Tuesday, August 30, 2011

W.O.C.K On Vinyl - Herman Munster Rap / The Munsters (1964)

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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The Munster’s — Herman, the bolted together, head-of-the-dark-household at 1313 Mockingbird Lane, plus his witch-like wife Lilly, Grandpa the Count from the old country, lil’ son Eddie Wolfgang, and sexy niece Marilyn — take on pop music, as only they can. Campy and corny… it’s TV’s version of the monster mash.
This LP really has no connection to The Munsters except The Munsters are on the album cover. It's "The Newest Teen-Age Singing Group The Munsters - Inspired by the TV characters The Munsters". Basically, it was just a way to cash in on The Munsters craze. As for the music...it's your typical rock 'n' roll of the 60's.
However, the music on this album isn't too bad, especially if you are partial to the 60's beatnick / swing & surf fads that defined the era.
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As an added bonus, I have included a rather bizarre (but very clever) Youtube video clip of Herman Munster doing Rap. Actually, the footage has been sampled from a well known episode of the Munsters where Herman is enticed to recite poetry in front of a group of beatnicks, resulting in some hilarious dialogue.
So, I hope you enjoy this rather Obscure post for this month's W.O.C.K on Vinyl, and can really 'dig' this totally hip 'Scary Green Giant'.
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(thanks to rockpainterx for this clip)
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The Munsters
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Herman Munster
A child-like Frankenstein monster who works as a gravedigger, Herman often throws tantrums when he doesnt get his way. A bumbling idiot with defective brains, he is practically a caricature of Fred Flintstone. Add on his oddly effeminate traits, and it is clear that Brad Garrett states correctly in his stand-up routine that Herman Munster was the first gay sitcom star.
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Lily Munster
Lily is a generic bride of Frankenstein (note the white stripe of hair), who is the matriarch of the Munsters. However, she is also a vampire (being the daughter of Grandpa Munster).

Eddie Munster
The son of a Frankenstein monster and a bride of Frankenstein/vampire mix, Eddie is inexplicably a wolfman, obviously a pathetic attempt to shoehorn in another of the Universal monsters into the mix. Eddie carried around a little wolfman doll and annoyed viewers everywhere.
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Grandpa Munster
A Boris-Karloff knockoff played by the kooky Al Lewis. Clearly a vampire, so we are unsure who Grandpa knocked up to produce Lily. Most of the time he did experiments in the basement, providing convenient plot devices for many of the episodes.
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Marilyn Munster
The “normal” member of the family. Herman and Lily are her aunt and uncle, so we can only assume that they have killed her parents and are holding her against her will. She is also apparently too dumb to realize that she is normal, and is viewed by the other Munsters as lacking their good looks. Oh how very hilarious…the first time [extract from threesorryboys.com]
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Track Listing
01 -  Munster Creep02 - Frankenstein Had A Hot Rod Car03 - $1.98 King Size Voodoo Kit
04 - Vampire Vamp
05 - Herman’s Place
06 - (Here Comes The) Munster Coach
07 - T.V. Monster Show
08 - Eerie Beach
09 - Make It Go Away
10 - You Created A Monster
11 - Ride The Midnight Special
12 - Down In The Basement
13 - Munsters Theme Song #1
14 - Munsters Theme Song #2
15 - Munsters Theme Song (With Words)
16 - Herman Munster Rap

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The Munsters Link (49Mb) New Link 17/04/2016
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Sunday, August 28, 2011

Rick Wakeman - The Six Wives of Henry VIII (1973) + Bonus Live Tracks

(U.K 1969–present)
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Rick Wakeman is an English keyboard player, composer and songwriter best known for his involvement with the progressive rock band Yes. Wakeman joined the folk group Strawbs in 1969 and played on three of their albums. He first joined Yes in 1971 to replace Tony Kaye, and left the group in 1974 to work on his solo career.
Wakeman began his solo career during his first run with Yes. His perhaps most known records being his first three, 'The Six Wives of Henry VIII' (1973), 'Journey to the Centre of the Earth' (1974) and 'The Myths and Legends of King Arthur and the Knights of the Round Table' (1975).
His debut studio album 'The Six Wives of Henry VIII' was released in January 1973 on A&M Records, prior to the release of YES's "Close to the Edge". It is an instrumental progressive rock album with its concept based on his interpretations of the musical characteristics of the six wives of Henry VIII. Wakeman decided on the concept in 1972 while he toured the United States with the rock band Yes. As he read a book about the wives on his travels, melodies he wrote the previous year came to him and were noted down. Wakeman plays a variety of keyboard instruments including piano, Minimoog synthesiser, Mellotron, harpsichord and organ. Musicians from Yes and Strawbs, who he performed with prior to Yes, also play on the album [extracts from Wikipedia]
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Review
Not only did this album help pave the way for progressive rock, but it also introduced the unbridled energy and overall effectiveness of the synthesizer as a bona-fide instrument. Many experts credit Six Wives of Henry VIII as being one of the first albums to bring keyboards to the forefront in an art-rock setting. Rick did get a little help from some of his Yes-mates, but essentially this album was his brainchild.
Six Wives gave Wakeman his chance to break away from the other instrumental complexities that made up Yes and allowed him to prove what a driving force the keyboard could truly be, especially in full album form. More than just synthesized wandering, Wakeman astoundingly conjures up a separate musical persona by way of an instrumental ode to each of Henry VIII's wives through his dazzling use of the Mellotron, Moog, and Hammond C-3 organ. For example, Wakeman's fiery runs and fortissimo thwarting of the synthesizer throughout "Anne Boleyn" is a tribute to her feisty temper and valiant courage that she maintained while standing up to her husband. With "Jane Seymour," on the other hand, Wakeman's playing is somewhat subdued and gentle, which coincides with her legendary meekness and frailty, as well as her willingness to cater to Henry VIII. Wakeman's masterful use of his synthesizers is instrumentally stunning, as is his talent of magically shaping the notes to represent behavioral idiosyncrasies of his characters. Yes bassist Chris Squire lends a hand on "Catherine of Aragon," while guitarist Steve Howe and drummer Bill Bruford appear on a few tracks as well, as does former Strawbs member Dave Cousins, playing the electric banjo. The Six Wives of Henry VIII unleashes the unyielding power of the keyboard as a dominant instrument, but also displays Wakeman at the beginning of an extremely resplendent career as a solo musician.
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I have been a big fan of Rick Wakeman's since hearing his "Six Wives" album, buying most of his earlier 70s and 80s work and he was, along with Keith Emerson, one of my keyboard heroes, as a teenager. I found his music technically excellent and when playing with Yes his keyboard wizardry often complemented Yes’ more serious style with refreshing solos and inspired magical touches weaving their way through Yes' works.
This post consists of a rip taken from my 'treasured vinyl' at 320kps and includes full album artwork (with full inner gatefold depicting Ricks keyboards). I have also chosen to include rips of his Excerpts from Six Wives featured on Yes's triple live 'Yessongs' and live renditions of "Anne Boleyn" and "Catherine Parr" from his KBFH concert held in 1995 - absolutely brillant.
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Below is a performance by Wakeman playing excerpts from 'The Six Wives Of Henry VIII' from Yessongs, 1973.

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Track Listing
01. Catherine of Aragon (3:45)
02. Anne of Cleves (7:50)
03. Catherine Howard (6:36)
04. Jane Seymour (4:44)
05. Anne Boleyn (Incl "The day thou gavest Lord is ended") (6:31)
06. Catherine Parr (7:00)
Bonus Track
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07. Excerpts From The Six Wives of Henry VIII (Yessongs 1973)
08. Anne Boleyn (Live KBFH)
09. Catherine Parr (Live KBFH)

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Band Members:
Rick Wakeman (keyboards)
Judith Powell, Sylvia McNeill, Laura Lee, Liza Strike, Barry St. John (vocals)
Dave Lambert, Mike Egan, Steve Howe (guitar)
Chas Cronk, Les Hurdle, Dave Winter, Chris Squire (bass)
Barry DeSouza, Alan White , Bill Bruford (drums)
Frank Ricotti, Frank Riccotti, Ray Cooper (percussion)
Dave Cousins (banjo)
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Six Wives Link (134Mb)  New Link 15/10/2015
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Wednesday, August 24, 2011

Various Artists - The Gull Files (1975)

(Various Gull Artists 1975)
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Gull records was started in 1974 by Derek Everett, Monty Babson and David Howells. The Gull label was a U.K. record label, the 400 series was distributed by Motown in the United States. The Gull label is white with a blue top with black printing, "Gull" in script above the center hole, pictures of Gulls flying in the background. This record sampler was something that I picked up in a 'bargain bin' at Brash Suttons in Geelong during the 70's, with little knowledge of the bands being featured, except for Arthur Brown.
The cover wasn't really something that grabbed ones attention, but looks can be deceiving I must say! How good was Kraan and Seventh Wave - playing bizarre progressive jazz / rock that literally blew me away. Isotope weren't too far off the mark either and Arthur Brown's offering was very different to his earlier material, in particular Kindom Come. Believe it or not, but I had not heard Judas Priest until coming across this sampler, so what a surprise it was to discover a new heavy rock band, which I have followed religiously ever since.
Finally, Steve Ashley's folk rock offering gives this sampler a variety kick which is both refreshing and interesting.
So, in the end, the $1.99 I paid for this album was a bargain indeed, and I am thankful for the insights it gave me to so many wonderful artists, some which I still follow to this day.
The following is a transcript of the linear notes supplied on the back cover of this sampler, which promo's each of the bands featured - and for some, introducing their debut albums.
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ISOTOPE (Selftitled & Illusion)
Past reputation alone indicates that Isotope, with its fine musicians is a band to be listened to with great respect. Now with their first album "Isotope"behind them-the addition of new members, Hugh Hopper on Bass and Laurence Scott on Keyboards, plus scooping the recent 74 Melody Maker Poll with the album "Isotope" voted 4th LP. of the year, Gary Boyle voted No. 1 New Star, No. 3 British Guitarist and No. 6 World Guitarist, and the band voted 4th in the small group category, Isotope are about to spread their reputation a lot further with the release of their second album for Gull Records "Illusion" which, if the band's recognition is not enough, has won an award for its cover!
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KRAAN (Andy Nogger)
The Musicians in Kraan have known each other personally and musically for many years, consequently their preferred way of making music is, understandably, holding a Jam session. After a brief relaxed warm-up the concentrated work begins. Each member carries the stated idea along and then it is worked out collectively. There is plenty of room for free wheeling improvisations, and it is partly due to these that Kraan has the reputation of being one of the finest live bands in Europe. Terrifically compact, exact and played in perfectly tight-knit fashion, these improvisations are one of the high points of their brand new album on Gull Records entitled "Andy Nogger" of which Billboard said "New group lifts off with a vocalist who sounds alternatively like Jack Bruce and Jimi Hendrix and a fine set of instrumental".
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ARTHUR BROWN (Dance)
Prepare yourself for one of the treats of 1975. A new L.P. on Gull by ace showman Arthur Brown entitled "Dance". Arranged by long time associate and friend, guitarist Andy Dalby. The repertoire on this album ranges from an outstanding new version of the Animals "We've Gotta Get Out Of This Place" through what must become an Arthur Brown classic, the Andy Dalby/Les Adey composition "Helen With The Sun" to the Reggae song "Soul Garden". All forming a perfect showcase for Arthur's outstanding voice. Check out the Mick Jagger/Keith Richard rocker "Out Of Time". Throughout all these is the superb guitar work of Andy Dalby and the extra-ordinary drumming of Charlie Charles plus appearances by Keith Tippet, Pete Solley, Ken Elliott and George Kahn. This isn't called "Dance" for nothing, because here's Arthur back doing what he's best at - Dance Music... and every track works beautifully.
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SEVENTH WAVE (Things To Come)
The childhood dream of Ken Elliott. At the tender age of twenty four Ken has seen hit way through an eventful childhood - taught himself to play keyboards, formed a succession of rock bands, built his own recording studio, written the music for numerous films, T.V programmes and commercials, played synthesizer in countless others, ("Colditz Story", "Assassin", "Death Line", etc.) and at last formed his dream band -Wave. "Things To Come" - the band's debut album for Gull took 18 months and i less overdubs to complete and features a multitude of instruments including Arp, & Ems synthesizers, mellotron, glockenspiel, chimes, pianos, a variety of drums, i and tubular bells. The effects achieved are amazing and the album should definitely establish the group as one of the foremost synthesizer bands around.
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STEVE ASHLEY (Stroll On)
A lot has been said about Steve Ashley and a lot has still to be said. His styles have been compared to those of Richard Thompson and Bert Jansch and his album "Stroll On" has received only excellent reviews such as "One of the finest singer - songwriters in Britain" . . . 'The most sensational record since folk became contemporary" ... "A terrific feeling of raw excitement and energy". .'.'It is destined to become a classic". Steve's career has found him in many bands,the most notable of which was the much famed "Albion Country Band" and when he decided to start a solo career for himself he called on his old friends to help him fulfill his ideas. There is much to be said about "Stroll On" but space not permitting, it is best left to those few reviews.
Steve Ashley is going to be a very significant international influence. He is one of the few British songwriters who has succeeded in carrying on the essence of what the tradition stands for in a contemporary context.
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JUDAS PRIEST (Rocka Rolla)
In just one year Judas Priest have carved a very sizeable niche in today's local scene and have emerged as one of the most impressive and promising bands in Europe. Their music encompasses light and shade, climax and emotion, which is delivered explosively on stage and on vinyl. Their first album on Gull Records "Rocka Rolla" is already being hailed as one of the best heavy albums of this year. It was produced by Rodger Bain whose work with local contemporaries, Black Sabbath and Budgie has been widely acclaimed. Bain has managed admirably in transferring the Judas Priest sound from recording studio to record.
Priest with its two lead guitarists have the potential to lead music back to good, hard honest rock... there is no way at all that they can fail.
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The post consists of a rip taken from my pristine vinyl at 320kps and includes album artwork and label scans. I have also included the covers for the albums featured on this sampler plus some select photos of the bands / artists.
If you will excuse the pun, this album is 'impeckable' !
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Track Listing
01. Helen With The Sun - Arthur Brown (7.25)

02. Holiday Am Marterhorn - Kraan (7.40)

03. Illusion - Isotope (4.53)

04. Honkey Donkey - Isotope (5.57)

05. Eversolightly - Seventh Wave (4.27)

06. Fire and Wine - Steve Ashley (4.32)

07. One For The Road - Judas Priest (4.35)

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The Gull File Link (88Mb) New Link 24/10/2015
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Sunday, August 21, 2011

Ragnarok - Nooks / Live On 1ZM Radio - New Zealand (1976)

(New Zealand 1974 - 1979)
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Founded Feb 1974, Auckland, formed from a North Island hotel circuit band called ‘Sweetfeet’
Ragnarok started playing at local hotels, including the Mon Desire in Takapuna where their first costume foray of hotpants and tights drew in very big crowds. They started a successful residency at Granny’s Night Spot (owned by Tommy Adderley) where the 1st album was created during ‘days off’.
Applying glitter, dressing loud and developing a song list of Pink Floyd, Led Zeppelin and Yes, they formed Ragnarok. They quickly established themselves as being the ultimate acid band of the mid-seventies. They were right into synthesizers, where their instruments featured guitar synthesizers, keyboard synthesizers and mellotron. They all shared the vocals, but were also very fortunate to have one of the finest female vocalists around at the time, Lea Maalfrid, as a member of the group
They recorded a self titled album ‘Ragnarok’ in 1975 at Stebbings Recording Studios in Auckland (See previous Post). The style of music (coined Cosmic Rock) along with their new costumes and makeup (designed by David Hartnell and Kevin Berkahn) was received extremely well throughout Auckland. Ragnarok was the first New Zealand band to sell out a concert through ‘pre-bookings’ at Auckland’s Her Majesty’s Theatre. They were also the first New Zealand rock band to incorporate the two drummer concept.
They started touring NZ in early 1975 to promote
the album and were playing to packed theatres, hotels, taverns, clubs and schools. Lines of people could be seen waiting to enter prompting Ragnarok to perform Saturday afternoons as well. To satisfy demand two full New Zealand tours along with a small North Island tour were completed by November 1975. The touring was extremely tiring (working 6 nights a week) and it was this that prompted Lea to pursue a solo career.
Napier became the band’s second home, basing themselves in Napier, Hawke Bay in late 1975 where they prepared material for the next album. This album ‘Nooks’ was recorded in mid 1976 at EMI Studios in Wellington.
Promotion of this album included a three concert tour (Christchurch, Wellington, Auckland) supporting Jeff Beck with the Jan Hammer Band. Ragnarok also headlined the Otaki Music Festival but were delayed in the South Island because of ‘technical problems’ relating to the Cook Strait Ferry. Two hours late, their progress was being reported over the PA system to eagerly awaiting fans at the concert. Ragnarok had phoned the organisers from phone boxes to ‘report in’ – no mobiles in those days! Although arriving late the performance was well received, the band’s drama having been shared with the audience.
Occasionally Ragnarok would settle down to a residency from 4 to 6 weeks (Christchurch, Napier, Dunedin) so they were able to update their repertoire and concentrate on new originals for their 3rd album. Touring was relentless, giving the band little time to update or to improve on already successful performances. Most of this evolution came from their live performances. Time out to prepare a strategy for the future was not an option.
Eventually the continuous touring took its toll on the band and it was starting to show in their performances. The 3rd album never got to the studio and Ragnarok did their last gig in Havelock North at a local tavern in 1979 for many loyal Hawke Bay fans. It was a far cry from the glory days earlier in the decade. Their 5 year reign had ended where it had started, a small pub in the suburbs. Ragnarok featured on TVNZ’s ‘Radio with Pictures’, ‘Grunt Machine’ and ‘Pop Co’.
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Review (Nooks)
This album is a real symphonic gem from the mid-70s. Ragnarok were New Zealand's premier prog group, and this record stands up with the best. It reminds me a lot of Sebastian Hardie in its lush textures and excellent guitar playing. The vocals are good, but unobtrusive and perhaps a little lacking in excitement, but I'll take on-key over exciting any day. The band had two keyboard players, who are allowed to stretch out on a number of beautiful, pastoral ballads.
The opening song, "Five New Years" , is one of the strongest, and sets the pattern with the mellotron and synthesizer attack and the ponderous lyrics. The melody here and elsewhere is strong, but the atmosphere is the band's real strength, and they really lay it on thick. Next is the stunning "Waterfall/Captain Fagg". The first part begins with the incredibly silly line about the waterfall being at one with the river, yet it sticks. Then more cosmic interventions and a worthy showing on vocals, guitars and bass. We think we know where it's heading, but suddenly the band veers 180 degrees into the boogie of "Capt Fagg". It's even more preposterous than the gestalt waterfall, but it works even better. The impact is all the greater because it is totally unlike anything else on the album.
From here, "Fourteenth Knock" is a workout for drums and bass until the moogs carry the day, again very melodically. To change the pace, "Paths of Reminiscence" is an acoustic affair and the first indication of any sort of a mystical folky affectation. "The Volsung" evokes druids and other mythic woodland life even more, and is another personal favourite, eerie and tuneful.
Some of the synth work is spacey (aka Eloy or Pink Floyd) and between some songs you'll hear a variety of sound effects, including planes crashing into flushing toilets or waves lapping the beach with seagulls wheeling overhead. Overall, a unique symphonic outlook and not too bad.
(Various Reviews at http://www.progarchives.com)
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Review (Live On 1ZM Radio, New Zealand)
While Ragnarok's Live was often sold as an official release, it seems highly likely that it's actually a bootleg. It opens with a 'test tone', then a radio announcer giving some spiel about the band, with the audience cheering in the background; he even mentions some of their gear, including the Moog and Mellotron.
Although plenty of radio broadcasts have been released officially, this one seems unlikely; I don't even know for certain that it appeared in '77; I'm just going by the info I've been given. What I can say is that it must've been recorded in '76, as the announcer refers to their 'forthcoming' album, Nooks, which was recorded late that year. The first three tracks are all from their debut, and are slightly stripped-back versions, without the studio gloss, although "Butterfly Sky" features the same phased Mellotron as its studio counterpart. They betray their pub scene roots with a decent version of Rory Gallagher's "I Fall Apart", and their Pink Floyd and Zeppelin medleys, though, making the album well over half covers.


Loads of 'Mellotron' throughout, (of course keys man André Jayet would've been largely silent, otherwise), mostly strings, but with choir on "Raga" and flutes on "Rainbow Bridge", with the highlight being on the Pink Floyd Medley. Ever wondered what Dark Side of the Moon would've sounded like had Rick Wright used a Mellotron? You haven't? well wonder no more. Ragnarok play from "Us And Them" to the end of the album, and as the cliché goes, it's absolutely mellotron drenched, mostly strings with a bit of choir, with the odd bit of synthesizer emulating the original.
The final track is a cover of "Whole Lotta Love" made famous by Led Zeppelin of course.My first thoughts when hearing this is who the heck are these guys? It doesn't sound like the same band! The heavy guitar,the loud and rough vocals.Unreal.They even do the experimental sounds section to perfection.This band is amazing and yes they can rock with the best of them if they want to. Check out the freaking guitar solo 7 minutes in! A nice little snap shot of how great this band was in a live setting [review from planetmellotron.com]
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I have decided to make this a double post, as both these recordings were produced at the same time in Ragnarok's short career. These (256kps mp3) rips were sourced some time ago from the WWW (thanks to the original uploaders) and I have been able to track down some information regarding the 'Live' recording thanks to a forum post made by Andre Jayet (Ragnarok's keyboard player)
As a member of Ragnarok (mellotron/moog,etc), the band has never heard of or sanctioned this live album. We are not sure where the material was recorded, but obviously someone managed to secure a copy of our live recordings from somewhere. Other than Radio Concerts and some support gigs, the only other source of this material may have come from the person who purchased our 4 track TEAC tape machine with tapes that may have had these recordings on them. Are remastering both studio albums at the moment as well as some live takes at various concerts thru-out NZ. Hope this info is of help to your website and members . CHEERS Andre Jayet

Full album artwork is supplied for both albums, with thanks to WoodyNet for the Live album covers.
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'Nooks' Track Listing
01. Five New years (4:48)

02. Waterfall - Capt. Fogg (6:16)

03. Fourteenth Knock (4:53)

04. Paths of Reminiscence (4:15)

05. The Volsung (5:58)

06. Semolina (3:57)

07. Nooks (7:13)

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'Live' Track Listing
01. Raga
 

02. Butterfly Sky
03. Rainbow Bridge

04. I Fall Apart

05. Pink Floyd Medley (Us & Them)

06. Whole Lotta Love

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Band Members:
Andre Jayet (drums, synthesiser, vocals
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Ross Muir (bass guitar, synthesiser, vocals
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Mark Jayet (drums, percussion, vocals
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Ramon York (synthesized guitar, vocals
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Nooks Link (71Mb) New Link 30/09/2013

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Ragnarok Live Link (101Mb) New Link with additional Artwork 14/012/2013
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Tuesday, August 16, 2011

Various Artists - Some Hard Some Hot 'N' Some Heavy (1974)

(Various MCA Artists 1974)
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This is a record sampler released my MCA in 1974 to promote some of their big name artists, including names such as Lynyrd Skynyrd, Wishbone Ash and Budgie. What really attracted me to this album, when I saw it on the record shelves was the familiar shot of Ray Phillips (first drummer for Budgie in the 70's) on the front cover.
This photo originally appeared on the gatefold of Budgie's most successful album 'Never Turn Your Back On A Friend'. I'm sure this budget release sold twice as many copies simply because of the great cover, unlike other record label samplers such as Gull and Bearsville which featured fairly boring covers. I plan to post these in the near future also.
Some artists were new to me at the time (eg. Wishbone Ash, El Chicano), and after hearing them on this sampler, I chased up their albums immediately. However, there were still a few 'throw away' tracks that really didn't appeal (Martha Reeves, Jerry Jeff Walker) and a few I was already familiar with (Budgie, Lynyrd Skynyrd). Needless to say, the album did its job and I ended up buying some of the albums these tracks were taken from. Overall, it is not a bad collection of songs covering a wide variety of music genres, making it a nice compilation to listen to.
So, to get your taste buds going, I'm providing a brief run down of each artist/band featured on this sampler.
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LYNYRD SKYNYRD - Second Helping (1974)
Lynyrd Skynyrd wrote the book on Southern rock with their first album (from which the catchy "Gimme Three Steps" track was lifted), so it only made sense that they did the same for their second album, aptly titled 'Second Helping'. Sticking with producer Al Kooper (who, after all, discovered them), the group turned out a record that replicated all the strengths of the original, but was a little tighter and a little more professional. It also revealed that the band, under the direction of songwriter Ronnie Van Zant, was developing a truly original voice and sound.
Although 'Second Helping' isn't as hard a rock record as the first, it's the songs that make the record. "Sweet Home Alabama" became ubiquitous, yet it's rivaled by such terrific songs as the snide, punkish "Workin' for MCA," the Southern groove of "Don't Ask Me No Questions," the affecting "The Ballad of Curtis Loew," and "The Needle and the Spoon," a drug tale as affecting as their rival Neil Young's "Needle and the Damage Done," but much harder rocking.
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DOBIE GRAY - Loving Arms (1973)
With MCA Records swallowing up the Decca imprint, 1973's "Loving Arms" continued Dobie Gray's partnership with producer Mentor Williams. Powered by his distinctive gravelly voice and backed by an all star cast of Nashville studio pros, musically the album wasn't a major departure from his 1972 breakthrough "Drift Away" album. Like the former, tracks such as 'Good Old Song', 'You and Me' and 'Lovin' the Easy Way' offered up a catchy blend of soul and country genres. But standout performances would have to be 'Reachin' for the Feeling' (the only Gray-penned original), 'Mississippi Rolling Stone' and 'Love Is On the Line'.
Interesting to note that his other track on this sampler "L.A Lady" was lifted from his earlier album 'Drifting Away' which is the better album in my opinion
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EL CHICANO - Cinco (1974)
I really liked this track when I first heard it however having listened to the whole album, it is the best track they have to offer I'm afraid, pity!
El Chicano went on to release six other albums with MCA, which include, "Revolution" (1971), "Celebration" (1972), "El Chicano" (1973), "Cinco" (1974), "The Best of Everything" (1975)" and "Pyramid" (1976). Also in 1976, they recorded an album called "This Is El Chicano" for the independent Shady Brooke label. It was the first record on which they had been in full creative control. During this period they had hits with their version of Van Morrison's "Brown-Eyed Girl" in 1972 and "Tell Her She's Lovely," which reached number 40 on the national charts in 1973. In 1982, they recorded an album for CBS entitled, "Do You Want Me."
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MARTHA REEVES - Selftitled (1974)
After an amazing run fronting the Vandellas at Motown, with 23 pop charting singles including such classics as 'Heat Wave,' 'Dancing in the Street,' and 'Jimmy Mack,' Martha Reeves parted company with both the Vandellas and her former label, Motown. Signing to MCA after a lawsuit to extract her from her previous contract, her 1974 solo debut was highly anticipated and well received by her fans.
The selftitled album, produced by Richard Perry,was reportedly the most expensive album of that time, costing $250,000. Featuring the singles, "Power of Love" and "Wild Night", the album was a critically favored smash, though it failed to generate commercial success as did Reeves' subsequent follow-ups on other labels including Arista and Fantasy. I'm not really sure why MCA included this below average track "fascimile" on their sampler as there are much better tracks on her album which they could have used instead.
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JERRY JEFF WALKER - Viva Terlingua (1973)
Jerry Jeff Walker is an American country music singer and songwriter. He is probably most famous for writing the song "Mr. Bojangles.
Recorded live in Luckenbach, Texas, this LP is Jerry Jeff Walker's best known album and one of the crucial artifacts of the early outlaw country movement of the 1970s. As far live albums go, however, it's a pretty laid back affair (you can only really hear the audience on Ray Wiley Hubbard's anthemic "Up Against the Wall Red Neck Mother" and Lost Gonzo band member Gary Nunn's "London Homesick Blues.")
Still, Walker and the Gonzo accomplices are in terrific form here, with wonderfully loose performances of favorites like "Sangria Wine." And the sound? Well, it's as relaxed and intimate as you could want.
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WISHBONE ASH - Live dates (1973)
Wishbone Ash were one of the top guitar bands in the Europe of the 1970s, although they were and remain barely known in the US. They even became tax exiles and lived in the States at the end of the 70s. This album is one of the very best live albums from the 70s, if not ever, for classic two-guitar rock.
Live Dates captures the sound and vibe of Wishbone Ash live. The stylistic diversity is quite clear from their take on boogie numbers including "Jail Bait, Lady Whiskey" and the cover of "Baby What You Want Me To Do". These tracks are surrounded by the pop of "Blowin' Free", the progressive rock of "The Pilgrim", "Phoenix", and "Warrior" along with the quieter English folk of "Ballad Of The Beacon", which in my opinion is an all time classic track.
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LinkBUDGIE - In For The Kill (1974)
Budgie’s fourth release, confirmed their consistent metal songwriting. Like past releases, the album features huge metal riffs courtesy of guitarist Tony Bourge and wailing vocals from bassist Burke Shelley.
“Crash Course in Brain Surgery” (again covered by Metallica) contains a repetitive and continuous riff, while “Zoom Club” stresses the importance of the almighty power chord.
"Zoom Club" is one of Budgie's longest tracks, clocking in at nearly 10mins and it has always been a big favourite with their fans when played live. The title track (rumored to have been covered by Van Halen back in their club days) is metal at its most vibrant, while the group balances the album by including a folk number with Beatles-like vocal harmonies (“Wondering What Everyone Knows”).
“Living on Your Own” continues the band’s tradition of lengthy closing numbers, ending another sadly overlooked album from this British band. If by chance you haven't heard this album, then it is well worth pursuing and the remastered edition (as is their full catalog) available from Budgie's website.
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DEODATO - Whirlwinds (1974)
With the phenomenal success of 1972’s Prelude, which included the surprise hit single reworking of Also Sprach Zarathustra, and its successor Deodato 2 (both released on Creed Taylor’s CTI label – at the time the pre-eminent contemporary jazz-fusion imprint), 'Whirlwinds' come from Deodato’s two-year soujourn with MCA.
As an orchestrator, arranger and composer, Deodato is rightly not only famed for his definitive early 70s fusion sound, but also his daring transformations of a wide variety of source material. Whirlwinds showcases this in spectacularly widescreen fashion, with Whirlwinds taking in originals as diverse as Glenn Miller’s Moonlight Serenade, Schubert’s Ave Maria and Steely Dan’s "Do It Again".
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This post contains a rip taken from vinyl at 320kps and includes album artwork and label scans. I have also included the album covers featured here along with track listings for all albums.
Finally, you have to agree that the album title is pretty catchy and the selection of artists is broad, so why not have a listen and let yourself be the judge.
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Track Listing
1 - Gimme Three Steps (Lynyrd Skynyrd)

02 - L.A Lady (Dobie Gray)

03 - What You Don't Know Won't Hurt You (El Chicano)

04 - Fascimile (Martha Reeves)
05 - Curly & Lil (Jerry Jeff
Walker)

06 - Ballad Of The Beacon (Wishbone Ash)
07 - Don't Ask Me No Questions (Lynyrd Skynyrd)

08 - Zoom Club (Budgie)

09 - Dixie Highway (Martha Reeves)

10 - Do It Again (Deodato)

11 - Sangria Wine (Jerry Jeff Walker)

12 - Mississippi Rolling Stone (Dobie Gray)

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MCA Sampler Link (115Mb) Link Fixed 25/10/2015
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Thursday, August 11, 2011

Redhouse - One More Squeeze (1976)

(Australian 1973-1978)
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Originally formed as the Red House Roll Band, this Geelong (Victoria) quartet was that city's premier rock attraction during the mid-1970s. The Red House Roll Band provided a very theatrical stage show (along the lines of Alice Cooper) with band members dressing up in skeleton suits or Superman outfits.
In 1973 the band signed a record deal with Atlantic, which resulted in the single "O Lucky Man" (B-Side was Movin' On). Taken from the British feature film of the same name, the band's version of Alan Price's song became a regional hit. But the band went into hibernation and re-emerged in late 1975 as Redhouse, with a completely revised line-up comprising Jack Green, John Dallimore, Jacques De Jongh and Gary Crothall.
Redhouse built up a strong following on the Melbourne pub circuit as a hard-working heavy rock band.
In July 1976, De Jongh left the band to join Hush. Graham Matters (on vocals) and Garry Quince (on guitar and keyboards) took his place. In September, Redhouse entered the studio to record a debut album, 'One More Squeeze'.
The album did not reflect the band's onstage energy and presented as a lightweight guitar-pop LP. The album produced the singles "I Like Dancing" (October 1976) and "Who's Foolin' Who?" (February 1977).
"I Like Dancing" peaked at #17 in Melbourne during December 1976, and in March 1977 Quince left to join Finch with Robin Riley coming in as his replacement.
A third single, "Thank You", was released in August 1977 before Graham Matters departed to join the cast of the stage musical A Chorus Line. Riley left in October and De Jongh returned briefly while Hush were off the road.
In December, long-serving bass player Jack Green took over management of the band and Redhouse re-formed with a new line-up of Dallimore, Crothall, Gary's brother Rick Crothall on bass, and Joey Amenta (ex-Taste) on guitar. Amenta did not last long and left in March 1978 to join the Russell Morris Band. Redhouse continued as a three-piece for several months before finally calling it quits.
In late 1978, John Dallimore and Rick Crothall formed a new band - a loud, heavy rock band in the tradition of Rose Tattoo and AC/DC. The band were modestly called Dallimore (see earlier post). The band issued one single (and a very catchy one at that!), called "We Are The Kids", in August 1980.
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There's a Redhouse Over Yonder...Coming Up For The Third Time
(by Richard Guilliatt: article from RAM magazine, March 10, 1978)

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Gotta be honest here: Redhouse are not the type of rock band I'll ever fall in love with. First and only time I saw them was at a Myer Music Bowl concert which should have put me off them for life. It was painful. Graham Matters was up front with all his silly theatrics (I reckon they were always a mystery to everyone except him),
J. D. Dallimore was playing a lot of simple, very simple guitar solos
which he accompanied with a lot of exaggerated, very objectionable Jimmy Page l-just-knotted-my-fingers-together, pained-face guitar poses, plus there was a horde of ummmm . . . enthusiastic girls screaming in all the right places, and a 7'/2 hour version of / Like Dancing which just about finished me off. That was some gig, I tell ya. "Yeah," says Jack Green, at that time their bass player, "but all you do at those type of gigs is jump around, make a fool of yourself and have a good time." He said something like that, anyway. Tonight there's no tape recorder or even notepad, just a swift perusal of the Redhouse Mark III model. The Redhouse Mk III model is currently in action on the stage of the Village Green Hotel. I really hate this place — it's full of the young, middle-class triple-front brick veneer moron couples I grew up with, well on their way to their own triple-front brick veneer nirvana. Not to mention the single "chicks", and "guys" with clipped moustaches, everyone in their Fiorucci crotch-crushers looking to pick each other up. They react to Redhouse the same way they'd react to anything on the stage that provided some semblance of beat for them to passionlessly dance to.

Jack Green and I survey the band and the crowd from the centre of the pub. Jack inspecting the troop's performance in his new role as manager. The change is one of several in the new and definitely improved Redhouse. Graham Matters announced his departure from the group in September, gone to follow his interest in theatre via A Chorus Line. The band had known for a while that things were definitely not happening as they once had — both from a playing and record company point of view. They weren't at all happy with the commercialised sound their debut album One More Squeeze ended up with, and when guitarist Robin Riley left shortly after Matters, the band was fragmented for a while, playing only a few gigs with Jacques De Jongh (on holiday from Hush) on guitar. They pulled the pieces together in early December by recruiting former Taste guitarist Joey Amenta and one of their own roadies. Rick Grothall, who turned out to be quite a hot bass player. There's a lot less bullshit to wade through with the new Redhouse, a point proven clearly when the band break into one of their old numbers. Little Paul, full of coy, fairy land lyrics and a grating nursery-time-kiddies' recital. Blechh. The new material, which Green rightly points out is a big improvement, concentrates more on the glitzo hard-rock chording and harmony vocalising that is the band's forte.
Early in the set Redhouse, or their songs, are
worryingly tuneless and uninspired for a band that has just been rejuvenated by new blood But you can't ignore their capabilities in a song like "One More Squeeze", full of quick mood changes, and graced with a simple and enjoyable guitar interlude which the audience respond to by raising their chatter level several decibels.


In the last half of the set things start to jell, and the band start to cook as they should. Dallimore's guitar solo is a fine ending, band and audience alike stopping to watch him smash, thrash and speed-king his way through it. Pure noise, ego and posturing, of course, but it sounds great just the same, and the way several girls sink to their knees on the dance floor and attempt to eat their own fingers proves its role as a crowd pleaser. Dallimore is obviously a better guitar player than first impressions would suggest. And with an amiable disposition, a good voice, pouting face, black curls, a great line in crunching, crotch-rock guitar riffs, and a gaggle of ridiculously young and horny girls following him everywhere, he's well in the running for my vote as the world's most enviable human being. Joey seems quieter than in Taste, playing sidekick to Dallimore's focal stage presence and obvious popularity. His main contribution, apart from a couple of reasonable songs, is a long, searing blues solo. Offstage, his delight in playing with Redhouse can be roughly gauged by a permanent grin that threatens to cave his head in. One thing that could really boost the adrenalin-o-meter in the Redhouse camp would be some kind of sub-Thin Lizzy twin guitar harmonising /sparring. Dallimore and Joey are on roughly the same footing technique-wise, but, at the moment, they're pretty much separate players — haven't quite got that cohesive guitar team work down yet. At the moment Redhouse are what you'd expect — playing better-than-most hard rock, playing it safe, displaying a certain amount of flash, definite female appeal, with promises of commercial potential. Which is why they'll always be bobbing back and in with a chance. A firm footing on the straight and narrow.
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I'm pretty sure Redhouse played a gig at the Geelong show grounds sometime in 1976-77 while supporting Skyhooks (?) and almost stole the show if I remember correctly.
The rip supplied here was taken from my 'near mint' vinyl at 320kps and includes full album artwork. As far as I can gather, this record has never been released on CD. I have also included a rip of my copy of the B-Side single "Hot Feet" which was not included on the album; and the single "Thank You / Snapshot" which was released later in 1977 (sourced from Midoztouch with thanks). Finally, I have provided a scan of the RAM article from which the above review was sourced.
If you are interested in hearing more of John Dallimore's music, see my earlier post.
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Track Listing
01. I Got Love (5:22)

02. I Like Dancing (3:44)

03. Love Your Lady (4:44)

04. Little Paul (3:59)

05. I'm Just (3:49)

06. Hit The Deck (4:56)

07. Who's Foolin Who (6:13)

08. One More Squeeze (9:58)

Bonus Tracks

09. Thank You (A-Side Single)

10. Snapshot (B-Side Single)

11. Hot Feet (B-Side Single)

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Band Members:
Jack Green: Backing Vocals, Bass

Gary Crothall: Drums, Percussion

John (J.D) Dallimore: Guitar, Keyboards

Garry Quince: Guitar, Keyboards, Backing Vocals

Ian Mason: Keyboards (Tracks: 6 & 8)

Graham Matters: Strings (Ensemble), Vocals

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Redhouse Link (115Mb) REPOST
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Monday, August 8, 2011

Various Artists - Woodstock Two (1971)

(Various artists - 1969)
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The Woodstock Festival (Woodstock Music and Art Fair, or Woodstock) was a music festival and a gathering of the iconic hippie culture of the 1960s. It took place in Bethel on land the farmer Max Yasgur United States, about sixty miles from Woodstock in upstate New York.
Organized to take place from 15 to 17 August 1969 and accommodate 50 000 spectators, he finally welcomed more than 450,000, and continued one more day, until the morning of August 18, 1969.
The festival hosted concerts by 32 groups and soloists of folk, rock, soul and blues. The budget for the remuneration of artists reached a total of 200 000 dollars. This is one of the greatest moments in the history of popular music, ranked by Rolling Stone magazine among "50 moments that changed the history of Rock and Roll”.
The festival was both one of the highlights of the cons-culture of the 1960s and the hippie culture and the end of flower power.
The area was declared a disaster area shortly after but no violence was reported, however.
Three deaths (overdoses, appendicitis badly treated and a tractor accident) and two births occurred during the event, which also caused the largest traffic jam in the history of the United States.
Initially, and due to the large number of people who went free, the festival did lose a lot of money to its organizers, but due to sales of recordings of the festival (audio and video), they became beneficiaries. Indeed, if Woodstock is the important point of the cons-culture and the "anti-capitalism" pacifist, organizers had to resell the rights to Warner to settle their debts.
The festival gave rise in 1970, a documentary film, directed by Michael Wadleigh assisted by Martin Scorsese, who also took part in the assembly.
A triple album was released in May 1970, Woodstock: Music from the Original Soundtrack and More, and was reissued as a double CD in 1994. A double album, Woodstock Two, was released a year later, in July 1971 - for which this post is devoted.
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After the multi-platinum success of Music from the Original Soundtrack and More: Woodstock that accompanied Michael Wadleigh's documentary film Woodstock (two million copies sold and it spent four consecutive weeks at the top of the Billboard charts, and even a Top 20 spot on its R&B chart!), Woodstock Two was inevitable as a sequel. Released as a double LP in 1971 with more stills from the film - this set featured many of the same artists who'd appeared on the first volume, with two additions: Mountain, and Melanie. If anything, this set, more concise and more focused, is a better bet than its predecessor.
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Record one is a stunner on more than one level. First, there are three tracks by Jimi Hendrix and his expanded lineup after breaking up the Experience (adding guitarist Larry Lee), and a trio of percussionists along with Mitch Mitchell and bassist Billy Cox. There's the killer "Jam Back at the House," which rolls in riffs and an instrumental array of tunes from his catalog including "Rainy Day Dream Away"; there's a killer take on "Izabella" that's raggedy but full of killer improvisation -- check the interaction between Cox and Mitchell -- and "Get My Heart Back Together," also known as "Hear My Train A'Comin'." These 20 minutes of music make it worth the purchase of this collection if you don't already possess the Jimi Hendrix Live at Woodstock.
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Jefferson Airplane is also here with an extra 12 minutes of music. Judging by this contribution and the inclusion of "Volunteers," on volume 1, this ranks as one of their greatest live sets ever issued. They begin "Saturday Afternoon/Won't You Try" with a medley of tunes from After Bathing at Baxter's, issued early on in their career. The vocal performances by Marty Balin, Grace Slick, and Paul Kantner are simply stellar, but Jorma Kaukonen's guitar as a guiding light also really shines here, and it screams on their other selection, "Eskimo Blue Day," from the Volunteers album, even if its basic structure aped Bob Dylan's "All Along the Watchtower." Record one ends with the Butterfield Blues Band redeeming themselves with Little Walter's "Everything's Gonna Be Alright," after the indulgent debacle of "Love March" on volume one.
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Record two features a trio of fine cuts by Crosby, Stills, Nash & Young including "Marrakesh Express," and a pair from Mountain: the stellar rocker "Blood of the Sun," and the more pastoral "Theme from an Imaginary Western." Canned Heat's 13-minute "Woodstock Boogie" is a bit monotonous, but it's a blast all the same. The tracks by Melanie and Joan Baez included here add nothing to this set and should have been left off in favor of some other artists who weren't included on either volume, but that's personal preference.
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"Woodstock Two - The Bands / Where Are They Now"
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Jimi Hendrix
Hendrix was the closing act at Woodstock. His scheduled Sunday night performance didn't happen until mid-morning Monday, long after all but a few thousand of the original crowd of half a million had gone home. He died just over a year later, reportedly choking to death after consuming an excess of wine and sleeping pills. His Woodstock bandmates included bassist Billy Cox, who went on to do solo and session work; Juma Sultan (congas) recorded with a number of jazz artists; and Jerry Velez (percussion) who has collaborated with a variety of artists, and worked as an event producer and music director. Larry Lee (vocals/guitar) died in 2007; Mitch Mitchell (drums) died in 2008.
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Jefferson Airplane
Marty Balin (vocals) has remained active in the music business, releasing eight solo albums and performing with the band's successor, Jefferson Starship. Grace Slick (vocals) retired from music in 1988 after a stint with Starship and took up painting and drawing. Paul Kantner (guitar, vocals) has stayed close to home, and still performs with Starship. Jorma Kaukonen (guitar, vocals) and Jack Casady (bass) formed Hot Tuna after their Airplane ride, and both continue to tour with Tuna. Nicky Hopkins (piano) worked as a solo and session performer until he died in 1994 at age 50 of complications from intestinal surgery. Drummer Spencer Dryden was in and out of music, and died of colon cancer in 2005 at the age of 66.
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The Butterfield Blues Band
Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ.
It was just a few months after Woodstock that the Butterfield Blues Band disbanded. Founder Paul Butterfield did solo and session work until his death in 1987 at the age of 44 of a heart attack attributed to years of drug and alcohol abuse. Saxophonist David Sanborn has had a highly successful career as a performer and composer. He released a new studio album, Here And Gone, in 2008 and has tour appearances booked through early 2010. Guitarist Buzz Feiten joined The Rascals, and is now a solo and session player.
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Joan Baez
Regarded as the queen of folk music (to Bob Dylan's king), Joan Baez has been a political activist most of her life. Prior to Woodstock, her music strongly reflected her opposition to the Vietnam war and her passion for the protection of human rights. Since Woodstock, she has expanded her activism to include the environment, the death penalty, gay and lesbian rights, poverty, and the Iraq war. Her most recent album, Day After Tomorrow was released in 2008, and she continues to maintain a heavy tour schedule in 2009.
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Cosby, Stills, Nash & Young
Neil Young had just joined up with Graham Nash, Stephen Stills and David Crosby when they performed at Woodstock -- their first public performance. CSNY's recording of the Joni Mitchell song memorializing "Woodstock" (released as a single) would later become a hit and the recording most associated with the festival. Both configurations (CSN and CSNY) continue to perform together today. In addition, Young continues a long and successful solo career.
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Melanie
Melanie had a hit in the Netherlands with "Beautiful People", before performing at the Woodstock Festival. The inspiration for her signature song, "Lay Down (Candles in the Rain)", apparently arose from the Woodstock audience lighting candles during her set.
Melanie had recorded just one album prior to Woodstock. Another 32 followed, the most recent, 'Paled By Dimmer Light', in 2004. Today she still performs a few concerts a year and continues writing music, including the theme song of the Beauty and the Beast TV series.
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Mountain
Leslie West, Felix Pappalardi, N.D. Smart and Steve Knight had performed in public just three times before they took the stage at Woodstock. Over the years, West (guitar, vocals) has formed and re-formed Mountain several times, and also performs as a solo artist. Pappalardi (bass, vocals) moved from performing to producing albums during the '70s. In 1983, he was shot and killed by his wife, Gail, a co-writer of several Mountain songs. Smart, who was replaced on drums by Corky Laing shortly after Woodstock, went on to work with Todd Rundgren and Ian & Sylvia. Knight left music to work as an engineer, author and, from 1999 to 2007, a member of the Town Board of the town of Woodstock.
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Canned Heat
Band co-founders Alan "Blind Owl" Wilson and Bob "The Bear" Hite died, in 1970 and 1981, respectively. Drummer "Fito" de la Parra still performs with the band regularly. Guitarist Harvey "The Snake" Mandel and bassist Larry "The Mole" Taylor left in 1970 to join John Mayall's Bluesbreakers. They briefly reunited with de la Parra for several shows in 2007. Mandel is again touring with Canned Heat in 2009. Taylor is a member of the blues/jazz/swing band, Hollywood Blue Flames and he also plays in Tom Waits' tour band.
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(Thanks to Classicrock for a the "Where are They Now" extracts and to Rick Hart at Woodstock Memories for the Woodstock Banner Art)
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This post consists of a rip taken from my 'mint' vinyl copy (320kps) and includes full album artwork from both LP and CD. I have also included an extensive collection of 'band photos' for those bands featured on this Woodstock Two release.
Note: Unlike its popular triple album predecessor, this followup double LP release did not sell anywhere near as many copies, making it somewhat of a rarity. In fact, I have not come across any other copies in my 40 years of record collecting, so this is truly one of my prize possessions.
As a bonus, I'm also including a rare radio account of the Woodstock Festival narrated by Vincent Price.
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Track Listing
01 - Jam Back At The House (Jimi Hendrix)
02 - Izabella (Jimi Hendrix)

03 - Get My Heart Back Together (Jimi Hendrix)

04 - Saturday Afternoon / Won't You Try (Jefferson Airplane)

05 - Eskimo Blue Day (Jefferson Airplane)

06 - Everything's Gonna Be Alright (Butterfield Blues Band)

07 - Sweet Sir Galahad (Joan Baez)

08 - Guinnevere (CSN&Y)

09 - 4 + 20 (CSN&Y)

10 - Marrakesh Express (CSN&Y)

11 - My Beautiful People (Melanie)

12 - Birthday Of The Sun (Melanie)

13 - Blood Of The Sun (Mountain)

14 - Theme From An Imaginary Western (Mountain)

15 - Woodstock Boogie (Canned Heat)

16 - Let The Sunshine In (Audience

17 - Bonus: Vincent Price Talks About Woodstock
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Woodstock Two Link (199Mb) New Link 06/11/2017
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