Standin' At The Crossroads : psych blues rock

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Σάββατο 18 Δεκεμβρίου 2010

Don Van Vliet "Captain Beefheart" passed away R.I.P. (1941~2010)

Terrible news: Don Van Vliet, the stupendous avant-garde bluesman, surrealist painter, and world-class eccentric, has died, as confirmed to multiple outlets by a rep from the Michael Werner Gallery, which often showed his work. He would've turned 70 in January. The engine behind unclassifiable and inimitable critic-beloved masterpieces like 1969's Trout Mask Replica and 1978's Shiny Beast (Bat Chain Puller), the California native has been personally mostly off the grid for decades, content to tend to his painting in relative seclusion while his former cohort Gary Lucas toured the world spreading the Beefheart gospel himself. Hopefully he keeps doing it.

from The Village Voice

Have you heard that rumor that's goin' around
You got a man, way across town
It's the same old story, tell me where does it end
Yes I heard the news, it's the same old blues again
...
When I wrote you a letter, you must have read it wrong
I stood at your doorway but she were gone
I took a lot of time 'n let your telephone ring
It's the same old blues, it's the same old blues again

When you gave me the business, you [.?.] I didn't mind
'cause I got a lot of patience 'n I got a lot of time
It's the same old story, tell me where does it end
It's the same old blues, it's the same old blues again

Gonna find me a mountain, gonna hide it out
Ain't talkin' to you 'n I ain't comin' out
Yes I heard the rumor, tell me where does it end
It's the same old blues, it's the same old blues again

Oooooh, oh baby baby
What you make me do
I don't know where I am
It's the same old blues, same old blues again
Whoooooooah, oh oh oh .

Captain Beefheart: 2006 Under Review

captain beefheart discography

http://www.beefheart.com/
en.wikipedia.org allmusic.com

Last FM

DON VAN VLIET - WORKS

Τρίτη 7 Δεκεμβρίου 2010

December 6, 1969 San Francisco (Altamont Speedway)

December 6, 1969 San Francisco ,Altamont Speedway.

Τελευταία Πράξη Του Εργου. Ολα μετά θα άλλαζαν δραματικά..

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

http://www.allmovie.com/work/19778

http://en.wikipedia.org/wiki/Gimme_Shelter_(film)

Σάββατο 18 Σεπτεμβρίου 2010

Jimi Hendrix November 27th, 1942 - September 18, 1970

Jimi Hendrix - 1970-07-30 - Rainbow Bridge Maui Hawaii, Hakaluka Crater, (Complete)

In The End Of July of '70 .Jimi went to Hawaii Isle for some gigs just a few days before his perfomance at the Isle Of Wight Festival in August,30 of 1970.A modest audience of a few hundred island hippies, surfers, and students turned up following announcements that Hendrix would play a free concert for a film. Hendrix was also in Hawaii to play the last concert on his 'Cry of Love' tour with his reformed 'Jimi Hendrix Experience' (with Billy Cox replacing Noel Redding on bass & backing vocals. Mitch Mitchell & Cox were also previously members of
Gypsy Sun and Rainbows.

Rainbow Bridge is a 1972 film directed by Chuck Wein that features footage from a Jimi Hendrix concert, and a short piece of conversation between Pat Hartley, Wein and Hendrix. It was mainly financed by Hendrix manager Mike Jeffery, hence his appearance. The film is about Pat Hartley's "spiritual awakening" via a visit to the 'Rainbow Bridge' planetary meditation cult on Maui, where, as part of the proceedings Jimi Hendrix visits to play a concert during a 'Rainbow Bridge' mass meditation/colour/sound "experiment". The "Rainbow Bridge" concert was a free concert by Jimi Hendrix that was held on July 30, 1970, in a horse pasture above Seabury Hall, on the "Upcountry" slopes of Haleakala, the volcano that makes up 75% of the island of Maui, Hawaii, although it probably last erupted in the 17th century, it is officially considered as being active.

The director Chuck Wein introduced Hendrix' performance (no mention of a group name) as the driving force of this 'Rainbow Bridge' "experiment" , (this title is often mistaken as being the name of the site of this concert rather than the name of this "Planetary meditation" cult, an extension of the Gaia hypothesis into spiritual realms). The original cut, not surprisingly used very little of the concert footage, as this was not intended to be a concert film and no music from the performance was released on the official Reprise LP "Rainbow Bridge- Original Motion Picture Soundtrack" for contractual reasons and due to the original music soundtrack being unreleasable due to its very substandard sonic quality on account of strong winds that day. The album does include, however, the studio tracks featured in the film. However, the music from the concert was distributed as a bootleg recording for three decades, before Radioactive Records released this same bootleg recording on the 2003 album, The Rainbow Bridge Concert: The Early Show until it was withdrawn due to a court action by 'Experience Hendrix' which makes this officially a 'bootleg' CD release. The 'Rainbow Bridge' concert was the penultimate performance by Hendrix in the United States, his last was two days later on August 1, 1970, in Honolulu, Hawaii. Hendrix died less than two months later on September 18, 1970 in London, England.(from Wikipedia)

Original `Rainbow Bridge`USA 1sheet 1972
movie poster for Hendrix free concert at Maui
Hawaii

Jimi Hendrix - 1973 A Film About Jimi Hendrix

Jimi Hendrix - Documentary 2004

Jimi Hendrix - DVD - The last 24 hours

Rainbow Bridge (film) Wikipedia,
Rainbow Bridge IMDb

Enjoy!

Rainbow Bridge   The film
Rainbow Bridge   The Album Complete mp3@320
Rainbow Bridge   The Album Flac
Eric Burdon & War with JimiHendrix 16 9 1970
Live At Ronnie Scott's Jazz Club ,London
(the last night jam perfomance)

The Official Jimi Hendrix Site
http://www.myspace.com/officialjimihendrix

http://en.wikipedia.org/wiki/Jimi_Hendrix
Jimi Hendrix: Biography from Answers.com

Jimi Hendrix's death announcement, September 18th, 1970 on ABC News

Οι τελευταίες μέρες του Τζίμι Χέντριξ Του ΧΑΡΗ ΚΑΒΒΑΔΙΑ

Jimi Hendrix The Uncut Story

When The Power Of Love,

Overcomes The Love Of Power,

The World Will Know The Peace.

"James Marshall Hendrix''

Jimi Hendrix The Uncut Story - Episode 1 1942 - 1961

51:57

With the blessings of Jimi's biological family and many of his closest friends, Passport brings the life of Jimi Hendrix to light as never before. From his upbringing in Seattle to his final days in London, JIMI HENDRIX: THE UNCUT STORY goes beyond all previously released documentaries to explore the complete life-story behind the legendary artist.

Episode 1: 1942-1961 The first part of this three-episode series takes us through Jimi's life in Seattle, Washington where he spent two-thirds of his twenty-seven years. Through the recollection of his closest friends and family, we enter into the inner world of Jimi's childhood upbringing. This is where we come to know the people and events that would shape his love for music and define the extraordinary man he would become.

Jimi Hendrix The Uncut Story - Episode 2 1961 - 1967
52:24

With the blessings of Jimi's biological family and many of his closest friends, Passport brings the life of Jimi Hendrix to light as never before. From his upbringing in Seattle to his final days in London, JIMI HENDRIX: THE UNCUT STORY goes beyond all previously released documentaries to explore the complete life-story behind the legendary artist.

Episode 2: 1961 - 1967 After Jimi's stint in the army, we join him as a sideman on the Chitlin' Circuit playing behind some of the greatest names in R&B. After following Jimi to New York, we head off to the UK where Jimi Hendrix became the toast of swinging London virtually overnight. Hear directly from the British rock stars and scenesters who witnessed Jimi's musical coup d'état firsthand. Then follow the Jimi Hendrix Experience on their way to becoming the hottest rock trio on the world stage.

Jimi Hendrix The Uncut Story - Episode 3 1967 - 1970 (final episode)
52:12

With the blessings of Jimi's biological family and many of his closest friends, Passport brings the life of Jimi Hendrix to light as never before. From his upbringing in Seattle to his final days in London, JIMI HENDRIX: THE UNCUT STORY goes beyond all previously released documentaries to explore the complete life-story behind the legendary artist.

Episode 3: 1967 - 1970 Part three highlights the culmination of Jimi's musical career. It was the peak of the counter-culture era and the world was changing at an incredible pace. Jimi's music and lifestyle were no exception. Here is where we follow Jimi to the height of his creative powers, both in the studio and on the road?only to watch it all come crashing down upon him. Through exclusive interviews, we get the facts behind Jimi's demise and examine the events surrounding his controversial death. But more than that - we come to know the spiritual message behind Jimi's work and celebrate the final stage of his life in music.

Jimi Hendrix: The Uncut Story (p)2004

Enjoy!

Τρίτη 5 Ιανουαρίου 2010

The Flying Bear Medicine Show - 1969 (Smash Rec.) by request

Flying Bear Medicine Show - 1969
This Lp was recorded at the College of Marin County near San Francisco, CA. The members of the Buddy Miles Express, Sir Douglas Quintet, Linn COunty, McCoys, Shades of Joy and Group Therapy decided to jam between members of the groups. This Lp has the highlight tracks of those jams.

Flying Bear Medicine Show

SRS 67125

Smash Records

Featruring top rock sollists from : Linn County, the Buddy Miles Express,

Sir Dougles Quintet, McCoys, Shades of Joy, and Group Therapy. Spontaneous jam

sessions recorded live at the traveling rock festival

he Flying Bear Medicine Show, a live jam from Spring '69 featuring various

members of The McCoys, Buddy Miles Express, Linn County, Shades of Joy, plus

Harvey Mandel and Eddie Hoh.

Apparently recorded one Sunday in Spring 1969 at

an outdoor gig at the "College of Marin" It was issued in 1969 on Fontana 6430

007. Four tracks, including one a drum duet between Buddy Miles and Eddie Hoh.

I also assume that the Martin Fierro of the Shades of Joy who turns up on a

couple of tracks on alto is the same one who was later in the Legion of Mary.

here

Τρίτη 22 Δεκεμβρίου 2009

Big Brother and the Holding Company Guitarist James Gurley Dies at 69

James Gurley passed away on December 20, 2009, of a heart attack, just two days before his 70th birthday.

http://www.bbhc.com/james.html

Big Brother and the Holding Company guitarist James Gurley died of a heart attack on Sunday at a Palm Springs, Calif. hospital. Gurley, 69, was a key creative force in the San Francisco-based psychedelic rock outfit that propelled Janis Joplin to stardom in the late 1960s.

http://www.bbhc.com/index.html

On news of his former bandmate's passing, co-founder Sam Andrew wrote on Big Brother's official website, "For me and many people, James was the real 1960s, the real exemplar of that counterculture, the forerunner. Peter Albin, Chet Helms and I founded Big Brother and the Holding Company, but James was the spirit and the essence of the band in its early days. He showed us the way as a Zen master would show us the way, without sermons, without lectures, with as little talk but as much humor as possible."

Born in Detroit, Gurley picked up the guitar when he was 19. Inspired by the blues, he cited Lightnin' Hopkins as one of his early influences. At the age of 23, he moved to San Francisco to become a part of the city's folk scene and by the summer of 1965, he joined forces with Albin and Andrew.

In June of 1966, Joplin joined the group, which emerged from the same Bay Area scene that launched the Grateful Dead, the Jefferson Airplane and the Quicksilver Messenger Service. BBHC released its eponymous debut album to acclaim in the summer of 1967 and after its landmark performance at the Monterey Pop Festival, the disc had modest chart success.

A year later, the group -- by now signed to Columbia Records -- released the psychedelic rock classic 'Cheap Thrills,' which topped the album chart in October 1968. Despite the enormous hit, 'Piece of My Heart,' the band's days were numbered, with Joplin quitting the group for a solo career. While Big Brother reconvened in 1969, Janis proved irreplaceable and after two additional albums they gave up on the band in 1972.

In 1987, the group returned to the touring circuit, with Gurley retiring from the group in 1996. In 2000, he released a solo album 'Pipe Dreams.'(spinner.com)

BIG BROTHER AND THE HOLDING COMPANY on------http://www.chromeoxide.com/brother.htm>

also here

James Gurley Big Brother and the Holding Company

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

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

James Gurley AMG

One More Once for The Summer of Love

Big Brother A Family Tree Story
http://wapedia.mobi/en/Big_Brother_and_the_Holding_Company

Early life

James Gurley was born in Detroit, Michigan on December 22, 1939. As a boy he sometimes worked with his father who was a stunt car driver. Occasionally this work entailed performing as a human hood ornament with a helmet as his father sped through a flaming plywood wall. The stunt was popular with crowds but not with James - particularly not the day he knocked out his two front teeth and singed his hair to the point where he had to shave his head completely.

At the age of nineteen James took up the guitar and began practicing long hours while listening to old Lightnin' Hopkins records. He never had a guitar lesson, preferring to learn by ear. He spent four years at Detroit's Catholic Brothers of the Holy Cross, studying to be a priest.

Years with Big Brother

In 1962, he moved to San Francisco with his wife Nancy and became part of the coffee-house circuit, playing in the folk and country blues tradition. For a time, he played with J.P. Pickens and the Progressive Bluegrass Boys.

In the summer of 1965, Chet Helms brought James to 1090 Page Street to meet Peter Albin and Sam Andrew of Big Brother and the Holding Company, and shortly thereafter, he joined the band.

Relationship with Janis Joplin

A few weeks after Janis Joplin joined the band, James began having an affair with her. Once James and Janis became involved, he moved out of the apartment he shared with his wife and moved in with Janis. According to Janis, that arrangement ended the day Nancy came barging through the front door of Janis's apartment. "What an embarrassing situation," Janis told Jim Langdon later. "His old lady comes marching into my bedroom with the kid and the dog and confronts us." James continued his affair with Janis for a while, but eventually returned to Nancy, who forgave both him and Janis, with whom she had a close friendship. In 1966, the members of Big Brother, along with their wives and children, all moved into a single house in Lagunitas, California.

After Big Brother

In 1970, James' wife Nancy died of a heroin overdose. James was charged with murder for injecting the drugs, and spent two years fighting the charges before being sentenced to probation. He remarried and had another child in 1972. Since then, James has been involved in a number of independent projects. In 1981, he had a new wave band, "Red Robin and The Worms". James played bass in this band with Robin Reed on vocals, Mitch McKendry aka Mitch Master on lead guitar, Jerome Jim Holt on Sax, and James's son Hongo Gurley (from first wife Nancy) on drums. He has recorded with New Age drummer Muruga Booker and has also been actively involved in writing and recording solo work. In May 1997, James stopped touring with Big Brother to devote his full attention to these projects. The first offering was entitled "Pipe Dreams" and was released in January 2000. (answers.com)

James Gurley passed away on December 20, 2009, of a heart attack, just two days before his 70th birthday.

May God Rest His Soul

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Κυριακή 8 Νοεμβρίου 2009

John Mayall's Bluesbreakers - Fillmore Auditorium - San Francisco,CA. - Feb.9,1968

John Mayall - vocals, guitar, harmonica, keyboard

Mick Taylor - guitar

Keith Tillman - bass

Chris Mercer - tenor sax, organ

Dick Heckstall-Smith - alto and tenor sax

Keef Hartley - drums

Few bandleaders in the 1960s had the vision or ability to constantly change musicians and still create intriguing music every step of the way. John Mayall was one. Like Miles Davis and Frank Zappa, Mayall had a visionary knack for recognizing young talent and more importantly, how to assemble and arrange this talent into powerful musical units. In many cases, Mayall was the catalyst for these younger musicians discovering their own voices, gaining confidence, and defining their sound. This inevitably led to musicians striking out on their own, often to much greater success.

Fillmore Auditorium - San Francisco,CA. - Feb.9,1968

Bill Graham in his Fillmore Office 1967

In the mid-1960's, Mayall had some of the greatest British guitar players working for him. Eric Clapton, followed by Peter Green, had helped redefine British Blues and brought a raw intensity as well as volume to the proceedings, that was being recognized globally. At the time of this concert, Green had departed to form Fleetwood Mac and Mayall brought in the young Mick Taylor as lead guitarist, yet another visionary choice. With a Bluesbreakers lineup that now featured Dick Heckstall-Smith and Chris Mercer on saxes and the rhythm section of Keith Tillman and Keef Hartley, they were a serious force to be reckoned with.

This incredible night, where John Mayall and the Bluesbreakers performed between Albert King and the Jimi Hendrix Experience must have been a feast for blues fans and guitar players alike. The recording begins poorly mixed during the opening "Dust My Broom," but by the second song "So Many Roads," the instrumental balance is quite good. Mick Taylor fans might find this recording like a holy grail, as so little exists of this era. Mayall released two poorly recorded live albums of this lineup that, although sourced from mono recordings, clearly demonstrated that Mick Taylor was indeed in the league of his predecessors. Here one can enjoy that same era in far better clarity.

Being on a bill sandwiched between King and Hendrix must have been intimidating for all involved, especially Mick Taylor, but he rises to the occasion. His fluid guitar playing is simply outstanding on this set. One gets the sense that Taylor studied his predecessors carefully and was consciously avoiding duplication. He is striving for a sound uniquely his own and he is thoroughly successful. He has little interest in flashiness and instead, often plays in a manner both thoughtful and refined. This isn't to say he doesn't cut loose - he does spectacularly on "So Many Roads" and "My Own Fault," the two most improvisational pieces. On these, he has plenty of bite, a distinct touch and a delicious tone. The set ending "Soul of a Short Fat Man" features drummer Keef Hartley and it's a wild blowout by all concerned.

Review :/www.wolfgangsvault.com/

This lineup only lasted for a brief span of time, but the music they created deserves and rewards attention. Once again, these musicians would soon move on to more challenging adventures. Dick Heckstall-Smith would soon be a founding member of Colosseum. Chris Mercer would hook up with Juicy Lucy. Keef Hartley would establish his own band, and of course, Mick Taylor, would become a Rolling Stone the next year and soon be a prime component on some of the decade's most memorable music. However, it was right here that these musicians were discovering themselves

1 - Dust My Broom

2 - So Many Roads

3 - I Can't Sleep

4 - It's My Own Fault

5 - Soul Of A Short Fat Man

Enjoy @320
flac
mp3 @320

Mayall: sessions,concerts
http://www.johnmayall.com/

Fillmore West (Carousel Ballroom), August 6,1970

Fillmore West Auditorium Today

Shot in 1968 on Rick Shaw's "Saturday Hop", Miami, FL. John Mayall - v,g Mick Taylor - g. Stephen Thompson -b. Collin Allen - dr. - John was 34 years old and had a young looking Bluesbreaker band that didn't look too enthusiastic being on TV. Check out Mick Taylor on the guitar. Sooo young and talented...

John Mayall's Bluesbreakers - Help Me (Marquee Club, 1967)

from the live performance in Marquee Club, 1967

The'Bare Wires' version of the Bluesbreakers

Chris Mercer Hammond organ.

Mick Taylor g (seventeen years old!)

John Mayall voc,harp

Keef Hartley drums
Keith Tilman bass
Dick-Hecstall Smith Tenor Sax

Κυριακή 29 Μαρτίου 2009

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.