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Post by Forum Lord on Aug 25, 2021 10:34:17 GMT -5
The albums and music covered above by this blogger is the time period just before when Al Kooper left New York City to relocate to Atlanta, Georgia area to basically scout for talent for his new Sounds of the South record label to be distributed by MCA Records. A couple of things struck me about the way the above was written and how accurate it really is in nailing down Al Kooper: "Throughout much of the 1960s and 1970s, he was a prolific studio musician..." And that's it. Just a prolific studio session player is all Al Kooper really is along with being one bored as hell depressed and depressing New York'r. You can see it in the album covers above. It is written all over Al Kooper's face. The only reason anyone ever heard of him is because of who he backed, not because of his own music. Can anyone name or sing an Al Kooper song? I'd bet this is in part what lead to his mental situation and turning into a caged animal in the concrete jungle. And I can see why Al Kooper had to get out of there and move South to this country's musical garden of Eden where he could prey upon the Southern culture as so many have before and since like namely one Michael Ray Fitzgerald of Boston who says Southern rock can be anything but Southern. Anyone in the world can play Southern rock. Yeah right... But back to old Al... when he came South and ran into a young hot playing Skynyrd band, Al was really looking for a way to let the fountain of youth and life in the lush green garden of the South to revitalize his empty concrete jungle self. Untold numbers of them moved South for the "weather." Al was simply at a musical dead end in his own personal life and career in my opinion. And probably clinically depressed as he slid into his time at the helm behind a young Skynyrd enthralled to have this over rated has been of the north recording them. Al Kooper was just the right studio session player in just the right place at the right time to give a young Skynyrd the Blood, Sweat, & Tears treatment which would set apart Skynyrd's early music works from most other Southern bands at the time. If Ronnie wanted something different, he got it in the depressed Al Kooper at the end of his rope drinking in Atlanta bars looking for that wellspring of life he was seriously lacking. Al Kooper simply is not known for being a genius creator of music himself. He is most well known for being an inspirational knowledgeable and skilled person who could see it in others and he knew how to get it out of them and put it on tape in ways like no other. Phil Spector would be mentioned only as a similarly bizarre engineer producer for Skynyrd as Kooper was at the time. And one of the bands most often overlooked and forgotten in terms of being produced and recorded by Al Kooper is none other than the first Johnny Van Zant band albums too. Those albums are now classic gems as well with Al Kooper's unique depressing concrete jungle caged animal mentality all over them as well. Most of us will never get to know old Al Kooper, much less even meet him. But if you ever wondered about someone like Al Kooper and what it must be like to live like a caged trapped animal lost somewhere inside the rotten apple concrete jungle of New York City while wasted out of his mind on alcohol and cocaine and no doubt other... thanks to the JVZ band and the nice little Christmas present packages uncle Al would send in the mail to his former clients let's say... Al Kooper has made it possible for all of us to get that glimpse into his world of darkness... by way of a cassette tape that was mailed to someone as a Christmas gift from Al Kooper. So take a listen to Al's own recording of himself a bored out of his wasted mind, side kick studio session player trapped like a caged animal in NYC... the more you listen to it, the more you get out of it... and just think about it... this, I mean THIS is what came South to record Skynyrd. A stroke of cosmic timing... for both. Get some help Al! www.mediafire.com/file/tr10cggx0oem95a/The_Al_Kooper_Tape.mp3/file
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Post by Forum Lord on Aug 25, 2021 10:41:54 GMT -5
"New York City (You're a Woman) is the fourth album by American singer-songwriter Al Kooper for Columbia Records, recorded and released in 1971. The album was recorded with two separate groups, one in Los Angeles, California (which produced eight tracks) and the other in London, England (which produced three). It was inspired by the likes of Elton John (whose "Come Down in Time" is covered), The Beatles and Neil Young. Kooper trotted out a more subdued sound than on his previous albums, recorded without the horns and orchestrations. He kept to his normal format of original compositions interspersed with covers, including the traditional folk-song "500 Miles". Among the best-known tracks from the album is the title track, the only released portion of the presumably unfinished New York City: 6 A.M. to Midnight project."
So just before getting a hold of Skynyrd, Al Kooper recorded his own flop of an album "more subdued sound than on his previous albums, recorded without the horns and orchestrations" but after meeting Skynyrd went right back to if it worked once before maybe it will work again old routine of trying to turn every band in front of him into another BST. But when he got tired of it, or it did not work for him, by all means put it onto others!
At some point I think when Al refused to record Simple Man is when Ronnie escorted him outside of the studio to his limo and told him we will call you when WE are done recording OUR song OUR way!
I think Al would later on come back and add a track to it and possibly mixed it as well. But on this one I am glad Ronnie and Skynyrd would not listen to Al Kooper's opinion.
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Post by Cagey-1 on Sept 16, 2021 9:37:20 GMT -5
Did anyone even listen to the Al Kooper tape?
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Post by Cagey-1 on Sept 16, 2021 9:39:43 GMT -5
Here is an interesting album now available for downloading... one most of us never heard of before now... blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofLE LONDON ALL STAR - British Percussion (1965) [2020] Many fans of John McLaughlin or Led Zep's Jimmy Page never heard this album exists. Recorded in a single session in 1965 and released on French Barclay label only same year,this recording demonstrates rare very early UK blues-jazz scene's music played by unknown musicians, many of them will become real stars very soon. Twelve compositions + 2 bonus tracks are groovy, melodic, often keyboards based, sometimes with almost big band-like arrangements. Participation of Jimmy Page on solo guitar, extremely rare John McLaughlin playing rhythm guitar and Arthur Greenslade on piano all make this album collectors' dream. All project was extremely short-lived and in fact formed just for one recording session - the concept was to record special album of fashionable in that time "new" British music for French market. Music itself is quite enjoyable combining British r'n'b,bluesy jazz-rock and orchestral arrangements. Not a masterpiece, this album is really rewarding listening for fans of all mentioned musicians. Download: ydray.com/get/l/JC16317870584735/QAiqVm6urtfwww.mediafire.com/file/lka48x5ekfx9wsd/LELONDONALLSTAR6520.rar/file
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Post by Forum Lord on Sept 18, 2021 7:28:24 GMT -5
I'm not a huge fan of Rafferty, but albums like this one are rare and worthy of a listen when they come out. blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofGERRY RAFFERTY - Rest in Blue (2021) Gerry Rafferty was a Scottish rock singer-songwriter. His solo hits in the late 1970s included "Baker Street", "Right Down the Line" and "Night Owl", as well as "Stuck in the Middle with You", which was recorded with the band Stealers Wheel in 1973. Gerry Rafferty’s posthumous release Rest In Blue is his 11th solo studio album. Rafferty had been working on the project off and on since 2006, but sadly passed away in 2011, leaving his daughter Martha Rafferty to complete the project. Many of the demos left by Rafferty included multiple layers of synths, which Martha stripped back to showcase his vocal abilities. The result is an album brimming with raw emotion, and a quintessential collection of blues, rock, and folk. Some of the demos Rafferty had singled out as potential tracks for his new album date back as far as 1970. With songs written at varying parts of Rafferty’s career, the album tackles a variety of topics including climate change on Sign Of The Times, the legality of war in Lost Highway, and alcoholism in the emotively honest Still In Denial. Along with the new originals, the album features popular traditional folk songs such as Wild Mountain Thyme and Dirty Old Town. It also features a cover of Richard & Linda Thompson’s It’s Just The Motion. The album finishes with a re-record of the Stealers Wheel classic Stuck In The Middle With You cut back in the ’90s, giving the track a fresh, country-inspired interpretation. Download: ydray.com/get/l/DG16318599128291/OMj4CDU3cuwwww.mediafire.com/file/lfvyxo65vv0eh9v/GERRYRAFFERTYBlue021.rar/file
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Post by Forum Lord on Sept 18, 2021 7:31:37 GMT -5
leaving his daughter Martha Rafferty to complete the project. Many of the demos left by Rafferty included multiple layers of synths, which Martha stripped back to showcase his vocal abilities. The result is an album brimming with raw emotion, and a quintessential collection of blues, rock, and folk. I find this quote a bit irritating because while we are getting a unique item never heard before, I would have liked to hear this material as the artist recorded it, not as the daughter changed it. So for historical purposes it might have been a good thing to include a before and after look at this music. I have to wonder what the artist would have thought about albums like this one and if he ever intended such material to get out and in the way they did. Is this legacy tampering again?
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Post by JerseyGirl on Sept 18, 2021 8:36:04 GMT -5
leaving his daughter Martha Rafferty to complete the project. Many of the demos left by Rafferty included multiple layers of synths, which Martha stripped back to showcase his vocal abilities. The result is an album brimming with raw emotion, and a quintessential collection of blues, rock, and folk. I find this quote a bit irritating because while we are getting a unique item never heard before, I would have liked to hear this material as the artist recorded it, not as the daughter changed it. So for historical purposes it might have been a good thing to include a before and after look at this music. I have to wonder what the artist would have thought about albums like this one and if he ever intended such material to get out and in the way they did. Is this legacy tampering again? I agree with you Wizz, about a before and after look. My first thoughts were Rafferty's daughter should have included both versions. I understand the daughter's point that she wanted her father to be remembered for his vocals. But his vision was to include synths. I am not sure if what Martha did was legacy tampering. I am wondering if it is more of a tribute. I was curious as to why Rafferty never finished the album. Why it took him so long to complete. From my research I found that he had a drinking problem and suffered from illness. He died from liver failure January 4, 2011.
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Post by JerseyGirl on Sept 18, 2021 8:39:10 GMT -5
I ran across this about Rafferty written by his daughter. I still think Martha may have made the changes as a tribute. However, I don't think she should keep stripping songs.
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Evolution His evolution as a songwriter was intimately connected to his love and joy of singing. Singing was home for him and he returned to it every day wherever he found himself, harmony especially so. He loved the company of singing with others and nothing gave him more joy, as those who’ve sat round a table with him will testify. That was his way of putting his mental disarray back into order. Despite his struggles with mental health and the resulting addiction he left a lasting legacy and body of work which will endure for generations to come. I hope you discover something new here, we will be updating as we go as new releases of unpublished work become available so keep checking in.
Thanks for listening, Martha Rafferty September 2020
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Post by Forum Lord on Oct 21, 2021 17:44:54 GMT -5
blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofSANTANA - Blessings and Miracles (2021) Carlos Santana has spent the past decade or so getting back to his roots after a run of all-star collaboration albums made him a chart-topping and Grammy-winning superstar at the turn of the century. His last album, 2019's Africa Speaks, was a purely Latin rock record made with drummer wife Cindy Blackman and producer Rick Rubin; the one before that, Santana IV, featured members from the Santana band's classic '70s lineup. For Blessings and Miracles, the band's 26th album overall, he returns to the formula he perfected on 1999's chart-topping Supernatural and last visited on 2005's All That I Am. He's even asked back some old friends, like Matchbox Twenty's Rob Thomas, who helped propel Supernatural to historic chart success via the ubiquitous "Smooth" and fills a similar role in the 21st century update "Move." The result is pretty much what you'd expect from an album that pairs Santana with artists from his generation (Steve Winwood finally gets around to covering "A Whiter Shade of Pale") with some younger fans (country outlier Chris Stapleton), plus plenty of guitar heroics (from Carlos and Metallica's Kirk Hammett) to go around: It's all over the place, but not without occasional highlights. The two opening instrumentals – "Ghost of Future Pull / New Light" and "Santana Celebration" – have more in common with the band's earliest years than the star-packed Arista era, but by the time Stapleton shows up for "Joy," Blessings and Miracles has settled into a groove that's part Abraxas, part Shaman. That back-and-forth lands mostly on common ground during the LP's hour-long running time. It helps that Santana isn't overshadowed by his guest stars as he often was on those multiplatinum records. Most of them fit the program this time, so for the most part there's no crowbarring trendy pop stars into the mix (though G-Eazy's rap turn in "She's Fire" sounds like it was brought in from another session). That makes Blessings and Miracles less relevant and exciting than Supernatural at times, but it's a more genuine representation of Santana's music as they roll into another decade. Download: ydray.com/get/l/Wf16347928200186/M8JayXFDA4twww.mediafire.com/file/llm4i48y3gq4omt/SANTANABlessings21.rar/file
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Post by Forum Lord on Oct 22, 2021 12:06:27 GMT -5
I can't wait to add Carlos new album to my regular listening music!!! And I am not sure if we have any Mark Knopfler fans around here, but a really cool new compilation is offered by zinhof blogger... and at nearly 1gb of data space needed for this one! blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofMARK KNOPFLER - The Studio Albums 1996-2007 (2021) Mark Knopfler, singer-songwriter, record producer and composer, is one of the most successful musicians the UK has ever produced and is often cited as one of the greatest guitarists of all time. He first came to prominence in the 70s & 80s as leader of Dire Straits, who created many of the signature songs of the era including “Sultans Of Swing,” “Money For Nothing,” “Romeo And Juliet,” and “Walk Of Life.” The band broke up in 1995 and Knopfler set off on a new path as a solo artist. In the ensuing years, Knopfler has released nine solo albums of sophisticated rootsy rock and has continued to tour the globe with his band, delighting audiences wherever he goes. Over the years, Knopfler has written the music for several films, including Local Hero , Cal, The Princess Bride, Last Exit To Brooklyn and Wag The Dog and has played and recorded with many artists, including Bob Dylan, Van Morrison, Tina Turner, Randy Newman and the late Chet Atkins. Knopfler was made an OBE in 1999 and was given the Lifetime Achievement Award at the Ivor Novellos in 2012. Gathering his first five post-Dire Straits solo albums (not counting film scores), and a bonus disc of B-sides titled The Gravy Train, this collection is as sleepy and nonchalant as an old friend’s affable shrug. Knopfler does what he does, blending folk, blues, country and rock into a tension-free take on Americana that’s faintly personal but more about delivering a carpet atmosphere of reflective rumination. The audio of each album has been newly remastered by Miles Showell at Abbey Road Studios in London. 6 CD remastered collection in clamshell-style box. CDs housed in wallets with folded double-sided printed inserts. Download: ydray.com/get/l/tZ16348852647211/mHTCqAbF6sawww.mediafire.com/file/twgh2nxvboe26nq/MARKKNOPFLER960721.rar/file
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Post by Forum Lord on Oct 26, 2021 5:21:04 GMT -5
blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofThis is Gary's future! New Lynyrd Skynyrd music long after he is dead and gone... YES - The Quest (2021) The Quest is the twenty-second studio album by English progressive rock band Yes, released on 1 October 2021 by InsideOut Music and Sony Music. It is their first studio album featuring Billy Sherwood since The Ladder (1999), having replaced founding bassist Chris Squire following his death in 2015, and their first without any original members. It was produced by guitarist Steve Howe. After completing touring commitments in July 2019, Yes began to collaborate on new material by exchanging ideas for songs online. The subsequent COVID-19 pandemic caused all touring to be cancelled in March 2020, which presented the opportunity for them to focus on the album during lockdown. When the songs had been arranged, the album was recorded in California and England and orchestral arrangements by Paul K. Joyce were performed by the FAMES Orchestra in North Macedonia. Frontman Jon Davison was the main lyricist, who wrote about various themes including hope, optimism, and environmental issues. The Quest was released in various formats, including CD, LP, Blu-ray Disc, and on digital platforms, and debuted on the UK Albums Chart at number 20. It received generally positive reviews for Howe's production and as an overall improvement over Yes' previous album Heaven & Earth (2014). Download: ydray.com/get/l/zP16352283012781/m2FB5zUGZlCwww.mediafire.com/file/qs10rf4kkuvc223/YESQuest21.rar/file
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Post by Forum Lord on Nov 6, 2021 7:50:36 GMT -5
blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofDAVID GILMOUR - Yes, I Have Ghosts (2021) David Gilmour is finally giving a wide release to his first new song in five years, “Yes, I Have Ghosts.” Previously, the former Pink Floyd frontman released the tune via the audiobook edition of his wife and long-time collaborator Polly Samson’s novel, A Theatre for Dreamers. Over a waltzing acoustic guitar line and harp played by Gilmour’s daughter, Romany, he sings about “specters of strangers” and fleeting faces in a crowd. “Yes, I have ghosts,” he sings, “Not all of them dead/Making dust of my dreams/Spinning round and around, around in my head.” With its folky textures and lilting melodies, the track bears strong echoes of the music of Leonard Cohen, who appears as a character in A Theatre for Dreamers. It also benefits from Romany’s backup vocals, which combine beautifully with her father’s soft crooning. Until now, the song has been available only on A Theatre for Dreamers, which is not currently available in the U.S. The book is set on the Greek island of Hydra in 1960 when Cohen visited and befriended other poets, painters and musicians. To complement Samson’s story, Gilmour also recorded more score music for the audio release. Download: ydray.com/get/l/Zd16361926162276/qK5BmYMiuPCwww.mediafire.com/file/iwoes4thl0f5b6f/DAVIDGILMOURGhosts21.rar/file
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Post by Forum Lord on Nov 6, 2021 7:55:48 GMT -5
David Gilmour is finally giving a wide release to his first new song in five years, “Yes, I Have Ghosts.” Yes, you do have ghosts sir asshole. YOU personally FIRED Pink Floyd from Pink Floyd and you Ed King, er, David Gilmour turned Pink Floyd into the David Gilmour band and destroyed one of the greatest bands of all time and you are not even an original member! You are a replacement band member, yet you DESTROYED the band you were hired into! Many of us Pink Floyd fans stopped listening to your version of Pink Floyd the second you fired Roger Waters. Roger Waters is your ghost sir asshole. And I hope Roger Waters outlives your ass and takes back over Pink Floyd where he belongs. Shame be forever upon the predators of music! ROGER WATERS IS PINK FLOYD!
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Post by Forum Lord on Nov 11, 2021 6:26:12 GMT -5
Ah, no Floyd fans... maybe we have some Beatles fans? This one sails on past the deluxe version to the super deluxe version... blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofTHE BEATLES - Let It Be (Super Deluxe) [2021] The only Beatles album to occasion negative, even hostile reviews, there are few other rock records as controversial as Let It Be. First off, several facts need to be explained: although released in May 1970, this was not their final album, but largely recorded in early 1969, way before Abbey Road. Phil Spector was enlisted in early 1970 to do some post-production work, but did not work with the band as a unit, as George Martin and Glyn Johns had on the sessions themselves; Spector's work was limited to mixing and some overdubs. And, although his use of strings has generated much criticism, by and large he left the original performances to stand as is: only "The Long and Winding Road" and (to a lesser degree) "Across the Universe" and "I Me Mine" get the wall-of-sound layers of strings and female choruses. Although most of the album, then, has a live-in-the-studio feel, the main problem was that the material wasn't uniformly strong, and that the Beatles themselves were in fairly lousy moods due to inter-group tension. All that said, the album is on the whole underrated, even discounting the fact that a sub-standard Beatles record is better than almost any other group's best work. McCartney in particular offers several gems: the gospelish "Let It Be," which has some of his best lyrics; "Get Back," one of his hardest rockers; and the melodic "The Long and Winding Road," ruined by Spector's heavy-handed overdubs (the superior string-less, choir-less version was finally released on Anthology Vol. 3). The folky "Two of Us," with John and Paul harmonizing together, was also a highlight. Most of the rest of the material, by contrast, was going through the motions to some degree, although there are some good moments of straight hard rock in "I've Got a Feeling" and "Dig a Pony." As flawed and bumpy as it is, it's an album well worth having, as when the Beatles were in top form here, they were as good as ever. The new stereo mix of the album was guided by the original “reproduced for disc” version by Phil Spector. The Super Deluxe Edition includes 27 unreleased session recordings, a 4-track Let It Be EP, the 1969 unreleased 14-track “Get Back” stereo mix by Glyn Johns, and a 100-page hardback book with an intro by Paul McCartney, track-by-track recording information, and many unseen photos, notes, and more. Download: ydray.com/get/l/sc16366098633346/kpXSc8o9CvOwww.mediafire.com/file/lp0jo9xfutaap7c/BEATLESLetSuper21.rar/file
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Post by JerseyGirl on Nov 11, 2021 9:11:20 GMT -5
I like Pink Floyd. I had no plans to listen to David Gilmour's new songs. "Yes, I Have Ghosts" is not a song I want to add to my music collection. The vocals I don't care for. It is not a song to sing along to. The music is nothing special. The lyrics are boring.
Looks like they went digging deep to find Beatles materials so they could put out a package fans will purchase.
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Post by Forum Lord on Nov 11, 2021 10:11:44 GMT -5
The vocals I don't care for. It is not a song to sing along to. The music is nothing special. The lyrics are boring. You just described what David Gilmour did to the Pink Floyd brand when he fired Roger Waters turning what was left of Pink Floyd into the David Gilmour band. YUCK! But yeah, I agree nothing special. This is when someone who is more or less a guitar player and singer tries his hand at songwriting and arranging and falls miserably short. He did fine when he had a songwriting and arranging talent like Roger Waters behind him, then his voice and guitar could contribute to something worthwhile, but as soon as he fired Roger Waters, David Gilmour's entire musical career has no meaning. No substance. Even though they continued to call it Pink Floyd after firing Roger Waters, it was not even a substantial tribute band at that point. Just dragging around a dead horse not realizing David killed it.
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Post by JerseyGirl on Nov 11, 2021 12:05:40 GMT -5
David Gilmour may never realize what he did by getting rid of Roger Waters. He still is making money off the band's name and he has his group of fans. Gilmour may be jealous of Waters' talent. Gilmour is not going to make a lot of money off his latest project.
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Post by Forum Lord on Nov 11, 2021 12:12:09 GMT -5
Roger Waters makes money off all of Gilmour's Pink Floyd ventures too in the same way Judy gets hers. Roger Waters made millions of Gilmour's version of Floyd after being fired. So he's not hurting for money...
What I would like to see is Gilmour and Mason bring Roger Waters back into the band and reverse their stupidity while they still can.
Floyd fans might actually forgive Sir Gilmour.
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Post by Forum Lord on Nov 14, 2021 20:18:53 GMT -5
For some reason this New York band keeps getting tossed into the Southern rock bag where they do not belong... blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofMOUNTAIN - Greatest Hits Live (2000) This album contains a live recording made for the King Biscuit Flower Hour radio series of a concert by Mountain held at the Capitol Theatre in Passaic, NJ, on November 3, 1974. In a six-minute interview conducted 25 years later especially for this release, singer/lead guitarist Leslie West recalled the show as the first American date of Mountain's reunion. (The group had disbanded in 1972 and re-formed in 1973.) It seems more likely that it was one of the band's last performances, since Mountain had recorded its comeback album Avalanche the previous winter and released it in the summer of 1974. In any case, the sound quality is terrific and the show is a lively one, with bandmembers West, singer/bassist Felix Pappalardi, drummer Corky Laing, and new rhythm guitarist David Perry energetically working their way through favorites like "Mississippi Queen," "Theme for an Imaginary Western," and "Nantucket Sleighride." Two songs written by New Orleans legend Allen Toussaint, the 1966 Lee Dorsey hit "Get out of My Life Woman" and an instrumental version of "It's for You," are surprise additions to a set that also includes a timely performance of "Jingle Bells" to mark the holiday season and a concluding medley of "Roll Over Beethoven" and "Whole Lotta Shakin' Going On." There is plenty of affection expressed in the stage remarks, but that didn't keep the band from breaking up soon after this show was recorded. Download: ydray.com/get/l/su1636914377541/oip23vQV5Efwww.mediafire.com/file/ee04jg2mdwv3psr/MOUNTAINGreatestLive000.rar/file
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Post by southernhoser on Nov 14, 2021 20:37:41 GMT -5
Ah, no Floyd fans... maybe we have some Beatles fans? This one sails on past the deluxe version to the super deluxe version... blog.dnevnik.hr/zinhof?page=blog&subdomain=zinhofTHE BEATLES - Let It Be (Super Deluxe) [2021] The only Beatles album to occasion negative, even hostile reviews, there are few other rock records as controversial as Let It Be. First off, several facts need to be explained: although released in May 1970, this was not their final album, but largely recorded in early 1969, way before Abbey Road. Phil Spector was enlisted in early 1970 to do some post-production work, but did not work with the band as a unit, as George Martin and Glyn Johns had on the sessions themselves; Spector's work was limited to mixing and some overdubs. And, although his use of strings has generated much criticism, by and large he left the original performances to stand as is: only "The Long and Winding Road" and (to a lesser degree) "Across the Universe" and "I Me Mine" get the wall-of-sound layers of strings and female choruses. Although most of the album, then, has a live-in-the-studio feel, the main problem was that the material wasn't uniformly strong, and that the Beatles themselves were in fairly lousy moods due to inter-group tension. All that said, the album is on the whole underrated, even discounting the fact that a sub-standard Beatles record is better than almost any other group's best work. McCartney in particular offers several gems: the gospelish "Let It Be," which has some of his best lyrics; "Get Back," one of his hardest rockers; and the melodic "The Long and Winding Road," ruined by Spector's heavy-handed overdubs (the superior string-less, choir-less version was finally released on Anthology Vol. 3). The folky "Two of Us," with John and Paul harmonizing together, was also a highlight. Most of the rest of the material, by contrast, was going through the motions to some degree, although there are some good moments of straight hard rock in "I've Got a Feeling" and "Dig a Pony." As flawed and bumpy as it is, it's an album well worth having, as when the Beatles were in top form here, they were as good as ever. The new stereo mix of the album was guided by the original “reproduced for disc” version by Phil Spector. The Super Deluxe Edition includes 27 unreleased session recordings, a 4-track Let It Be EP, the 1969 unreleased 14-track “Get Back” stereo mix by Glyn Johns, and a 100-page hardback book with an intro by Paul McCartney, track-by-track recording information, and many unseen photos, notes, and more. Download: ydray.com/get/l/sc16366098633346/kpXSc8o9CvOwww.mediafire.com/file/lp0jo9xfutaap7c/BEATLESLetSuper21.rar/file Always loved Let It Be, screw the critics. “Get Back” one of my all time favorite sings.
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