Friday, February 28, 2014

W.O.C.K On Vinyl - The Rolling Stones Medley: Rolling Hits (1981)

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.
A band that has had as long and as colourful a career as the Stones will have accrued their fair share of stories, myths and legends. Here are just some of the erroneous (or are they?) stories surrounding the band.
Strip away the fuzztone guitar riff of 'Satisfaction' and take the edge off its snarled lyric and you have a stomping soul number the type of which proliferated on the Stax label in the mid-1960s. Perhaps it was this then that caused the Toronto Telegram to declare in February 1968, a couple of months after Stax artist Otis Redding's death in a plane crash, "It's High Time The Stones Acknowledged This Debt". The headline appeared over a story that alleged that the band had remained "stubbornly and disgustingly silent" about the 'fact' that they had bought the song off Redding for $10,000 when they had visited Memphis and heard him cut the track. The only shred of truth in the story
was that Redding had recorded 'Satisfaction' - although as Steve Cropper (Redding's guitarist, who played on the track) pointed out, not until the Stones version had hit the store. "The story that Otis originally wrote 'Satisfaction' is completely false," Cropper said. The progress of the crusading journalist who wrote the story towards the Canadian equivalent of a Pulitzer Prize is not known.
Whereas Tony Sanchez did much to scotch the Mars Bar rumour, he was chiefly responsible for the legend that, in 1973, Richards
- anxious to be 'clean' for an upcoming tour but unable to take the time to wean himself off smack - undertook a little-known rich addict's cure involving the wholesale replacement of his blood with that provided by a donor or donors. It's been repeated over and over in newspapers since whenever the Stones are touring and some juicy copy is required. Harry Shapiro of the charity Drugscope says, "It's rubbish. Drugs like heroin and coke wash out of the system in 24-48 hours. Detoxifying is not that much of a problem so long as you can deal with the withdrawals - it's staying off that is the issue - and that needs therapy, not a blood transfusion." Richards himself has also denied it. And yet... there is something convincing about the way Sanchez relates the story in his book, explaining that Marshall Chess - who had apparently taken the 'cure' before - told Richards of it, going into detail about the doctor who arranged it, the Swiss clinic at which it supposedly took place, the cost, the events surrounding it (including Richards' offer to pay for a cure for Sanchez, which he declined, fearing needles) and the way the cure gave Richards a cavalier attitude about getting hooked again, his reasoning being that it didn't matter because he now had a quick way of cleaning up any time he liked.

How deliciously daring it was in 1971 to buy an album whose cover consisted of a life-size (these were 12-inch sleeve days) bejeaned male loin region with a real zip that pulled down (or, in fact, went up - to prevent damage, the zip had to be down when shipped to the stores so that its weight when stacked would be on the record label, not the vinyl). The descended zipper revealed a man's occupied pair of underpants. Naturally, everybody assumed it was Mick Jagger - at that point the biggest male sex symbol in rock - that was bulging in their faces. In fact, it is believed to be one of Andy Warhol's cinematic 'Superstars' named Joe Dallesandro (immortalized as Little Joe in Lou Reed's 'Walk On The Wild Side'). The model for the inner picture - who was noticeably less well endowed - is believed to be another Warhol acquaintance named Jed Johnson.
The 1967 drugs trial of Jagger and Richards gave the popular press a field day of scandal (supposed role models taking drugs) and sex (surrounded by men, a mystery woman was wearing only a rug). However, the most salacious gossip emanating from the trial did not see print, but instead was a true underground rumour, passed by word of mouth until virtually everyone in Britain had heard of it. This was that, when the police burst in that fateful night, they had found Jagger eating a Mars bar from the vagina of Marianne Faithfull (who was the woman in the rug but referred to only as 'Miss X' in press reports). Faithfull herself has denied it. Though Faithfull sometimes seems confused about details (in her autobiography she says Let It Bleed is her favourite Stones album and then proceeds to cite tracks from that and Beggar's Banquet and Sticky Fingers) she is hardly one to be anything less than candid about events. Even Tony Sanchez - whose book is a mine of dirt about the group - says it didn't happen. He wrote that, at the Jagger and Richards trial, "in a bar during a lunch break, two senior police officers gulped down bottles of beer with crime reporters and sniggeringly told "lewd and grossly exaggerated stories about Marianne's behaviour at the time of the raid... and a totally false and malicious rumour was begun which Marianne has never quite managed to live down." [sourced from 'The Rough Guide To The Rolling Stones', by Sean Egan. 2006  p294-296]
This month's WOCK on Vinyl post features a rather Obscure 12" Single Medley of  Rolling Stones Hits (or
rather a Stars on 45 rendition) that was released in 1981, during a time when Stars on 45 party mixes were being released for the more popular bands of the time (ie. Abba, Beach Boys, Bee Gees). This 6 minute Stone Fest features some of the most popular Rolling Stones hits like "Satisfaction", "Jumpin' Jack Flash", "Honky Tonk Woman" and 8 others, all cleverly blending into one another.
The B-Side is a huge disappointment however, with a pointless track by Haim Saban called "Gonna Catch You" and should have been another Medley (Part B) featuring some of their other big hits like "Gimme Shelter","Little Red Rooster" and "Sympathy For The Devil" which were not included on Side A.
Anyhow, I hope this Rolling Stones medley really Wocks your socks off and ya like it !
Also included with the MP3 (320kps) music files are some alternative covers from releases in Germany and the UK, along with my own record scans and covers.
Medley Track Listing:
Get Off My Cloud
As Tears Go By
Let's Spend The Night Together
Honky Tonk Woman
Paint It Black
Jumpin' Jack Flash
Brown Sugar
Miss You
It's Only Rock N' Roll
Rolling Stones Hits (25Mb)  New Link 29/06/2022

Saturday, February 22, 2014

Rose Tattoo - All The Lessons: Live Reading Festival (1981) Ex SB

(Australian 1976-1985)
Rose Tattoo was formed in Sydney in 1976 with Leigh Johnston on rhythm guitar, Tony Lake on lead vocals and were led by slide guitarist Peter Wells—who had just departed as bass guitarist of heavy metal band Buffalo. Drummer Michael Vandersluys completed the line-up. Ian Rilen from Band of Light joined on bass guitar. He had taught himself to play while in prison and gave Wells' band the street-cred he was looking for. Rhythm guitarist Mick Cocks soon replaced Johnston; Lake and Vandersluys were substituted by former Buster Brown members Angry Anderson and Dallas "Digger" Royall respectively. Melbourne-based Buster Brown had enjoyed local notoriety, playing at the 1974 Sunbury Festival and had included future AC/DC drummer Phil Rudd. Rose Tattoo made their public debut on New Year's Eve at the rock club Chequers.

Chiefly inspired by The Rolling Stones, Faces and Billy Thorpe and his 1970s Aztecs, Rose Tattoo's hard-rocking sound quickly earned a devoted following in the Sydney area. Members of AC/DC were fans and recommended them to their label, Albert Productions.

Early in 1981, "Rock N' Roll Outlaw" started to chart in Europe, peaking at No. 2 in France, No. 5 in Germany and No. 60 in UK. The line up of Anderson, Cocks, Leach, Royall and Wells toured Europe from April. Three years after their debut the band issued the follow-up album, Assault and Battery in September, which reached the top 30 in Australia. Both Rock N' Roll Outlaw and Assault and Battery peaked at No. 1 on the UK heavy metal albums chart.

Rose Tattoo's 1981 tour of Europe included an appearance at the Reading Festival, where Anderson repeatedly head butted the amp stacks until his scalp started bleeding.They were hailed as the loudest band to play London's Marquee Club since Led Zeppelin [extract from wikipedia].
Live At The Reading Festival 1981
Rose Tattoo played all venues during the 1981 tour of England, from small town pubs to the major stadiums. Their approach to the bigger venues was laid back. They didn't set off rockets, or use huge special effects. They just played like they were playing in a pub...a small group making a loud noise. There were always a few theatrics, but for the most part, the band just went out there and played.
The biggest gig the band ever did was the Reading Festival, in front of a huge crowd. Reading is part of a tradition in Britain, the biggest outdoor rock festival of the year. Rose Tattoo was about the middle of the line-up, but there was no doubt that, on the day, they made the biggest impact. It was one of those days where Angry walked on to the stage, but was carried off.

As he says, "It was a great day. Reading is like The Marquee. I mean there's history attached to it. I remember walking on the stage. It was amazing. It was huge, the biggest crowd we'd ever played to. You could just see people going on forever. I mean the band were fantastic that day. We played really well...really well."

In England, Angry had a thing going with the crowds that he could drink a bottle of vodka every performance. He couldn't, but he always gave it his best shot. It just became part of the show, a sort of sight gag. Angry would begin each gig with a full bottle on stage for himself, plus all the beers for the rest of the band. During the show he'd pour drinks for the boys, and toast the crowd with his vodka. After a while the British crowds turned it into a regular challenge. Toward the end of the band's set, they'd start calling for Angry to drink up and finish whatever was left in the bottle. "Skol, skol, skol" they'd yell. As the band was only on stage for just over an hour at most gigs, it was a big call. They'd want the bottle finished every time.
At the Reading gig, Angry had been drinking even more than usual, and he was way past his limits before the challenge even began. The combination of the alcohol and the adrenalin was potent. In the latter half of the band's set on stage, Angry was obviously feeling really extravagant, and in one passionate moment, head butted Pete's guitar amplifier stack. Although Angry did a lot of head butting in those days, this time, he hit his head even harder than usual. He dropped to the floor, virtually unconscious, covered in blood, and had to be carried offstage by roadies.

He was mindless and reckless, too drunk and too high. But even now, you can see as he talks about it, that although it may not have been one of his proudest moments, it certainly was one of his most memorable. The image is unforgettable, Angry in the arms of the roadies, bloody, sweaty, tragic, in front of a sea of screaming fans. It's the kind of image that makes you realise he's serious when he says, "You feed off the crowd. The commitment is so great that sometimes you just want to die for them. Not in the true sense, but you know what I mean. You just want to give that much."
The next day Angry was infuriated when some rock writers reported that he'd been "bottled off stage". It was the suggestion that there were some fans there unhappy enough to do that which bothered him most. He tracked down the journos involved, and found out that they'd never even left the media tent, where they were too busy drinking the free booze to figure out what happened.
But, at the end of the day, it was Rose Tattoo's Reading. They stole the whole show. Angry can't help smiling when he thinks of it. 
"It was huge..I mean we could have walked on their hands. It was our gig. The crowd were ours. Even kids years later would say, 'I was there at Reading. I saw you.' We walked out on stage and the place went just nuts...I mean really nuts. It was goose bump territory. No, bigger than that. It was goosebump on goosebump on goosebump territory."
[extract from Angry: Scarred For Life, Ironbark Publication, by Karen Dewey, 1994. p127,129]

Rose Tattoo On Stage At The 1981 Reading Festival
This post consists of a soundboard / FM radio recording in MP3 (320kps) format and includes full album artwork and choice photos of the Tatts Reading Festival gig. The sound quality of this bootleg is brilliant and features many of their major hits. This bootleg is not to be missed.
Track Listing
01 - One Of The Boys
02 - Manzil Madness
03 - Bad Boy For Love
04 - Assault And Battery
05 - The Butcher And Fast Eddie
06 - Rock'N'Roll Is King
07 - Rock'N'Roll Outlaw
08 - All The Lessons

09 - Nice Boys (Don´t Play)
The European 1981 Tour band were:
Angry Anderson - Vocals
Mick Cocks - Rhythm Guitar
Georgie Leach - Bass
Peter Wells - Slide, Lead Guitar
Dallas 'Digger' Royall- Drums

Rose Tattoo Link (93Mb) New Link 10/04/2020

Monday, February 17, 2014

The La De Das - Anthology: Rock 'n' Roll Decade (1964-74)

(New Zealand 1964-74)
Original line-up: BRYAN HARRIS (drums); TREVOR WILSON (bass); BRUCE HOWARD (organ/sax); PHILLIP KEY (lead vocals); KEVIN BORICH (lead guitar).
The La De Das formed in New Zealand in 1965 and after reaching the top there (with their single, 'Hey Baby' which made number one), they left for Sydney two years later.
On their arrival in Australia they received little attention from their recording company who at first refused to let them record. As a result they fell into a rut working steadily, but uneventfully, in Melbourne and Sydney. Then early in 1968 they decided to buy new instruments and develop a new act. The change brought with it a renewed interest in the band and in March, 1969 they released their highly acclaimed Happy Prince album.
Two months later they left Australia to try their luck in England. Other, more renowned groups, had tried before them without success and the La De Das found the going just as tough. They returned in April, 1970 minus Trevor and his place was taken by RENO TEHEI (ex-Genesis and Compulsion). In the meantime their album had sold steadily during their absence, and later in the year Bryan left and he was replaced by KEITH BARBER.
More line-up changes occurred in January, 1971 when Bruce left to form a duo with Trevor, and Reno also moved out. The band added PETER ROBERTS and reformed as follows: PHIL KEYS (vocals and guitar); PETER ROBERTS (bass); KEITH BARBER (drums); and KEVIN BORICH (vocals and guitar).
They consolidated with the new format and released a new single, 'Sweet Girl'/'I Can't Find A Reason'. Then in November, '71 came the breakthrough they had been waiting for when they made the charts with 'Gonna See My Baby Tonight.' Another hit was achieved six months later with 'Morning Good Morning.'
But, just as they seemed destined to become the superstars they had tried so long to be, the band experienced another setback. In September, 72 Peter and Phil left to form the Band of Light. But not to be discouraged, the band took on RONNIE 'PEEL (ex-One Ton Gypsy and Thunderclap Norman) to play bass and worked as a trio.
The new three piece format created a new vigour, with Kevin having to work harder on guitar, and in November, '72 they released an exciting single called 'I'll Never Stop Loving You.' From there they settled into a hectic pattern of work and in July, 1973 they issued their notorious Rock'n'Roll Sandwich album.
The following year was their last together, but included a single, 'The Place' (May, '74), a tour with Gary Glitter (July, 74) and also a re-entry into the charts with Chuck Berry's old rocker 'Too Pooped to Pop.'
Kevin went on to form Kevin Borich Express while Ronnie recorded under the alias of Rockwell T. James as well as playing with John Paul Young's All Stars [extract from Noel McGrath's Australian Encyclopedia of Rock, Outback Press, 1978. p 174-175].
New Zealand - The Beginning
Teenage schoolboys have always dreamed of becoming rock and roll stars, but it's a fair bet that such a fantasy was more prevalent in 1964 than all the other years combined. Certainly it was for four Auckland lads who, midway through 1964, pooled their musical talents and aspirations to become the long-forgotten 'Mergers'. The Mergers became such hot property on the Auckland school / football club dance circuit that the occassional weekend work became a regular occupation and mid-week engagements began to roll in as well. The quartet soon decided their name was a little too quaint and intended changing it to something a little tougher. When Trevor Wilson's mum heard that they were about to become The Criminals, she reprimanded, "You might as well call yourselves the La De Das". What, with mums knowing best and all that, they took her suggestion.
During all this fledgling activity, Phil was struggling through high school. Trevor (the yougest, 16) was working as a delivery boy, Kevin was laboring on his parent's orchard (and would cycle 20 miles to rehearsals) and Brett had just left school. Phil had not yet begun to sing, so Kevin and Trevor were handling all vocal duties.

Phil, Trevor, Brett, Kevin and Bruce - 1966
In April 1965, the film 'Those magnificent Men In Their Flying Machines' opened in Auckland and TV producer Robert Handlin cooked up an idea for promoting it on TV. Having heard some impressive reports about a 'happening' young group around town, he caught them in a club one night and made an offer they couldn't possibly have refused.
Resplendent in black suits, white shirts, bow ties and bowler hats, the La De Das mimed the film's theme song in prime time on national network television - an ingnominous fate for proud blues purists! Handlin, who certainly owed them a favour after that episode, liked the group enough to record single with them in a vaguely adequate 2 track studio.

17 year old Kevin Borich was the forefront of the session. He wrote the ballad "Ever Since The Night" amd co-wrote (with Trevor) "Little Girl". Ironically this was to be his last recorded composition/s for five years. Kevin's recording experience actually predated his associates for many years. When 12 Years old, he had made a private recording for Astor with two your sisters who lived in a neighbouring poultry farm in Huapai, Judy (11) and Sue Donaldson (9) later became a popular Auckland recording group called The Chicks, around the same time the La De Das were chart topping (Sue now records as Suzanne in England and also sings with Cat Stevens). Kevin's withdrawl from a focal position in the group, until he finally took control in 1973, is puzzling indeed and indicates just how strong was the leadership of Wilson and later, Key.

La De Das (Kings Cross Sydney) - 1967

In 1965/6, New Zealand's local pop industry was enjoying a bouyant boom, new bands were forming each week, record companies were snapping up as many acts as they could find, the public was buying local hits and gigs were plentiful. The most popular acts were mass-appeal soloists like Mr. Lee Grant, Allison Durbin, Peter Posa, Sandy Edmonds, John Hore and Maria Dallas, but popgroups were also making great strides in the footsteps of national heroes Ray Columbus & The Invaders and Max Merritt's Meteors. They sprung up from all over (mostly) the North Island; the most notable being Peter Nelson and the Castaways, The Crescendos, The Underdogs, The Gremlins and Larry's Rebels to name but a few. Nightspots were also thriving, in Aukland one could rage to good young R & B bands at dives like the Oriental Ballroom, 1480 Village, Galaxie and Monaco. In all, it was a vibrant healthy atmosphere for the develoment of good rock music.

The hottest beat club in Auckland in 1965 was 'The Platterack', run by wrestler cum footballer cum bouncer, Dave Henderson and partner, Fred McMahon. The pair were continually reminded by one or all of the La De Das of the group's decided suitability for this hallowed venue, but were a little unsure of the musicalability of 4 idealistic kids. An opportunity finally came late in 1965 when Red McKelvie's band was unable to play a full night and the La De Das were given a try-out. They were reasonably well recieved and sparadic bookings continued.
By Christmas 1965, Phil had left school and the La De Das went fully professional. The Platterack, which they were now packing out almost every night, engaged them as resident group for the fine sum of twelve pounds a week and they gradually became known around Auckland as N.Z.'s 'Rolling Stones'. A regular quiet admirer from the balcony was one Bruce Howard, a formally trained young pianist. It didn't take long to figure that, with the holiday season requiring up to eight hours playing a night and a keyboard being good for a lengthy solo every few songs, Bruce could become a valuable addition to the outfit. He was summarily invited to join and , with restrained fervour, accepted.

The La De Das - 1968
The excitment being generated from the Platterack soon found its way to the attention of Eldred C.Stebbling, a wiley manager/record producer who actually owned his own studio. Through his Zodiac Records label, Stebbing had launched Ray Columbas & The Invaders and was ever on the lookout for another promising act. He was impressed enough to take on the La De Das and devote considerable attention to breaking them nationally.
In January 1966, Stebbing produced their first Zodiac single (The Blue Magoo's) "How Is The Air Up There?" The studio was under his house, "He had four single track Telefunken tape recorders patched together" is how Phil Key remenbers it. "There was hardly any privacy, the wife and kids would wander through and people would call by, but we got such a great sound it didn't matter."
When released in Feburary, "How Is The Air Up There?" was an instant smash, climbing to number four on the national local artist chart and establishing the group as a major entity. For the next two years, nobody in the country could rival them for popularity and record sales. Only Larry's Rebels came near but their teenybop status was never matched with high sales or chart action.

Phil Key again recalls, "The hits just inspired confidence in us.We became totally involved in getting dressed up and going out to gigs, the gigs and rehearsals were everything. Nothing worried us, we were so busy consuming what was happening around us. We were super aware, on top of every trend in music and clothes and language. We tried to be honest and sincere with our music, only playing and recording what we liked. The guys in the good record bars dug what we were doing and they got in all the latest English R&B records for us. We were listening to Zoot Money, John Mayall, Manfred Mann, The Animals, all that sort of stuff, and trying to create that sound. We were different from groups like the Underdogs who just played 12 bar blues all night, we tried to be a lot more imaginative about what we did".

La De Das - 1971
Despite being featured regularly on the C'mon T.V pop show, the La De Das generally lacked a strong P.R machine and more press ink seemed to be devoted to The Gremlins and Larry's Rebels. Although Stebbing was an effective manager, his flair was more toward production than promotion.
The second Zodiac single "Don't You Stand In My Way" a Wilson / Howard original almost stiffed but the third finally broke them on the major national chart. "On Top Of The World", a frantic John Mayall song issued at the end of 1966, hit number three and mingled with the Hollies, Gene Pitney and Herman's Hermits.
Life for the La De Das was, by this point, a living fairy tale. "We had no idea what we were earning on tour, we just spent what we wanted and ploughed the rest back into the band. We had our way with girls, bought more clothes and equipment and just enjoyed being stars" admits an almost embarrassed Phil. Most of their popularity however, was Auckland based, they were yet to become a pnenomena in the South and other areas of the North Island. Brett Neilson at the time, told a straight women's magazine , "It's good in Auckland now but when we go away to places like Whangerei, it's like starting all over again." Shy Brett was, along with Kevin, attracting the bulk of adoring fans and pleading letters by this point, with Phil a close third. Trevor and Bruce were the musical leaders - determining with Phil, the direction / repertoire of the band. Borich, as best as he remembers, just played what he was told and went along for the ride. His musical dexterity was still in apprentice stage.

La De Das - 1974
The choice of a follow-up to their first big hit was crucial and finally came from legendary blind pianist Claude Papesh (one of Johnny Devlin's original Devils). In a club one night, he played them a soulful version of Bruce Channel's classic "Hey Baby" and the group fell in love with it. In March 1967, the La De Das version was released and five weeks later it knocked Penny Lane out of number one on the national charts. Not only that, it was also the very first local group recording to hit number one. Eldred Stebbing promptly sent off a telegram to Brian Epstein informing him of the event (he must have been pleased!)

The next step was quite inevitable. Kevin, Bruce, Trevor and Phil, who were all living a consumate bachelors existence together in one Auckland house, knew that they had conquered New Zealand, for all that it was worth, and that if they were to grow musically they would have to journey to more demanding pastures. England and America were worlds away in another galaxy but Australia was comfortably in reach, so it was on this barren land that they set their ambitious sights. Brett was not quite so enthusiastic; although he was a fine drummer ("Looking back now, he was very together, we didn't have to tell him a thing" says Kev) he was almost involuntarily caught up in the pop-star game and, being basically shy and conservative, began to feel frightened by its threat to his domestic security.

The La De Das impeding departure was announced with a great flourish by Stebbing; "Shortly the La De Das will branch into a new concept of pop music, concentrating on soul music and giving their own interpretations of Negro spirituals. Because of this we want to make some appearances on Australian television shows. We eventually hope to get to America" he told the daily press. True to their word, in May 1967, with "Hey Baby" still topping the charts and another hot single in the can ("All Purpose Low"), the group flew to Sydney to begin their great rock 'n' roll adventure.....[Extract from linear notes by Glenn A Baker].
This post consists of an MP3 rip (320kps) from by double Cassette Tape set - purchased some 30 years ago and rarely played. This double tape set shows no sign of deteriation or speed issues and plays as good as the day I bought it from my local record bar in Geelong. Thanks must go to Grado at the Midoztouch Forum for the extensive LP artwork and scans, and to New Zealand Music for many of the photos shown above.
Some things worth noting with this release: It features the full rendition of 'The Happy Prince' with narration (not my cup of tea to be honest) and a hidden track at the end of Side 3 - a radio jingle written for "New World Motors" which is not annotated on my cassette tape cover (also included - see right)
This is an extensive collection of all the La De Das studio releases along with three live tracks, which were previously unreleased.
Track Listing 
01 Little Girl
02 How Is The Air Up There

03 Don't You Stand In My Way
04 I Take What I Want
05 On Top Of The World
06 Jump Back
07 Hey Baby
08 Find Us The Way
09 All Purpose Low

"The Happy Prince"
10 Intro/ Covered In Gold
11 Ruby For The Lady

12 Come Fly With Me
12 Swallow, Little Swallow
13 You Can't Take It With You
14 Life Is Leaving (Instrumental)
15 Tales Of The Nile

16 Winter Song
17 Lullabye
18 Civic Pride
19 Chant

20 Come Together
21 Sweet Girl
22 Morning Good Morning
23 Gonna See My Baby Tonight
24 New World Motors (jingle) *

25 Rock Me Baby (live)
26 The Place

27 Too Pooped To Pop
28 I'm In Love Again
29 Honky Tonkin'

30 All Along The Watchtower
31 Gone Dead Train (live)
32 I'm Ready (live)
* Hidden Bonus Track

Kevin Borich (Lead Guitar) 1964-1974
Phil Key (Rhythm Guitar / Vocals)  1964-1972
Bruce Howard (Organ)  1965-1970
Trevor Wilson (Bass Guitar) 1964-1970  
Brett Neilsen (Drums) 1964-1967 
Brian Harris (Drums) 1968
Keith Barber (Drums) 1968-74
Reno Tehei (Bass and Guitar) 1970   
Peter Roberts (Bass) 1971-1972
Ron Peel (Bass) 1973-1974
Adrian Rawlins (Naration of Happy Prince)
The La De Das Anthology (296Mb) New Link 2/3/2014

Saturday, February 8, 2014

Guns 'n' Roses - Unlicensed Live Vol.4 (1993) Bootleg

(US 1985-Present)
Guns N' Roses (sometimes abbreviated as G N' R or GnR) is an American hard rock band. The band formed in Hollywood, Los Angeles, California in 1985. Led by frontman and co-founder Axl Rose, the band has released six studio albums, three EPs, and one live album while going through numerous line-up changes and controversies since its formation.

Slash met Steven Adler in Los Angeles when he was 15, and they both decided to form Road Crew. Meanwhile, Axl Rose and Izzy Stradlin got together to play in several bands. They hired Duff McKagan, who came back from Seattle, to give their first concert as Guns N' Roses in April 11th 1985 in Anaheim, California. Slash and Steven Adler joined the band the following month and, after rageous openings for L.A. Guns, Poison or Faster Pussycat, Guns N' Roses drew the attention of Geffen Records who signed them on March 26th 1986 for the recording of seven albums.
The Gunners created their own label to release Live Like A Suicide, a first EP sold to 10,000 copies in four weeks. In early 1987, Guns N' Roses recorded Appetite For Destruction and the debut album was released rather confidentially in July 1987. The band opens shows for The Cult and Motley Crue and gives its first concerts out of the U.S.A.. Supported by a heavy rotation of the single "Sweet Child O' Mine" on MTV and an explosive onstage presence, Appetite For Destruction reached number 1 on the Billboard in 1988. It's with a well established reputation that Guns N' Roses opens for Alice Cooper, Iron Maiden and Aerosmith shows and takes part of the Monsters of Rock festival in front of more than 100,000 people.
While being on the cover of prestigious magazines and receiving several awards, Guns N' Roses's second album, GN'R Lies, is released in November 1988. Including the four recordings from Live Like A Suicide as well as four acoustic tracks, the album soon reaches the top 5 of best U.S.A. selling albums.

As recording sessions for the new album just started, Steven Adler, drugged out of his mind, is fired and replaced by Matt Sorum from The Cult. Around the same time Dizzy Reed, an old friend of the band, becomes the keyboardist of the group. Studio work is put on hold between January 20th and 23rd of 1991 as Guns N' Roses headlines two nights in Brazil in front of the 120,000 crowd of the Rock in Rio festival. On those nights, Matt and Dizzy appeared for the first time as full time members, and several new songs were played. The band then returned to the studio to finish the recording until they embarked on the Use Your Illusion World Tour in May 1991.
In July, the soundtrack of the movie Terminator 2 launched "You Could Be Mine" as the first single of the two Use Your Illusion albums which were finally released on September 17, 1991 and debuted respectively as number 1 and 2 of the Billboard charts. The success is global and it propels the band into the top rank of rock acts. So when Izzy Strandlin quits Guns N' Roses in the whole middle of the tour, the surprise is complete. He is soon replaced by Gilby Clarke. The endless tour is riddled with incidents: riots, late starts, cancellations, health or abuse problems, pouring rain, police raids... The last concert takes place in Buenos Aires on July 17 of 1993, after 197 shows given in front of more than five million people on the planet. [extract from Slash Paradise]

This CD, released on the AMCOS label, is a soundboard recording (2nd half of the show) made at the Hippodrome De Vincennes in Paris, on June the 6th, 1992. This concert was part of the "Get In The Ring Tour" 1991-1992 (142 shows in 26 countries). The recording has been graded as A+ quality and runs for almost 68mins (see
There have been other bootleg releases for this show, such as 'One In A Million', 'Le Beaux Gest' and 'La Vie En Rose' (see covers below).  This show has also been released on DVD and is considered to be one of GnR's best gigs captured in the 90's.  What makes this concert even more interesting are the guest appearances by Steve Tyler and Joe Perry (from Aerosmith) on the tracks "Mama Kin" and "Train Kept' A Rollin".  It is common knowledge that Slash has been a big fan of Aerosmith since he first started playing guitar and would have been thrilled to perform alongside his 'mentors'
The post consists of a single MP3 file (320kps) ripped from CD (no song separation I'm afraid) and includes full album artwork, along with other alternative bootleg covers.
Track Listing
01.  Drum Solo
02.  Various Solos  
03.  Godfather (theme)
04.  (Sail Away Sweet Sister/Bad time)  Sweet Child O'mine
05.  Welcome To The Jungle  
06.  (Only Women Bleed) Knockin' On Heaven's Door
07.  Mama Kin [with Steven Tyler & Joe Perry]
08.  Train Kept A Rollin'  [with Steven Tyler & Joe Perry]
09.  Don't Cry  
10.  (Mother) Paradise City

.The Band
Axl Rose:  Lead vocals, piano
Slash:  Lead & rhythm guitars, backing vocals
Duff McKagan:  Bass, backing vocals, lead vocals
Matt Sorum:  Drums, backing vocals
Dizzy Reed:  Keyboards, backing vocals
Gilby Clarke:  Rhythm guitar, backing vocals

Guns 'n' Roses Link (156Mb)