/the-lost-album-2005-album-by-indian-puddin-pipe-1

http://www.techwebsound.com/playlistdetail.cfm?artist=276

http://pnwbands.com/westcoastgas.html

http://www.viva.gr/Music/album.aspx?album=1077036

http://www.rhapsody.com/indian-puddin-and-pipe/the-lost-album

http://www.anonym.to/?http://pnwbands.com/indianpuddin.html

http://pnfforum.com/index.php?topic=8523.0

http://www.deaddisc.com/GDFD_NorCal_I.htm

THANKS TO lajso and LAMONE,

http://rapidshare.com/files/238507388/Indian_Puddin___Pipe_-_The_Lost_Album.rar

V.A. - 1970 Live At Winterland - 1970-02-23 (Frisco Hippie Bands.) (@320)

THE GRATEFUL DEAD BUST BENEFIT

WINTERLAND,S.F.

FEB.23,1970

~@~

Performers:

Jefferson Airplane

Quicksilver Messenger Service

Santana

It's a Beautiful Day

Dan Hicks & His Hot Licks (Ex-Charlatans)

Glenn McKay's Head Lights

QUICKSILVER MESSENGER SERVICE
1-TUNING/WARMUP JAM2-BILL GRAHAM INTRO/FRESH AIR 3-PRIDE OF MAN ( FADES IN )4-MONA5-GOLD AND SILVER 6-MOJO 7-SUBWAY 8-EDWARD THE MAD SHIRT GRINDER
-----------------------------------------------------------------------------
IT'S A BEAUTIFUL DAY
1-SOAPSTONE MOUNTAIN2-GOOD LOVIN'3-DON AND DEWEY4-TALK5-LET A WOMAN FLOW6-HOEDOWN7-IT COMES RIGHT DOWN TO YOU8-TUNING9-WHITE BIRD10-WASTED UNION BLUES11-CROWD/TUNING12-DO YOU REMEMBER THE SUN ?
-----------------------------------------------------------------------------
SANTANA
1-WAITING >2-BATUKA > 3-SAVOR >4-JINGO

(note:Incomplete: Incident At Neshabur - Taboo - Persuasion - Waiting - Batuka/Savor/Jingo)
-----------------------------------------------------------------------------

JEFFERSON AIRPLANE
1-WE CAN BE TOGETHER >2-VOLUNTEERS3-TUNING4-GOOD SHEPHERD5-SOMEBODY TO LOVE6-NOTHING7-TUNING8-GREASY HEART ( END CUTS ) **** MISSING ON VERSION 1 ****9-EMERGENCY ( CUTS IN )10-UNCLE SAM BLUES ( CUTS IN )11-HAVE YOU SEEN THE SAUCERS12-TUNING13-MEXICO14-OTHER SIDE OF THIS LIFE15-3/5 OF A MILE IN 10 SECONDS
-----------------------------------------------------------------------------

01_-_QUICKSILVER_MESSENGER_SERVICE__Live_At_Winterland_-_1970-02-23.part1.rar
01_-_QUICKSILVER_MESSENGER_SERVICE__Live_At_Winterland_-_1970-02-23.part2.rar

02_-_IT_S_A_BEAUTIFUL_DAY_-__Live_At_Winterland__1970-02-23.part1.rar
02_-_IT_S_A_BEAUTIFUL_DAY_-__Live_At_Winterland__1970-02-23.part2.rar

03_-_SANTANA_-_1970__Live_At_Winterland_-_1970-02-23.rar

04_-_JEFFERSON_AIRPLANE_-_1970___Live_At_Winterland_-1970-02-23.part1.rar 04_-_JEFFERSON_AIRPLANE_-_1970___Live_At_Winterland_-1970-02-23.part2.rar

V.A. - The Birth Of The San Francisco Sound, Nuggets From The Golden State

V.A._-_The_Birth_Of_The_San_Francisco_Sound___.part1.rar

V.A._-_The_Birth_Of_The_San_Francisco_Sound__.part2.rar

Full Artwork @320

Ευγένιος Σπαθάρης 1924-2009

..ενα κομμάτι της παιδικής μου Ψυχής , έφυγε μαζί με τον Ευγένιο Σπαθάρη!

αυτόν τον μεγάλο Ανθρωπο φτιαγμένο απο σπάνια υλικά Ελλάδας , κληρονόμο και συνεχιστή μιας μεγάλης αρχέγονης Ιστορίας του ελληνικού γένους ,απο τον Ομηρο στον Θεόφιλο και απο κεί στον Ευγένιο Σπαθαρη,γνήσιο εκφραστή της λαικής μας παράδοσης και των απανταχού καταφρονημένων,σπάνιας ράτσας και τιμιότητας..

Ηταν είναι και θα μείνει Φωτεινός αληθινός Φάρος ,στο δρόμο της Ζωής μας!

..μέσα σε τόσους χαλεπούς καιρούς, που έλαχε να ζούμε ,της αφθονίας της διαφθοράς συνειδήσεων και στην εποχή της ένδοιας αξιών! άδεια ψυχή..

Θα είναι πάντα εδώ να συντροφεύει τα πιό όμορφα όνειρά μας, ''πυξίδα'' στα χρόνια που έρχονται...

καλό σου Ταξίδι κύριε Καραγκιόζη ,
με τα μεγάλα μαύρα σου μάτια, γεμάτα Αλήθεια, μεράκι απο Ελλάδα, , γνήσια φιγούρα μιας άλλης εποχής ,με την σκέψη να περάσει στη νέα γενιά Ολες οι Αξίες σου!

ΥΓ. ..ακόμα τις φιγούρες του Καραγκιόζη ,των παιδικών μου χρόνων τις έχω καλά φυλαγμένες, τότε που δίναμε παραστάσεις ''μικρές'' και αθώες στα μάτια μικρού παιδιού ,
γεμάτα απο άρωμα γιασεμί και νυχτολούλουδο - μοσχοβολούσε όλη η γειτονιά - ατέλειωτο παχνίδι στα σοκάκια της γειτονιάς , να μαζευόμαστε όλα τα παιδιά , άσπρο σεντόνι κρεμασμένο στο πλυσταριό της γιαγιάς με κεράκια για να γράφει στο σεντόνι ...ατέλειωτο παιχνίδι - όνειρο στη ψυχή αθώου παιδιού!

"Ο Άγγελος Σικελιανός είπε:
Η τέχνη του Σπαθάρη είναι στη βάση της λαϊκής ψυχής και ζωής και μακάριος όποιος την αντικρίζει με τη σοβαρότητα που της οφείλεται. Μέσα της δεν κατασταλάζει μόνο η λαγαρή θυμοσοφία του λαού μας μπρος στα ανάποδα τον κόσμου, αλλά σκεπάζεται και η πηγαία δύναμη πόχει μέσα του και με την οποία υπερνικά αυτά τα ανάποδα με ψυχισμό ασύγκριτο, ανεβαίνοντας απ'τα σκαλιά της θείας του εξυπνάδας ως με τις κορφές τον ηρωισμού".


<ΕΥΓΕΝΙΟΣ ΣΠΑΘΑΡΗΣ>ΤΟ ΕΡΓΟ ΤΟΥ

Καλό σου ταξίδι Ευγένιε ,καλή παράσταση στην μεγάλη παρέα του Ουρανού!

Ερέ γλέντια που θα γίνουνεεεεεεεεεεεεεε!!!

@@@@@@@@

συνέντευξη στον Δαυίδ Ναχμία (2005) για την εκπομπή ΙΧΝΗΛΑΤΕΣ της ΕΡΤ

GENERATION 68 - a film By Simon Brook , (p) & (c) 2007

@@@@@@@@
Générations 68
Ανέβηκε από arte - News videos from around the world.

GENERATION 68 - a film By Simon Brook , (p) & (c) 2007

Αν κάποιος Φίλος είδε αυτή την ταινεία - ντοκυμαντέρ σήμερα το βράδυ στην ΕΤ1 και την έγραψε σε βίντεο ,θα παρακαλούσα πολύ να επικοινωνήσει μαζί μου.

Θα ήμουν ευγνώμων για αυτό!

links :

http://www.dailymotion.com/video/x549qq_generations-68_news

GENERATION 68 Έτος παραγωγής: (2007)

Στα μέσα της δεκαετίας του ’60, με αποκορύφωμα τη χρονιά του 1968, μια γενιά που είχε ανατραφεί με την τηλεόραση και το ραδιόφωνο, άλλαξε τη μορφή της κοινωνίας, επιβάλλοντας στις παλαιότερες γενιές το δικό της κώδικα αξιών και αψηφώντας τα διεθνή σύνορα και τους ηθικούς φραγμούς. «Η Γενιά του ‘68» είναι ένα κινηματογραφικό ταξίδι πίσω στο χρόνο, με ξεναγούς πολλούς από τους πρωταγωνιστές εκείνης της περιόδου, όπως οι: Milos Forman, Dennis Hopper, Vaclav Havel, William Klein, Jean – Claude Carriere, El Ruscha, Annie Nightingale, Peter Brook, Mary Quant, George Wolinski, Jean- Francois Bizot. Αυτές οι εμβληματικές φιγούρες του Μάη του ’68,διηγούνται τι ακριβώς συνέβη τότε. Μια κοινωνία που επηρέασε τον πολιτισμό, από τον οποίο στη συνέχεια επηρεάστηκε. Η πολιτική συνειδητοποίηση «εισέβαλε» στον κόσμο της τέχνης και η τέχνη άνοιξε την πόρτα της στην ποπ κουλτούρα.‘Όλα αυτά για να δώσουν στην κοινωνία μια νέα μορφή.Ο συγγραφέας Henri Weber και ο σκηνοθέτης Simon Brook προσφέρουν στο κοινό ένα ταξίδι στο παρελθόν αποκωδικοποιώντας πολλές από τις πτυχές του παρόντος. Παραγωγή:Γαλλίας

ET 1 22:00
Η ΓΕΝΙΑ ΤΟΥ ΄68
ΝΤΟΚΙΜΑΝΤΕΡ / Ιστορία

Grandma's Hands By Jeronimo Brothers

While the brothers checked their sound for the night gig, cameraman was anxious to take a few good scenes while the sun was going down. Bill Withers classic was played just for fun and soundcheck. That was for the Bara Party Sykourio Larissa 7/6/2008. (video by V.Aglopoulos)

THE BLUES PROJECT -LIVE INTERNATIONAL CASINO,NYC MARCH 17,1981

Biography
by Richie Unterberger

One of the first album-oriented, "underground" groups in the United States, the Blues Project offered an electric brew of rock, blues, folk, pop, and even some jazz, classical, and psychedelia during their brief heyday in the mid-'60s.

It's not quite accurate to categorize them as a blues-rock group, although they did plenty of that kind of material; they were more like a Jewish-American equivalent to British bands like the Yardbirds, who used a blues and R&B base to explore any music that interested them. Erratic songwriting talent and a lack of a truly outstanding vocalist prevented them from rising to the front line of '60s bands, but they recorded plenty of interesting material over the course of their first three albums, before the departure of their most creative members took its toll.

The Blues Project was formed in Greenwich Village in the mid-'60s by guitarist Danny Kalb (who had played sessions for various Elektra folk and folk-rock albums), Steve Katz (a guitarist with Elektra's Even Dozen Jug Band), flutist/bassist Andy Kulberg, drummer Roy Blumenfeld, and singer Tommy Flanders. Al Kooper, in his early twenties a seasoned vet of rock sessions, joined after sitting in on the band's Columbia Records audition, although they ended up signing to Verve, an MGM subsidiary. Early member Artie Traum (guitar) dropped out during early rehearsals; Flanders would leave after their first LP, Live at the Cafe Au-Go-Go (1966).

The eclectic resumes of the musicians, who came from folk, jazz, blues, and rock backgrounds, was reflected in their choice of material. Blues by Muddy Waters and Chuck Berry tunes ran alongside covers of contemporary folk-rock songs by Eric Anderson and Patrick Sky, as well as the group's own originals. These were usually penned by Kooper, who had already built songwriting credentials as the co-writer of Gary Lewis' huge smash "This Diamond Ring," and established a reputation as a major folk-rock shaker with his contributions to Dylan's mid-'60s records.

Kooper also provided the band's instrumental highlights with his glowing organ riffs. The live debut sounds rather tame and derivative; the group truly hit their stride on Projections (late 1966), which was, disappointingly, their only full-length studio recording. While they went through straight blues numbers with respectable energy, they really shone best on the folk and jazz-influenced tracks, like "Fly Away," Katz's lilting "Steve's Song," Kooper's jazz instrumental "Flute Thing" (an underground radio standard that's probably their most famous track), and Kooper's fierce adaptation of an old Blind Willie Johnson number, "I Can't Keep from Crying."

A non-LP single from this era, the pop-psychedelic "No Time Like the Right Time," was their greatest achievement and one of the best "great hit singles that never were" of the decade. The band's very eclecticism didn't augur well for their long-term stability, and in 1967 Kooper left in a dispute over musical direction (he has recalled that Kalb opposed his wishes to add a horn section). Then Kalb myseriously disappeared for months after a bad acid trip, which effectively finished the original incarnation of the band.

A third album, Live at Town Hall, was a particularly half-assed project given the band's stature, pasted together from live tapes and studio outtakes, some of which were overdubbed with applause to give the impression that they had been recorded in concert. Kooper got to fulfill his ambitions for soulful horn rock as the leader of the original Blood, Sweat & Tears, although he left that band after their first album; BS&T also included Katz (who stayed onboard for a long time). Blumenfeld and Kulberg kept the Blues Project going for a fourth album before forming Seatrain, and the group re-formed in the early '70s with various lineups, Kooper rejoining for a live 1973 album, Reunion in Central Park. The first three albums from the Kooper days are the only ones that count, though; the best material from these is on Rhino's best-of compilation.

Danny Kalb - guitar, vocals

Steve Katz - guitar, vocals

Al Kooper - keyboards, vocals

Andy Kulberg - bass, flute

Roy Blumenfeld - drums

THE BLUES PROJECT BONDS INTERNATIONAL CASINO,NYC MARCH 17,1981

EARLY SHOW

1-TUNING

2-GOIN' DOWN LOUISIANA

3-STEVE'S SONG

4-THAT'S ALRIGHT MAMA

5-ALBERTA

6-YOU CAN'T CATCH ME

7-CATCH THE WIND

8-FLY AWAY

9-RED HOUSE

10-NEW INSTRUMENTAL

11-TALK/INTROS

12-I LOVE YOU MORE THAN YOU'LL EVER KNOW

LATE SHOW

1-INTRO

2-I CAN'T KEEP FROM CRYING

3-JELLY JELLY BLUES

4-CHERYL'S GOING HOME

5-YOU GO AND I'LL GO WITH YOU

6-NO TIME LIKE THE RIGHT TIME

7-FLUTE THING

8-TWO TRAINS RUNNING

9-WAKE ME SHAKE MEENCORE

10-WAKE ME SHAKE ME REPRISE

SIR STUDIOS, NYC MARCH 16,1981 ( REHEARSEL )

1-/CHERYL'S GOING HOME

2-NEW INSTRUMENTAL 1

3-NEW INSTRUMENTAL 2

4-THAT'S ALRIGHT MAMA 1

5-THAT'S ALRIGHT MAMA 2

6-TWO TRAINS RUNNING 1

7-TWO TRAINS RUNNING 2

8-GOIN'DOWN LOUISIANA

http://en.wikipedia.org/wiki/Blues_Project

part1

part2

part3

Σάββατο 20:30: Η ώρα της Γης...

H Ωρα Της Γης ,

θάρθει ,

μόνον οταν ''σβησουμε' τους πάτρωνες απο προσώπου Γής.

Αλλά Σπάρτακος δεν υπάρχει πιά

και ο λαός συνεχίζει να αρέσκεται σε 'Αρτον & Θεάματα'.

Αυτός ο κόσμος δεν θα αλλάξει ποτέ!

Ετσι είναι κατασκευασμένος!

(γρανάζι 'μιάς χρήσεως')

..Πολύ θα ήθελαν.

When The Power Of Love Overcomes The Love Of Power,The World Will Know The Peace. "James Marshall Hendrix''

Public awareness: Global warming

Van Der Graaf Generator - Pilgrims

Van Der Graaf Generator - Pilgrims

A song written by Peter Hammill and David Jackson 1976

Sometimes you feel so far away,
distanced from all the action of the play,
unable to grasp significance,
marking the plot with diffident dismay,
stranded at centre stage,
scrabbling through your diary for a lost page:
unsure of the dream.
Kicking a stone across the beach,
aching for love and comfort out of reach:
the way ahead seems to be so bleak,
there's no-one with any friendship left to speak
or show any relation
between your present and future situations...
lost to the dream.
Away, away, away--look to the future day
for hope, some form of peace
within the growing storm.
I climb through the evening,
alive and believing
in time we shall all know our goals
and so, finally, home;
for now, all is secret -
though how could I speak it,
allow me the dream in my eye!
I've been waiting for such a long time
just to see it at last, all of the hands tightly clasped,
all of us pilgrims.
Walking in silence down the coast,
merely to journey - here hope is the most,
merely to know there is an end;
all of us - lovers, brothers, sisters, friends
hand in hand.
Shining footprints on the wet sand
lead to the dream.
The time has come, the tide has almost run
and drained the deep: I rise from lifelong sleep.
It seems such a long time
I've dreamed but now, awake,
I can see we are pilgrims and so
must walk this road,
unknown in our purpose,
alone, but not worthless,
and home ever calling us on.
We've been waiting here for so long,
all of our hands joined in hope,
holding the weight on the rope
all of us pilgrims.

ILLINOIS SPEED PRESS - First album 1969 (Columbia CS 9792)

(Under Request#November.2.2007)

This Chicago-based quintet was formed in February 1968 by Paul Cotton (later Joined in a group called POCO!)and featured colleague Mike Anthony, whom Cotton had played with in another significant Chicago outfit, The Rovin' Kind, and Kal David, another important Chicago musician, after his spell in H.P. Lovecraft. The songs on their albums ranged from hard rock to more mainstream rock with country influences and from blues towards folk-rock, very often with psychedelic references and some fine fuzz guitars.

The first album met with some commercial success, peaking at No 144 in the Album Charts during 1969. Duet failed to consolidate on this and the band, by now based in California, went their separate ways in late 1971.David went on to play for Fabulous Rhinestones and Cotton to Poco, who were to become flagbearers for the country-rock movement. Earlier Fred Page had left for California where he played for various L.A.-based bands. (continued)

Down & Out

Down & Out is a SOUTHERN ROCKIN' BLUES band established by brothers Ricky & Tonnie in Athens,Greece in the year of 2003.

We are a 3 piece combo weirdos who dig good ol' American southern rock 'n' roll,blues & hillbilly influenced by the psychedelic blues hangover of the late 1960s, traditional roots-based rock 'n' roll with a back-to-basics blues approach mixed with "chooglin'' beats ,Bar-B-Q leads and outlaw-country attitude.
Hope y'all have a good time!---Stay tuned amigos---

NEW 7'' SINGLE!

http://www.myspace.com/downnoutband

Steve Noonan - Steve Noonan(1968 Electra Records EKS 74017) (US,Folk '68)

Steve Noonan: Steve Noonan - Elektra EKS 74017 (Stereo) - Released: 1968

A touch of mystery about this one. There are no producer or engineer credits ... not even the normally ever-present production supervisor tag for Jac. There is a photo on the back of the sleeve by Linda Eastman however.
Steve was a friend of Jackson Browne, and some of Browne's songs are used on this album. At about this time there were plans for a Jackson Browne album on Elektra, but it didn't happen.

(from Elektra ‘Master’ Discography)

Coming out of the same late-'60s Orange County singer-songwriter scene that spawned Tim Buckley and Jackson Browne (who writes or co-writes five songs here), Steve Noonan recorded his sole album for Elektra in 1968, and it remains a lost minor classic of the genre, boasting a brace of good songs augmented with arty touches that are definitely reminiscent of Buckley. Noonan also lends extensive quotes to the notes, too...a 'Collectors' Choice Music' exclusive! Includes 'Leaning Back and Laughing; Tide of Love; She's a Flying Thing; Back Alley Dream Street Song; All Your Flowers; Tumble Down; Street Singer; The Painter; Shadow Dream Song; Buy for Me the Rain', and 'Trusting Is a Harder Thing'.

An early contemporary of Jackson Browne, Steve Noonan managed to beat Browne to the record racks with his 1968 self-titled album for Elektra, which had four Browne songs and one Noonan-Browne effort. Unfortunately, Noonan never even made another album, while Browne, although he had to wait until the 1970s to make his LP debut, became a big star.

Goofin' with JB in Echo Park (scotty - for a dancer - took this pic)
To be callous, there are reasons for this. Noonan's sole album contained pleasant, arty folk-rock-pop tunes that were somewhat reminiscent of those by fellow Elektra artist and Southern Californian Tim Buckley, but not nearly as outstanding. A greater problem was that Noonan's vocals were pretty thin and expressionless, making one wonder if he might have been better suited to remain a songwriter whose work was interpreted by others.

Jackson Browne, Tuli Kupferberg, Stefan Grossman, and Steve Noonan, 1967
In the mid-'60s, Noonan had been hailed by the Los Angeles magazine Cheetah as one of the "Orange County Three," a trio of singer/songwriters from the area to watch out for. One of the other three, Jackson Browne, became a superstar; the other, Tim Buckley, became one of the most esteemed cult rock singers of all time. Noonan, in contrast, is barely remembered at all. He did co-write a small hit single for the Nitty Gritty Dirt Band, "Buy Me for the Rain," with Greg Copeland in 1967, prior to his solo recording debut. Copeland, indeed, figured strongly in the Steve Noonan album, co-writing five of its songs with .Noonan, Copeland, and Browne were obviously tight in those days, as Copeland also did some co-writing with Browne, as on "The Fairest of the Seasons," which was recorded in the late '60s by Nico. It was to little avail for Noonan's commercial prospects, however, as his album must have sold little, judging by how hard it is to locate a copy today.
@^V^@

in this video montage long time friend of Jackson Browne singer/songwriter Steve Noonan gives a live (audio only)performance from 1974 of his hit song co written with Greg Copeland for the Nitty Gritty Dirt Band "Buy For Me The Rain". features clips of Jackson Browne...

Back cover of the Elektra LP 1968 - Photo taken by Linda Eastman (would be McCartney)

Like several low-selling 1960s folk-rock albums on the Elektra label (as with another self-titled 1968 LP, Eclection, by an artist who only put out one full-length recording), it has escaped reissue in the CD age. ~ Richie Unterberger, All Music Guide

Very young and trying to look (and sound) like Bob (as so many others were at the time) 1965-6
Thanx to steve for pics :Steve Noonan on MySpace Music

Album Review: Steve Noonan

http://www.stevenoonan.com/

enjoy!
(and dont forget to buy the new album)

Perth County Conspiracy - 1975 - Kanada (Canada - hippie folk psych)

Cedric Smith (vocals, guitar)

Richard Keelan (guitar, vocals)

Michael Butler (bass)
Terry Jones (guitar, vocals)

George Taros (piano, vocals)

Bob Burchill (guitar, vocals, fiddle; 1973-1975)

Perth County Express [L to R.; David Woodhead.Bob Burchill,Brian lee Griffith,Jerome Jarvis

Formed in Stratford, Ontario's Perth County in 1969 by Smith and former Spikedrivers member and US draft-dodger Keelan,

The Perth County Conspiracy [Does Not Exist] released 'Mushroom Music' on Rumour Records before being signed to Columbia Records and releasing their self-titled album 'Perth County Conspiracy Does Not Exist' in 1970.

The stage at Massey Hall

Their third release, in 1971, was the double live album 'Perth County Conspiracy...Alive' (recorded in the Batthurst Street United Church in Toronto) featuring "You Ain't Got Nothing" which was edited for radio.

Trudy, Penny, Bob & John on What Bus - 1977


David Woodhead,77, Track IV Studio, Waterloo, Ont @ Bob Burchill 1977 Stockholm Sweden

Bob Burchill joined permanently in 1973 and another live album, 'What School Bus Tour' was recorded from performances in Ottawa, Sudbury, Winnipeg in February of that year. Because the band made rare and infrequent stage appearances, another live album followed in 1976 called 'Break Out To Berlin'. After the album the band split up leaving Cedric Smith to carry on. Smith collaborated with Terry Jones on 1977's 'Ten Lost Years - And Then Some'. The album did nothing and Smith moved into a career as an actor. His most memorable role being that of Alec King on CBC-TV's 'Road To Avonlea'.

Richard Keelan, David Balser and Larry Brownsetup at Alumni Hall, London

Discography
1969 Mushroom Music (Rumour) RUMOUR-

1970 Perth County Conspiracy Does Not Exist (Columbia) EKL-375

1971 Alive (Columbia) GES-90037

1973 What School Bus Tour (Rumour/Mushroom) RUMOUR-II

1975 Kanada (Rumour) RUMOUR-IV

1976 Breakout To Berlin (Rumour) RUMOUR-

1977 Ten Lost Years - And Then Some (Rumour)

Mime, Pierre Pot, did incredible interpretation of the songs

Hippie Society: The Youth Rebellion :Canada's Woodstock: Mosport

Perth County Conspiracy

Bob Burchill on MySpace Music -Thanx To Bob's page for the pics
Bob Burchill

pcc on acid archives

see The Perth County Conspiracy Reunion Stratford, Ontario August 14, 2006
jerome jarvis

the David Woodhead Pages

Perth County Conspiracy - Does Not Exist 1970

Perth County Conspiracy "Alive" (Canadian Hippie Folk 1971)

Perth County Conspiracy - 1975 - Kanada : Enjoy !

John Coltrane Live at Birdland (Impulse! 1963)

# under request: repost,

In the early morning of Sunday, September 15, 1963, a gaggle of malcontents planted 12 sticks of dynamite in a window well outside the 16th Street Baptist Church in Birmingham, Alabama.

The dynamite exploded eight hours later killing Denise McNair, 11, and Cynthia Wesley, Carole Robertson and Addie Mae Collins, all 14, in the process galvanizing the Civil Rights Movement.

Three months later, on November 18, 1963,
John Coltrane stepped up to the microphone in fabled Englewood, NJ studio of one Rudy Van Gelder and over a McCoy Tyner Tremolo,

blew his searing and definitive statement on the subject of the bombing— “Alabama.”

“Alabama” is the single most provocative piece on what is considered one of the most well rounded John Coltrane live recordings Coltrane Live at Birdland. The piece is most certainly why this Coltrane live recording was chosen for this series. (continued here..)