Tuesday, August 14, 2018

Budgie - Budgie Live + 3 (1978) Bootleg

(U.K 1971 - Present)
This is a hard to find Budgie bootleg and having finally located a copy, it's become apparent that the cover artwork is both inaccurate and misleading.

Firstly, the band members depicted on the front cover do not match the annotated date of the recordings (1978). Drummer Pete Boot is depicted on the cover (LHS) yet Steve Williams was well and truly playing the drums for Budgie from 1975.  In fact, the inside cover depicts the correct band for 1978, but clearly creates confusion for the listener.

Secondly, the labelling on the back cover states that the recordings come from two gigs held in 1978, one held at 'The Electric Ballroom' in Milwakee and another gig in Los Angeles.  A comparison in track lengths and basic song structure (for Tracks 1-8) with the official Milwakee release (see previous post) clearly shows that none of these tracks were recorded at The Electric Ballroom and simply come from a gig held later in the year (October), in Los Angeles (see Radio Sessions).

Inside Cover
It should also be noted that dual guitars can be clearly heard in these performances, indicating that these recordings come from a period in Budgie's lineup when 'Myf Isaac' was playing rhythm guitar alongside the legendary lead guitarist Tony Bourge. Their sound on stage is distinctly fuller and Bourge is given a lot more freedom to reproduce those magical lead breaks that he is renowned for on record.

Budgie received Myf Isaac, a former member of Quest, as the second guitar player for live performances in 1978. After their next trip to America they released a much-wanted live recording of "Live At Atlantik Studios". But the pressure on the band and the small sales of the album caused them to return to Britain in mid-1978 as both Myf and the founding member, guitarist Tony Bourge. Isaacs then endeared in Welsh productions like BANDO, CRYS and EDEN. Trapeze guitarist Rob Kendrick took on the guitarist position, but he did not stay with Budgie for long. After another series of successful concerts in the UK during October and November Kendrick left the band. In 1979, he was officially replaced by 'Big' John Thomas, also known as J.T, a high quality player from George Hatcher Band, who debuted with a band at Stafford Bingley Hall on December 15th.

Budgie Live in L.A 1978
The origin of the 3 bonus tracks on this bootleg is a mystery, but I'm guessing these were recorded some years later based on the track titles, perhaps 1981/82, maybe at the Reading Festival.

Featured Band Members

This post consists of MP3 (320kps) ripped from CD and includes full album artwork (no responsibility taken for inaccuracies).
I would like to acknowledge and thank the source of my Band Member Info above (progressrock.cz) and encourage you to visit this informative Budgie website.

Track Listing
01 - Breadfan
02 - In The Grip Of A Tyrefitter's Hand
03 - In For The Kill / You're The Biggest
Thing Since Powdered Milk / Rocking Man
04 - Zoom Club
05 - Smile Boy Smile
06 - Breaking All The House Rules
07 - Love For You Me
08 - Sky High Percentage
09 - Guts
10 - Superstar
11 - Panzer Division Destroyed

Budgie were:
Burke Shelley- Vocals, Bass
Tony Bourge - Guitar, Vocals
Myf Issac - Lead Guitar
Steve Williams - Drums

Tuesday, August 7, 2018

Deep Purple - Unauthorised Live at Knebworth, England (1985) Bootleg

(U.K 1968 - 1976, 1984 - Present)
The comeback concert that Deep Purple played at Knebworth in 1985 went down in history as one of the muddiest rock concerts of all time.
As Blackadder once remarked about a girl with the worst personality in Germany – that’s up against some pretty stiff competition. It rained all day. The mud was six inches deep. Chemical toilets were in their infancy. I think you get the picture!
Radio One’s Friday Rock Show rather splendidly decided to record the concert for prosperity.

The concert broadcast started late evening: the “stellar” line up was Mama’s Boys, Mountain, Blackfoot, UFO, Meatloaf and Deep Purple, at least half of whom were pretty obscure even then. The Scorpions also played the gig, but had a live album out, so chose not to be part of the actual radio broadcast.  This bootleg comes from this radio broadcast and is excellent quality.

Knebworth 1985

Being the second Knebworth rock festival of the decade ( we won't count the Jazz fests or the Christian Green Field festivals held in 82/83 ), funds were provided by a consortium which included Paul Loasby, who was the promoter of the Monsters of Rock festival held at Castle Donington . The object was to provide a major concert venue for the reformed Mark 2 Deep Purple.

Although there was a licence for 100,000,( which caused all sorts of problems, mainly due to police costs, which were excessive ) around 80,000 punters showed on the day . The weather was appalling, it rained and rained , so much that this show is now referred to as "Mudworth " by those who were in attendance. During the 70's, Knebworth had been very lucky with its weather, the weather gods of the 80's were not so kind !

However, even the privileged have to rough it sometimes and Richie Blackmore had to make his way to the stage clutching a brolly in one hand, protecting his guitar with this 'uncool device'. He also wore gumboots to keep out the mud !

View of the arena at Knebworth 1985 © Henry Cobbold
As for the music, opinions are polarized to a degree that we have rarely experienced when researching concerts. It appears that some people don't really rate most of the support bands and others love their sets . However, almost all agree that the Scorpions played an absolute blinder of a set. Their success was down to being extremely energetic, having a good sound mix and being on top of their game, which , in many cases regarding the supports, was arguably not the case. Some attendees argue that Mountain, UFO and most particularly Meatloaf, were well past their prime. Blackfoot have been either slated , or praised and no one seems to have a good word to say about Alaska.

Some reviews state that Deep Purple played a great set, with the gum booted Blackmore on fire due to the fact that he was annoyed as buggery at life in general, the rest of the band working well together and the erratic Gillan singing well; while  other reviews say they were apathetic and uninspired and were better in the old days. I expect the two hour wait between the end of The Scorpions set and the commencement of Purple's set either honed the anticipation or dulled the expectations for the various reviewers. [extract from UK Rockfestivals]

Concert Review  (By Mark Putterford, the Kerrang! No 98, July 11-24 1985, p. 42)

So who doubted them then, eh? C'mon, WHO DOUBTED THEM!  
As Deep Purple plugged into the driving power of 'Highway Star' and rocked rampantly through 'Nobody's Home' with Ritchie Blackmore rolling in and out of some astounding solos, the years fell away meekly and the reincarnation of a legend exploded on us in a fireball of glory.

I can't quite imagine that anyone expected the re-grouping of Blackmore, Gillan, Glover, Lord and Paice on the same stage to be a disappointment, but with a brain-boggling multitude of bare forearms thrusting rhythmically to a remarkable fresh recollection of the ancient 'Strange Kind of Woman', it all seemed faintly unreal. And when, after a short blues passage, Lord and Blackmore duelled viciously throughout a frighteningly pacey rendition of 'A Gypsy's Kiss', it was distinctly lump in throat time. Twelve years? Sheesh!

With Ian Gillan looking and sounding healthier than he has for years, the epic brilliance of 'Perfect Strangers' revealed some flashing lasers during its haunting middle riff and 'Under The Gun' typified the fresh determination of a band revelling in the electric excitement of a truly momentous occasion.

Blackmore in particular appeared to be enjoying every note; dressed inevitably in black (including black wellington boots!) and with that familiar white strat riding on his slim hips, he stood with left knee twitching in a contentment confirmed with the occasional shake of the barnet, flicking elaborate hand-signals in all directions and blazing up'n'down the frets like only he can.

The Knebworth Perimeter Fence
A nod of Blackmore's machine head and Purple's classic blues romp 'Lazy' unfolded into Ian Paice's drum solo, the stage transformed into a titanic temple of technical excellence, swamped in colour and illuminated by the pumping adrenaline of a long-awaited homecoming. Say what you will, he's still the best rock n' roll drummer in the world for my money.

Next up, Lord's eerie keys, Glover's bobbling bass and Paice's punching drums led the crowd into a massive cheer of recognition for 'Knocking At Your Back Door'. And then Rainbow's 'Difficult To Cure' instrumental found Jon Lord amusing himself like a mad professor in his lag during a lengthy, roaming solo. Finally, Ian Paice's wispy hi-hat shuffled into the sprawling 'Space Truckin'' which, as the green pencil-thin lasers bounced off huge mirror balls spraying the thousands with a swirling mass of stars and a blinding array of lights flashed wildly, climaxed with Blackmore's chaotic solo echoing savagely around the vast field like a violent thunderstorm.

After a dazzling deluge of sparks had showered the stage and more or lasers jerked sharply here and there, Purple returned with a 'Woman From Tokyo' and 'Speed King'. Here, Lord and Blackmore stood shoulder to shoulder rifling riffs at each other and splashing about in wild abandon before charging back.

Masses of whizzing fireworks overhead threw light on the orgiastic ocean of bodies and heralded another encore in the shape of 'Black Night', and after what seemed like hours of cheering, the band trooped on yet again to play 'Smoke On The Water', with Blackmore and Glover swooping guitars halfway through. To cap it all, a firework display which made the Battle Of Britain seem like a total non-event mushroomed into the heavy, foreboding blanket of clouds, and hey... I didn't even realise it was raining! [ extract from Highway Star]

This post consists of MP3's (320kps) ripped from a Grapefruit CD (thanks to DaveL at Midoztouch) and includes the usual generic red artwork.  I have also included artwork for the more extensive bootleg release entitled 'In The Absence Of Pink' (a 2 CD / 2LP set) which some say derives its name from the lack of females in the Knebworth crowd (See covers below).
The quality of the recording on this bootleg is excellent and as the above review states, the band was on fire even though the crowd was soaked.
Track Listing
01 - Intro / Toccata 1.31
02 - Highway star 5.35
03 - Strange kind of woman 8.04
04 - Perfect strangers 6.07
05 - Lazy 3.20
06 - Space truckin' 24.47
07 - Speed king, Fade Away 8.58
08 - Black night 6.22
09 - Smoke on the water 7.43

Deep Purple were:
Ritchie Blackmore (guitar)
Ian Gillan (vocals)
Roger Glover (bass guitar)
Jon Lord (organ, keyboards)
Ian Paice (drums)

Saturday, August 4, 2018

Emerson, Lake & Palmer: Extended Versions - The Encore Collection (2000) Bootleg

(U.K 1970-1979, 1991-1998, 2010-2016)
Emerson, Lake & Palmer (ELP) were an English progressive rock supergroup formed in London in 1970. The band consisted of keyboardist Keith Emerson; singer, bassist and producer Greg Lake; and drummer and percussionist Carl Palmer. With nine RIAA-certified gold record albums in the US, and an estimated 48 million records sold worldwide, they were one of the most popular and commercially successful progressive rock bands in the 1970s, with a musical sound including adaptations of classical music with jazz and symphonic rock elements, dominated by Emerson's flamboyant use of the Hammond organ, Moog synthesizer, and piano (although Lake wrote several acoustic songs for the group).

The band came to prominence following their performance at the Isle of Wight Festival in August 1970. In their first year, the group signed with E.G. Records (who distributed the band's records through Island Records in the United Kingdom, and Atlantic Records in North America), and released Emerson, Lake & Palmer (1970) and Tarkus (1971), both of which reached the UK top five.

The band's success continued with Pictures at an Exhibition (1971), Trilogy (1972), and Brain Salad Surgery (1973, released on ELP's own Manticore Records label). After a three-year break, Emerson, Lake & Palmer released Works Volume 1 (1977) and Works Volume 2 (1977). After Love Beach (1978), the group disbanded in 1979.

Greg Lake
The band reformed partially in the 1980s as Emerson, Lake & Powell featuring Cozy Powell in place of Palmer. Robert Berry then replaced Lake while Palmer returned, forming 3. In 1991, the original trio reformed and released two more albums, Black Moon (1992) and In the Hot Seat (1994), and toured at various times between 1992 and 1998. Their final performance took place in 2010 at the High Voltage Festival in London to commemorate the band's 40th anniversary. Both Emerson and Lake died in 2016, leaving Palmer as the only surviving member of the band. [extract from wikipedia]

Carl Palmer
For a concert recording of ELP, nothing quite beats the recordings made by the King Biscuit Flower Hour. This version is a Canadian release from 2000 on the BMG label, entitled "Emerson, Lake & Palmer – Extended Version - The Encore Collection". This is a single disc collection, which omits Pirates,  C'est La Vie, the longer Piano Improvisation, Drum Solo and Karn Evil 9. However, because the total length of this bootleg is barely over 40mins, I have chosen to add the popular Karn Evil 9 as a bonus.

This bootleg is derived from two shows on separate tours during the 1970s, effectively makes the official 'Welcome Back My Friends' live set superfluous. The group were caught in their early-'70s prime, doing the best numbers off of Brain Salad Surgery when they were fresh and challenging; additionally, the group was in excellent form on both shows that are represented, so the listener gets the trio doing their best work at their tightest. "Karn Evil Nine" is done complete with all three parts clocking in at over 34 minutes, and comes off twice as urgent and effective as the studio version; the rest is just as well executed. The sound is also superior to the audio quality on 'Welcome Back My Friends'.
Keith Emerson
Emerson, Lake & Palmer 'live releases' are notorious for overlapping with each other, and this is no exception. Unlike most King Biscuit releases, the tracks included here are not always unique. The 1974 recordings, which include the aforementioned "Karn Evil 9" plus "Lucky Man" and "Still You Turn Me On" are from the Tulsa USA performance. They previously appeared on the bands' first live album "Welcome back my friends..".

The 1977 recordings are from the "Works" tour, but contrary to some reports elsewhere, they are not taken from the "In concert" album. These versions were recorded at The Coliseum, Wheeling, West Virginia USA without an orchestra.

In terms of recording quality, the sound here is excellent, Greg Lake's acoustic guitar passage sounding particularly clear. The bias of the song selection towards the "Works" (Volumes 1 and 2) albums means that some older favourites are missing, such as Tarkus and Knife Edge. The "Piano improvisation" included here is rather clumsily extracted from the "Take A Pebble" suite, and certainly does not benefit from being presented in isolation.

Sadly, the version of "Fanfare" included here is a performance without the orchestra the band used on some concerts during the tour, and so is missing that special sound we are so accustomed to. 

However, it is better than the numerous bootlegs which the band have recently gathered together and their given official releases, so make sure you grab it now.
This post consists of MP3's (320kps) ripped from CD and includes full album artwork. As mentioned already, I have chosen to include the 34 min version of "Karn Evil 9" as a bonus track, which was released with the derivative King Biscuit Flower Hour bootleg in 1997 (see cover below).
Track List
01 Peter Gunn Theme 3:44
02 Tiger In A Spotlight 4:22
03 The Enemy God 2:46
04 Still...You Turn Me On 3:02
05 Lucky Man 3:09
06 Watching Over You 4:13
07 Fanfare For Common Man 8:21
08 Hoedown 4:24
09 Piano Improvisation 5:40
10 Maple Leaf Rag 1:17
11 Karn Evil 9 (Bonus) 34:37
Line-up / Musicians
- Keith Emerson / keyboards
- Greg Lake / vocals, bass, guitar 
- Carl Palmer / drums, percussion 

Monday, July 30, 2018

W.O.C.K On Vinyl: Ton Up Pirates - Therefore I Am / Animated Blues (1990)

(Australian 1988 - 1991)
Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

Ton Up Pirates were a Melbourne post-punk band in the late 1980's founded by Greg Bainbridge, and Tim Cluning.  There is scant little information available for this band and I have only been able to track down the derivation of the group.

Greg Bainbridge played with a number of Melbourne bands, including Jacksworld and Ton Up Pirates. Jacksworld comprised Bainbridge, Tim Cluning (vocals, guitar), David Bilston (lead guitar) and Michael Taylor (bass). The band played a moody brand of rock that drew comparisons with the likes of Echo and the Bunnymen, The Smiths and The Triffids. 

Bainbridge and Cluning split Jacksworld to form Ton Up Pirates with Greg Rodbard-Bean (bass) and Kenny Martin (lead guitar).  Greg Rodbard-Bean (bass) was later replaced by Nigel Harford from the band White Cross.  I suspect that the band took their name from a notorious Bikie Gang that existed back in the 50's. Below is one of their Club Pin Badges. But I digress.....

The band issued their debut recording in 1988, a 12-inch EP, "A Dirt Road So Far", on the Au-go-go label, followed by two 7" singles on White Label Records,  the first being "Therefore I Am" in 1990 and then a cover of Billy Thorpe's hit "Most People Think I'm Crazy" in 1991.

Ton-Up Pirates certainly fit the bill for this month's WOCK on Vinyl post, with a definite Obscure rating all round. I stumbled upon this single in amongst a box of records at my favourite Sunday Market some time ago, most of which were either water damaged or covered in 3 inches of dust.  
But when I saw the cover art and band's name - I decided it was worth saving. 

So, I hope you enjoy this 'unique' and 'rare' gem, ripped to FLAC with artwork sourced from the web (my cover was stuffed) and my label scans. I have also taken the liberty of including a YouTube clip of the Ton Up Pirates performing "Juke Box Baby".  This was the first ever live TV broadcast in Melbourne for free TV, later to become open channel 31 recorded live from Greek Theatre Richmond, 1988. 

The event featured Crown of Thorns, T.I.S.M. & Ton Up Pirates performing live at the Old Greek Theatre in Richmond. The vision is narrowcast to the inner west of Melbourne on UHF Ch47 during the week-long second test transmission by TVU.

Track List
01 - Therefore I Am
02 - Animated Blues
03 - Juke Box Baby (MP4 Video)

Recorded at Platinum Studios, Melbourne, March 1990.
Engineered by Paul Kosky.

Tuesday, July 24, 2018

Kanguru - Dreaming (1976)

(Australian 1975 - 1976)
Kanguru were an Australian hippy band from around the early to mid seventies. They were based in Northern New South Wales in Nimbin and Byron Bay. Four mainly instrumental tracks are featured on this very rare Aussie album, the only known product from this band. Most of the musos still play music locally in other bands.

Ethno-acoustic prog with a heavy indian classical fixation. Also, a slight Mahavishnu Orchestra vibe. Some very earnest singing with lyrics about being a rainbow and a moonbeam. Nothing special. Play it for your mom if she likes Peter Gabriel.
Good for mellowing out with some nice sitar tinged songs here. I like "Waves Of Aquarius" the best with some nice playing from Cleis Pearce.

An outstanding, cult Australian project mixing chamber prog with eastern influences due to gorgeously epiphanic, dream-like sitar / tabla duets. Similar to Shakti, Clem Alford or Oregon with more emphasis on tripped out harmonies.

Original Release On Ranger Records
Four mainly instrumental tracks are featured on this very rare Aussie album,the only known product from this band. From the artwork through to the music this looks and sounds like something produced by a bunch of guru worshipping hippies, and it well might be. However on colder inspection it is possible that this was produced by a group of guys who made it with their tongues firmly implanted in their cheeks.

Firstly it is released on Larrikin records, a small Aussie label better known for Aussie blues and bush bands. Secondly, the members of the band offer some amusing alias’s: future Sirocco member Guy Madigan is 'Koalananda'; Paul Gibson is 'Sri Wombat', former MacKenzie Theory violinist Cleis Peace is 'Clear light'  and Keith Manning is 'Professor'. Not the typical alias's that you would expect.

Thirdly the label shows that it was produced in 1980, although sounding like it was recorded in the late 60 or early 70s. In fact, the album was originally released on Ranger records in 1976.

Fourthly, it seems more than a coincidence that Guru Guru released an album called Kanguru years earlier (also four long tracks). Notwithstanding, the quality of musicianship is excellent. This album is part meditative, part ambient and heavily Indian influenced.

Cleis Pearce Today
Just for the record, Kanguru wasn't formed in Nimbin, although we toured the Northern Rivers and played several times at Nimbin and Blue Knob.

We played in Sydney and originally joined The White Company as musicians - later in 1976 we went to the Cotter River Down to Earth Festival where we decided to become Kanguru and gave the first performance there with Ion Pearce on cello [ Cleis's brother ]. I believe a video exists from the festival but haven't been able to track it down.

Some taped masters still exist of ABC recordings from Forbes St studios and Wayside Chapel concert. Paul and I have discussed releasing these tracks and others as archival material. Maybe a record company would be interested? [comment by Keith Manning on MidozTouch Forum]

Cleis Pearce in 90's
Cleis Pearce
Cleis has a long history playing violin and viola in many creative musical ventures, including improvising and writing music for contemporary dance and poetry performances. She has recently toured and performed with Gyan and Michael Leunig, Yuval Ashkar, Dha, Coolangubra and many more. Cleis is one of the country's finest melodic improvisers, and can keep an audience in raptures with her soaring virtuosity, tone, and facility on the violin and viola. Cleis is alco reknown for playing Violin and viola with the Progressive rock outfit Mckenzie Theory back in the early 70's, before joining Kanguru in 1975?. Cleis, also made 3 albums in the 90's in a band she formed called Coolangubra.  (see ambientmusicguide.com).
She currently  lives/plays in Northern NSW in Byron Bay. To view her latest release see her bandcamp page.

Keith Manning today
Keith Manning
Keith is an accomplished musician who trained under a tabla guru in India for 16 years from 1975 to 1991. He has spent the past 30 years performing Indian and fusion music in Australia.
Keith was involved with the Indian musical society called Sangeet in Sydney during the 1970s and 1980s and was a member of the band Kanguru during the late 1970s playing east / west fusion music.

During his time in Bathurst, Keith has become heavily immersed in the local music scene. He played frequently with Matt Williamson, he performed at Cabaret Kite, the End Festival and Inland Sea of Sound Festival. Keith was also a frequent presenter for the 2MCE radio station over the past 10 years, starting his 'Out Of India' program in 2008 shortly after moving from Sydney to Bathurst with his family, and has only just recently retired. [extract from the Western Advocate]
This post consists of MP3 (320kps) ripped from a Larrikin vinyl release found circulating on the web some 10 years ago. It includes full album artwork and label scans (sourced from Discos.com).
Oddly enough, Chris Spencer lists this album in the Who's Who of Australian Rock as being a MLP but the total length of the tracks exceeding 40 mins clearly places this release as a standard LP.
This album remains a lost Australian classic from the progressive years in the early 70's when bands were experimenting with different string and wind instruments, and should be approached with an open mind. Mine was certainly blown apart when I first listened to Kanguru.

Note: many previous postings for this album have provided inaccurate details relating to the band members, with Oshia White being referred to as Ashia, Paul's 12-string guitar magically having 2 extra strings and Guy Madigan's double ended drum misspelt every which way except pakhawaj
Track Listing
01. Ras Lila (12:39) 
02. Waves Of Aquarius (9:53) 
03. Kanara Prakar (12:21) 
04. Invitation To Dance (9:39) 

Kanguru were:
Oshia White (vocals),
Guy Madigan [aka Koalananda] (pakhawaj [double ended drum], tanpura),
Paul Gibson [aka Sri Wombat] (electric sarode, vocals, Maton custom 12-string guitar, didgeridoo),
Cleis Pearce [aka Clear Light] (electric viola),
Keith Manning [aka Professor] (tabla, flute, percussion)
Kanguru Link (98Mb)

Saturday, July 21, 2018

Eddie Rabbitt - Th Best Of (1976)

(U.S  1964 - 1998)
Eddie Rabbitt was one of the unsung pop-hybrid singer-songwriters who moved country music closer to a fusion with the pop and rock genres. The most successful country performer during the Urban Cowboy years, with a string of chart-topping singles, gold and platinum albums and sold-out tours, he shared a rare gift with Neil Diamond: the ability to make middle-of-the-road songs sound exciting. Like Diamond, he first gained prominence as a writer, Elvis’ Kentucky Rain and Ronnie Milsap’s Pure Love, being just two successful examples. Rabbitt’s songs profess love and romance as the common denominator and in the hits Suspicions, On Second Thought and I Love A Rainy Night he displayed a strong melodic sense with plenty of creative ideas to go with it. The classic honky-tonker, Two Dollars In The Jukebox, is one of those commercial jingles that tingles in your mind, a powerful mix of country music roots with a progressive approach. In comparison to Waylon, Willie, Hank Jnr., and his other contemporaries, Eddie’s songs were more gentle. He preferred a smooth, image-projecting style to the gut-wrenching bluntness of the Outlaws.

He continued to write for Presley and signed with Elektra Records in 1974 after writing Ronnie Milsap’s Pure Love. As a performer he overcame a somewhat thin and reedy voice by overdubbing himself in three-part harmonies, a process he called the ‘Eddie Rabbitt Chorale.’ After three charted singles, Rabbitt scored his first No. 1 with Drinkin’ My Baby (Off My Mind) in 1976. The hits soon came in a torrent: "I Love A Rainy Night", "Every Which Way But Loose" (from the Clint Eastwood movie of the same name), a duet with Crystal Gayle on "You And I", and the r&b influenced "Suspicions". At the peak of his career, in the early 1980s, he notched five No.1 singles in a row followed by a No.2 and two more No. 1s. That string included his "Drivin’ My Life Away", which was featured in the 1980 movie Roadie.

With his special brand of music he helped to blur the distinctions between country and pop songs, making the music more accessible. For a four-year period from 1978 through to 1982, he was outselling every other country act, including such heavyweights as Kenny Rogers, Willie Nelson, Waylon Jennings and Dolly Parton. Yet he did not pick up one major CMA award and seems destined to be overlooked in years to come when the history of country music is re-written and re-written by journalists who will decry his commercial success.  [extract from alancackett.com]

In 1997, Rabbitt signed with Intersound Records but was soon after diagnosed with lung cancer. Following a round of chemotherapy, he released the album Beatin' the Odds. Sadly, Rabbitt died on May 7, 1998, in Nashville from lung cancer at the age of 56.

Every Which Way But Loose
Was the title song of the 1978 Clint Eastwood comedy. Although best known for uncompromising tough guy roles such as the cynical police inspector Dirty Harry, Eastwood could also play it for laughs. In this film, Eastwood plays Philo Beddoe, an easy-going trucker and a great fist-fighter.  With two friends - Orville, who promotes prize-fights for him, and Clyde, an Orangutan he won on a bet - he roams the San Fernando Valley in search of cold beer, country music and the occasional punch-up. But he is literally floored by a dainty little country and western singer, who gives him the slip when she realizes he's getting too serious. Phil, Clyde and Orville set off in pursuit, pestered by a bunch of wacky bikers.

The bright new star of “Every Which Way but Loose” was the orangutan named Clyde, and he had quite a repertory. He could kiss human actors, smile bashfully and make obscene hand gestures. He could fling up his arms and fall over in a faint, in a game of bang-bang-you're dead. He could even steal scenes just at the right time - "Right hand turn Clyde" says Beddoe, and down go a dozen bikiers in a wonderful domino effect.

The title track was written over the phone in double quick time by Milton Brown, Steve Dorff and producer Snuff Garrett, even though they knew virtually nothing about the film. This appears to have been no obstacle at all because the team capture the spirit of the film's side plot, a romantic entanglement with a free spirited young woman who gets under Beddoe's skin. It was then that producer Garrett commenced his search for a suitable Country / Western singer to deliver the song, and Eddie Rabbitt got the gig.

8 Track Release
After Rabbitt made a few changes to the song, it was released on the Elektra Label prior to the film's nationwide premiere.  In the week of Dec. 23, 1978, this song went straight into the Country chart at #18, the equal highest debut on the Hot Country Songs list, and remained as Rabbitt's most popular release.
This post consists of MP3 (320kps) ripped from my recently acquired vinyl which was still in mint condition, even after 40+ years.  I would like to say that I had found it on 8 Track format (see right), so typical of many Country & Western releases but not to be.
The associated Clint Eastwood movie was what introduced me to this talented artist and have since enjoyed listening to his music along with other Country music.
Album artwork is limited to the LP release and after unsuccessful searches for CD covers on the web, I suspect this particular best of collection has never been released on CD format.
Track Listing
01 Drinkin' My Baby (Off My Mind)  2:23
02 Rocky Mountain Music  3:33
03 Do You Right Tonight  2:30
04 Two Dollars In The Jukebox  2:22
05 I Can't Help Myself  3:10
06 We Can't Go On Living Like This 3:29
07 Hearts On Fire  2:34
08 You Don't Love Me Anymore  3:19
09 I Just Want To Love You  4:01
10 Every Which Way But Loose  2:48
Best of Eddie Rabbitt Link (75Mb)

Sunday, July 15, 2018

Pearl Jam - Animal - Unauthorised (1994) Bootleg

(U.S 1990 - Present)
Pearl Jam is an American rock band formed in Seattle, Washington, in 1990. Since its inception, the band's line-up has consisted of Eddie Vedder (lead vocals), Mike McCready (lead guitar), Stone Gossard (rhythm guitar) and Jeff Ament (bass). The band's fifth member is drummer Matt Cameron (also of Soundgarden), who has been with the band since 1998. Boom Gaspar (piano) has also been a session/touring member with the band since 2002. Drummers Dave Krusen, Matt Chamberlain, Dave Abbruzzese and Jack Irons are former members of the band.
One of the most successful rock bands of the past quarter-century, Pearl Jam have released 10 studio LPs and numerous live records and official bootlegs over the course of their career, selling an estimated 60 million albums worldwide. But if they’d released only one record – their 1991 debut, Ten – their place in rock history would still be secure. Ten, which turns 25 on August 27th, unleashed the modern-rock classics “Alive,”  “Jeremy” and “Even Flow,” established the previously unknown Eddie Vedder as a superstar frontman and went on to sell more than 13 million copies in the U.S. alone.

For better or worse, the success of Ten also helped push the Seattle rock scene that spawned it (and “grunge” culture in general) squarely into the national spotlight, and inspired a host of lesser bands who blatantly imitated Pearl Jam’s densely rumbling attack and Vedder’s distinctive baritone roar. It also effectively blurred the lines between so-called alternative and mainstream rock, igniting a heated debate among the band’s critics, fans and fellow musicians over whether Pearl Jam were major-label sell-outs, or committed artists whose musical vision just happened to be broad enough to fill arenas. [extract from Rolling Stone, 'Pearl Jam’s ‘Ten’: 10 Things You Didn’t Know', August 2016]

The Pearl Jam 1993 European/North American Tour
Pearl Jam embarked on this tour after completing the recording sessions for its second album, Vs. The Europe leg included a few shows in which the band opened for U2 on the band's Zoo TV Tour, while both legs included several shows in which the band opened for Neil Young on his Harvest
Moon tour. Guitarist Mike McCready said that when the band opened for U2 in Europe the crowds hated Pearl Jam. The short tour of North America focused on Canada and the West Coast of the United States.

In 1993, Neil Young collaborated with Booker T and the MGs for a summer tour of Europe and North America, with Blues Traveler, Soundgarden, and Pearl Jam also on the bill. Some European shows ended with a rendition of "Rockin’ In The Free World" played with Pearl Jam, foreshadowing their
eventual full-scale collaboration two years later.  Bassist Jeff Ament said that playing with Neil Young was the most inspiring thing that we've ever been involved in.

Eddie Vedder  & Neil Young
The bootleg recording posted here comes from their 07/16/93 concert held at the Sportpaleis Ahoy: Rotterdam, Holland with an attendance of 9,500. Supporting act were Tribe After Tribe.

The full set consisted of:
Release, Why Go, Deep, Jeremy, Rear view mirror, Elderly Woman, Glorified G, Daughter/(WMA), Garden, Go, Animal, Alive, Black, Porch/ Tearing, improvisation, Once, Fuckin' Up, Leash
Encore 1: Sonic Reducer, Rockin' in the Free World, State of Love and Trust
Encore 2: Indifference

Notes: Pearl Jam has a few problems adjusting to the size of this venue. Ed introduces 'Go' as "... a song you can sing to your own body ..." and he calls it "Don't Go Out On Me." Ed requests the lights be turned on and left on for 'Alive' ("Hey, we'd like to be able to see these people"). 
It was a Great show!

The post consists of MP3 (320kps) ripped from a very juicy Grapefruit Bootleg CD and includes the usual generic red artwork, along with alternative covers from similar bootleg releases, namely 'Jeremy Live', 'Against' and the Swingin' Pig release 'Europe 93'.
As indicated below, this bootleg is a combination from three different sources, and not just L.A in 1993 as indicated on the cover.
Recording quality is excellent and most certainly comes from Soundboard feeds. This bootleg is a must for any Pearl Jam enthusiast and for the uninitiated, this recording is a great starting point to familiarise oneself with this 90's Grunge band.
01 Release 4:25
02 Why Go 3:38
03 Deep 4:18
04 Jeremy 4:59
05 Daughter / W.M.A. 4:46
06 Garden 5:35
07 Even Flow 4:54
08 Go 2:34
09 Alive 4:53
10 Black 5:14
11 Fuckin' Up 4:09
12 Leash 2:49
13 Sonic Reducer    3:49
14 State Of Love And Trust 3:40
15 Baba O'Riley 3:55
16 Animal 3:08
17 Rockin'In The Free World
(Feat. Neil Young) 6:44

Band Members:
Jeff Ament – bass guitar
Stone Gossard – rhythm guitar
Mike McCready – lead guitar
Eddie Vedder – lead vocals, guitar
Dave Abbruzzese – drums

Tracks 1 to 13: radio-show recorded live at the Ahoy, Rotterdam (day 1 of 2), July 16, 1993. Rotterdam is a city in the Netherlands, in South Holland within the Rhine–Meuse–Scheldt river delta at the North Sea.

Tracks 14 to 15: recorded live at the Park Plaza Hotel Ballroom, Los Angeles, September 10, 1992.
Premiere party for the "Singles" movie which was partly broadcasted by MTV. Due to the use of heavy profanity by Eddie during the live performance of "State Of Love And Trust", the broadcasted version was partly mixed with the studio version of the song and played with members of Alice In Chains as the last song.

Tracks 16 and 17: recorded live at the Universal Amphiteatre, Universal City, September 2, 1993.
Complete performance of Pearl Jam at the MTV Video Music Awards 1993 ceremony, "Rockin' In The Free World" was played with Neil Young as unannounced guest on guitar and vocals.
Pearl Jam Unauthorised Link (170Mb)