Fu Manchu - California Crossing (2002)

Fu Manchu is from Southern Californian. Originally formed in 1987.

"Super heavy and bass happy Detroit rock 'n' roll is totally deep-fried, fuzzed out, window breakin', pot sellin', sleepin-in-the-van, skater metal."
The lyrics on Fu Manchu's releases tend to stick to the topics of pinball, muscle cars, UFOs/Bigfoot, Poker, Women and skateboarding.
Currently Fu Manchu is recording a new album for an early 2007 release under their new label Liquor And Poker Music

Fu Manchu

pass: mud


Can - Ege Bamyasi (1972)

Can formed in Cologne in 1968 comprising bass guitarist Holger Czukay, keyboard player Irmin Schmidt, guitarist Michael Karoli, and drummer Jaki Liebezeit, along with original member David Johnson, an American composer, flutist, and electronic musician who left in 1969 after the band had begun taking a rock direction. They used the names "Inner Space" and "The Can" before finally settling on Can. Liebezeit subsequently suggested the backronym "communism, anarchism, nihilism" for the band's name.[4]

In the autumn of 1968, they enlisted the creative, highly rhythmic, but often confrontational American vocalist Malcolm Mooney, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom (which did not get released until 1981, under the name Delay 1968, as their record company rejected it[5]). The band then decided to record another album of original material from scratch, which later became Monster Movie, released in 1969. Mooney's bizarre and (often apparently psychotic) ranting stood in contrast to the stark minimalism of the music, which was influenced particularly by garage rock, funk and psychedelic rock. Repetition was stressed on bass and drums, particularly on the epic "Yoo Doo Right" which had been edited down from a six-hour improvisation to take up a mere single side of vinyl.

Mooney returned to America soon afterwards on the advice of a psychiatrist after being told that getting away from the chaotic music of Can would be better for his mental health.[6] He was replaced by the less overtly challenging Damo Suzuki, a young Japanese traveller found busking outside a cafe by Czukay and Liebezeit. The band's first record with Suzuki was Soundtracks, released in 1970, which also contained two tracks recorded with Mooney.

The next few years saw Can release their most acclaimed works, which arguably did as much to define the krautrock genre as those of any other group. While their earlier recordings tended to be loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining each other), extensive tape edits, and Suzuki's idiosyncratic vocalisms.

Tago Mago was followed by Ege Bamyasi (1972), a more accessible but still avant-garde record which featured the catchy "Vitamin C" and the Top 40 German hit "Spoon." Next was Future Days (1973), an unassuming but quietly complex record which represents an early example of ambient music and is perhaps the band's most critically successful record. Also included on this album was the refreshingly unexpected pop song "Moonshake".

Suzuki left soon after the recording of the latter album to marry his German wife and become a Jehovah's Witness, and the vocals were taken over by Karoli and Schmidt[7], although after the depature of Suzuki, less of their tracks featured vocals, as Can found themselves experimenting with the ambient music they began making with Future Days.


pass: mud




I interupt this program to bring you station identification.

I do appreciate all comments good and bad. But just to let you know. I can't repost music if the files have been deleted. The amount of time I spend on this blog is limited. So the few minutes I do get, I spend on posting fresh digs. If someone wants to post links of re-ups in the comments fields, I don't mind at all. Also any other music for that matter. You got the greenlight. Sorry - I hope you understand. Enjoy


Gram Parsons - (2 records)

Gram Parsons (November 5, 1946 – September 19, 1973) an American singer, songwriter, guitarist and pianist. A solo artist as well as a member of both The Byrds and The Flying Burrito Brothers, he is best known for a series of recordings which anticipate the so-called country rock of the 1970s and the alt-country movement that began around 1990. Parsons described his records as "Cosmic American Music". He died of a drug overdose at the age of 26. In 2004, Rolling Stone Magazine ranked him #87 on their list of the 100 Greatest Artists of All Time.[1]

Gram Parsons - (2 records)
Grievous Angel (1973) and GP (1974)


Parsons immediately signed a solo deal with A&M Records and partnered with producer/scenester Terry Melcher, who had produced The Byrds' Mr. Tambourine Man and worked with The Beatles. With a mutual penchant for alcohol, cocaine, and (by this juncture) heroin, the sessions were unproductive and found the singer in a holding pattern of covering country hits and himself ("Hot Burrito #1"). Eventually losing interest altogether, he checked the master tapes out in 1971. He accompanied the Stones on their 1971 tour in the hope of being signed to the newly formed Rolling Stones Records, intending to record a duo album with Richards. Moving into Villa Nellcôte with the guitarist during the sessions for Exile on Main Street, Parsons remained in a consistently incapacitated state and frequently quarreled with his much younger girlfriend, aspiring actress Gretchen Burrell. Eventually, Parsons was asked to leave by Anita Pallenberg, Richards' longtime domestic partner. Rumors have persisted that he appears somewhere on the legendary album, and while Richards concedes that it is very likely he is among the chorus of singers on "Sweet Virginia", nothing has been substantiated to this day. Parsons attempted to rekindle his relationship with the band on their 1972 tour to no avail.

After leaving the Stones' camp, Parsons married in 1971, for the first and only time, to Burrell at his stepfather's New Orleans estate. Allegedly, the relationship was far from stable, with Burrell cutting a needy and jealous figure while Parsons castrated her burgeoning film career. Many of the singer's closest associates and friends claim that Parsons was preparing to commence divorce proceedings at the time of his death; the couple had already separated by this point.

Parsons and Burrell enjoyed the most idyllic time of their relationship, visiting old cohorts like Ian Dunlop and Family/Blind Faith/Traffic member Ric Grech in England. With the assistance of Grech and one of the bassist's friends, a doctor friend who dabbled in country music, Parsons managed to kick his heroin habit once and for all (a treatment suggested by William Burroughs proved unsuccessful).

He returned to the US for a one-off concert with the Burritos, and at Hillman's instigation went to hear Emmylou Harris sing in a small club in Washington, D.C. They became friends and, within a year, he asked her to join him in Los Angeles for another attempt to record his first solo album.

Having gained thirty pounds since his Burrito days from Southern food and excessive alcohol consumption, it came as a surprise to many when Parsons was enthusiastically signed to Reprise Records by Mo Ostin in mid-1972. GP, released in 1973, utilized the guitar-playing of James Burton (sideman to Elvis Presley and Ricky Nelson), and featured new songs from a creatively revitalized Parsons songs such as "Big Mouth Blues" and "Kiss the Children," as well as a superb cover of Tompall Glaser's "Streets of Baltimore."

Parsons, by now featuring Harris as his duet partner, played dates across the United States as Gram Parsons and the Fallen Angels. Unable to afford the services of the Elvis band for a month, the band featured the talents of obscure Colorado-based rock guitarist Jock Bartley (soon to skyrocket to fame with Firefall), veteran Nashville sideman Neil Flanz on pedal steel, Kyle Tullis on bass and former Mountain drummer N.D. Smart (once described by Canadian folksinger Ian Tyson as "a psychotic redneck"). The touring party also included Gretchen Parsons—by this point extremely envious of Harris—and Harris' young daughter. Coordinating the spectacle as road manager was Phil Kaufman, who had served time with Charles Manson on Terminal Island in the mid-sixties and first met Parsons while working for the Stones in 1968. Kaufman ensured that the performer stayed away from substance abuse, limiting his alcohol intake during shows and throwing out any drugs smuggled into hotel rooms. At first, the band was under-rehearsed and played poorly, but improved markedly with steady gigging and received rapturous responses at the Armadillo World Headquarters in Austin, Texas (with Neil Young and Linda Ronstadt sitting in) and Max's Kansas City in New York City. According to a number of sources, it was Emmylou who forced the band to practice and work up an actual set list. Nevertheless, the tour did absolutely nothing for record sales. While he had been in the vanguard with The Byrds and the Burrito Brothers, Parsons was now perceived as being too authentic and traditional in an era dominated by the stylings of The Eagles, whose sound Parsons disdained (although he did maintain cordial relations with Leadon, now an Eagle).

For his next and final album, 1974's Grievous Angel, he again used Harris and Burton. The record, which was released after his death, received even more enthusiastic reviews than had GP, and has since attained classic status. Among its most celebrated songs is "$1000 Wedding", a holdover from the Burrito Brothers era which was covered by one of the many groups influenced by Parsons, the Mekons, and "Brass Buttons", a 1965 opus which addresses his mother's alcoholism. Also included was a new version of "Hickory Wind" and "Ooh Las Vegas", co-written with Grech and dating from the G.P. sessions. Despite the fact that Parsons only contributed two new songs to the album ("In My Hour of Darkness", "Return of the Grievous Angel"), Parsons was highly enthused with his new sound and seemed to have finally adopted a serious, diligent mindset to his musical career, eschewing most drugs and alcohol during the sessions.

Before recording, Parsons and Harris played a preliminary three show mini tour as the headline act in a Warner Brothers country-rock package. The backing band included Clarence White, Pete Kleinow, and Chris Etheridge. On July 14, 1973, the legendary White was killed by a drunk driver while loading equipment in his car for a concert with the New Kentucky Colonels. At White's funeral, Parsons and Bernie Leadon launched into an impromptu touching rendition of "Farther Along"; that night, the distraught and drunken musician reportedly informed Phil Kaufman of his final wish: to be cremated in Joshua Tree. Despite the almost insurmountable setback, Parsons, Harris, and the other musicians decided to continue with plans for a fall tour.

In the summer of 1973 Parsons' Topanga Canyon home burned to the ground, the result of a stray cigarette. Nearly all of his possessions were destroyed with the exception of a guitar and a prized Jaguar automobile. The fire proved to be the last straw in the relationship between Burrell and Parsons, who moved into a spare room in Kaufman's house. While not recording, he frequently hung out and jammed with members of New Jersey-based country rockers Quacky Duck and His Barnyard Friends (whose rhythm section included Tony Bennett's sons) and the proto-punk Johnathan Richman & the Modern Lovers, who were being managed by Kaufman. Richman credits Parsons with introducing him to acoustic-based music. According to the road manager of Quacky Duck, Parsons was, despite being frequently drunk, a kind soul who provided business and musical guidance to the younger band.

Before formally breaking up with Burrell, Parsons already had a woman waiting in the wings. While recording, he saw a photo of a beautiful woman at a friend's home and was instantly smitten. The woman turned out to be Margaret Fisher, a high school sweetheart of the singer from his Florida days. Like Parsons, Fisher had drifted west and became established in the Bay Area rock scene as a desirable groupie, bedding the likes of Eugene Landy and Timothy Leary's son. A meeting was arranged and the two instantly rekindled their relationship, with Fisher dividing her weeks between Los Angeles and San Francisco at Parsons' expense.

In the late 1960s, Parsons became enamored with Joshua Tree National Monument. Alone or with friends, he would disappear in the desert for days, searching for UFOs while under the influence of psilocybin or LSD. After splitting from Burrell, Parsons would frequently spend his weekends in the area with Margaret Fisher and Phil Kaufman. Before his tour was scheduled to commence in October 1973, Parsons decided to go on one more excursion. Accompanying him were Fisher, personal assistant Michael Martin, and Dale McElory, Martin's girlfriend. Less than two days after arriving, Parsons died September 19, 1973 in Joshua Tree, California at the age of 26 from an overdose, purportedly of morphine and alcohol. According to Fisher in the 2005 biography Grievous Angel: An Intimate Biography of Gram Parsons, the amount of morphine consumed by Parsons would not be lethal to an addict and that he had likely overestimated his tolerance considering his past experience with opiates. Fisher and McElroy were returned to Los Angeles by Kaufman, who dispersed the remnants of Parsons' stash in the desert.

In a story that has taken on legendary stature, Parsons' body disappeared from the Los Angeles International Airport, where it was being readied to be shipped to Louisiana for burial. Maintaining his promise, Kaufman and a friend managed to steal Parsons' body from the airport and, in a borrowed hearse, drove Parsons' body to Joshua Tree where they cremated it. The site of the cremation is today marked by a small concrete slab and is presided over by a large rock flake known to rock climbers as 'The Gram Parsons memorial hand traverse'.[2]. The two were arrested several days later and fined $700 for burning the coffin, since stealing a body was not a crime.[3] The burned remains were eventually returned to Parsons' stepfather and interred in New Orleans. Kaufman raised the fine money by hosting "Phil Kaufman's Koffin Kaper Koncert", an informal tribute to the singer with music from Dr. Demento, Bobby "Boris" Pickett, and Jonathan Richman. Relabeled bottles of "Gram Pilsner" were also distributed.

A version of these events is depicted in the 2003 comedy Grand Theft Parsons starring Johnny Knoxville as Kaufman, with Kaufman himself in a cameo appearance as a felon in handcuffs. In the 2005 Canadian mockumentary The Life and Hard Times of Guy Terrifico, Kaufman plays himself in frequent interview snippets where he purports to have been the manager of the fictional title character, whose life and musical style is largely based on Parsons' life. When Terrifico is shot onstage, Kaufman says he drove the gravely-wounded singer to the hospital where the car was stolen with Terrifico in back while Kaufman was trying to get him admitted. Terrifico is never seen again. The filmmakers uncover evidence that the apparent death of Terrifico was faked by Kaufman and others. When Kaufman is questioned about the similarity to his stealing of Parsons' body, he scoffs at the comparison. In the 2003 BBC documentary Gram Parsons: Fallen Angel (released commercially in 2006), Parsons' family alleged that Kaufman's cremation was little more than a drunken hatchet job and succeeded only in mutilating roughly 60% of the corpse.


pass: mud


Kris Kristofferson - Border Lord (1972)

Border Lord is the third album by Kris Kristofferson. Thanks to "Uncle Bill and his Dust Bin" for the original rip from the record. @ 320 ( i think)

Kristofferson was born in Brownsville, Texas. Like most military brats he moved around much as a youth; he finally settled down in San Mateo, California, where he graduated from San Mateo High School. Kristofferson's father was an Air Force general who pushed his son toward a military career. While in England, Kristofferson began writing songs and working with his manager Larry Parnes; he recorded for Top Rank Records under the name Kris Carson, but was unsuccessful.

Kristofferson moved to Nashville after resigning his commission in 1965, intent on becoming a professional songwriter. He worked a variety of odd jobs while struggling to make it in the music business, burdened with expensive medical bills as a result of his son's defective esophagus. He and his wife soon divorced.

He got a job sweeping floors at Columbia Studios in Nashville. There he met Johnny Cash, who initially took some of his songs but ignored them. During Kristofferson's time working as a janitor for Columbia, Bob Dylan was recording his landmark 1966 album Blonde on Blonde at the studio. Though Kristofferson was able to watch some of the sessions, he never got to meet Dylan because he was afraid that he would be fired for approaching him.

He was also working as a commercial helicopter pilot at the time for a south Louisiana firm called Petroleum Helicopters International (PHI), based in Lafayette, Louisiana. Kristofferson recalled of his days as a pilot, "That was about the last three years before I started performing, before people started cutting my songs. . . . I would work a week down here [in south Louisiana] for PHI, sitting on an oil platform and flying helicopters. Then I'd go back to Nashville at the end of the week and spend a week up there trying to pitch the songs, then come back down and write songs for another week. . . . I can remember 'Help Me Make It Through The Night' I wrote sitting on top of an oil platform. I wrote 'Bobby Magee' down here, and a lot of them [in south Louisiana]."[1]

In 1966, Dave Dudley released a successful Kristofferson single, "Viet Nam Blues". The following year, Kristofferson signed to Epic Records and released a single, "Golden Idol"/"Killing Time", but the song was not successful. Within the next few years, more Kristofferson originals hit the charts, performed by Roy Drusky ("Jody and the Kid"), Billy Walker & the Tennessee Walkers ("From the Bottle to the Bottom"), Ray Stevens ("Sunday Mornin' Comin' Down"), Jerry Lee Lewis ("Once More with Feeling") Faron Young ("Your Time's Comin'") and Roger Miller ("Me and Bobby McGee", "Best of all Possible Worlds", "Darby's Castle"). He also gained some success as a performer himself, due to Johnny Cash's introduction of Kristofferson at the Newport Folk Festival. He got Cash's attention when he landed his helicopter in Cash's yard and gave him some tapes.

Kristofferson signed to Monument Records as a recording artist. The label was run by Fred Foster, also manager of Combine Music, Kristofferson's songwriting label. His debut album for Monument in 1970 was Kristofferson, which included a few new songs as well as many of his previous hits. Sales were poor, although this debut album would become a success the following year when it was re-released under the title Me & Bobby MeGee. Kristofferson's compositions were still in high demand. Ray Price ("For the Good Times"), Waylon Jennings ("The Taker"), Bobby Bare ("Come Sundown"), Johnny Cash ("Sunday Morning Coming Down") and Sammi Smith ("Help Me Make It Through the Night") all recorded successful versions of his songs in the early 1970s. "For the Good Times" (Ray Price) won 'Song of the Year" in 1970 from the Academy of Country Music, while "Sunday Morning Coming Down" (Johnny Cash) won the same award from the Academy's rival, the Country Music Association in the same year. This is the only time an individual has won the same award from these two organizations in the same year for different songs.

In 1971, Janis Joplin, a very influential vocalist, had a #1 pop hit with "Me and Bobby McGee" from her posthumous Pearl. More hits followed from others: Ray Price ("I Won't Mention It Again", "I'd Rather Be Sorry"), Joe Simon ("Help Me Make It Through the Night"), Bobby Bare ("Please Don't Tell Me How the Story Ends"), O.C. Smith ("Help Me Make It Through the Night") Jerry Lee Lewis ("Me and Bobby McGee"), Patti Page ("I'd Rather Be Sorry") and Peggy Little ("I've Got to Have You"). Kristofferson released his second album, The Silver Tongued Devil and I in 1971; the album was a success and established Kristofferson's career as a recording artist in his own right. Not long after, Kristofferson made his acting debut in The Last Movie (directed by Dennis Hopper) and appeared at the Isle of Wight Festival. In 1972, he acted in Cisco Pike and released his third album, Border Lord; the album was all-new material and sales were sluggish. He also swept the Grammies that year with numerous songs nominated and several winning song of the year. Kristofferson's 1972 fourth album, Jesus Was a Capricorn initially had slow sales, but the third single, "Why Me", was a success and significantly increased album sales.


pass: mud

Bob Dylan - Self Portrait (1970)

Although critics at the time loathed this recording. Bob Dylan's "Self portrait" circa 1970 I found very undervalued. I guess that's a good thing, because 37 years later, it can now be applauded for it's alt- country rock cowboy vibe sensibilities. A sound that Dylan had introduced a year earlier on Nashville Skyline.

Self Portrait is Bob Dylan's 10th studio album, released in in 1970.

Seen by some as intentionally surreal and even satirical at times, Self Portrait was given extremely poor reviews upon release. The most memorable reaction was Greil Marcus' opening sentence in his Rolling Stone review: "What is this shit?"

Rock critics Jimmy Guterman and Owen O'Donnell, writing in their 1991 book The Worst Rock and Roll Records of All Time, listed Self-Portrait as the third worst rock album ever, with only Lou Reed's experimental Metal Machine Music and Elvis Presley's concert byplay album Having Fun With Elvis On Stage faring worse.

Which leads one to ask. " where the fuck are Jimmy Guterman, Owen O'Donnell, Greil Marcus these days, and what the fuck did they ever to do. " ...So don't put too much stock into what these creative-LESS people have to say. It's a great album. Just listen to "All the Tired Horses"...it's a wonderful song.

...but then again...Greil Marcus is the same man that said "Elvis Presley has been more important dead than alive."
PA-LEASE!... you don't have to go ask John and Paul who they were listening too, before they started writting songs.

Track listing

1. "All the Tired Horses" (Dylan) – 3:12
2. "Alberta #1" (Trad. Arr. Dylan) – 2:57
3. "I Forgot More Than You'll Ever Know" (Cecil A. Null) – 2:23
4. "Days of '49" (Lomax/Lomax/Warner) – 5:27
5. "Early Morning Rain" (Gordon Lightfoot) – 3:34
6. "In Search of Little Sadie" (Trad. Arr.Dylan) – 2:27
7. "Let It Be Me" (Gilbert Becaud/M. Curtis/Pierre Delanoe) – 3:00
8. "Little Sadie" (Trad. Arr. Dylan) – 2:00
9. "Woogie Boogie" (Dylan) – 2:06
10. "Belle Isle" (Trad. Arr. Dylan) – 2:30
11. "Living the Blues" (Dylan) – 2:42
12. "Like a Rolling Stone" (Dylan) – 5:18
* Recorded live August 31, 1969 at the Isle of Wight Festival.
13. "Copper Kettle (The Pale Moonlight)" (Alfred Frank Beddoe) – 3:34
14. "Gotta Travel On" (Paul Clayton/Larry Ehrlich/David Lazar/Tom Six) –
15. "Blue Moon" (Lorenz Hart/Richard Rodgers) – 2:29
16. "The Boxer" (Paul Simon) – 2:48
17. "The Mighty Quinn (Quinn the Eskimo)" (Dylan) – 2:48
* Recorded live August 31, 1969 at the Isle of Wight Festival.
18. "Take Me as I Am (Or Let Me Go)" (Boudleaux Bryant) – 3:03
19. "Take a Message to Mary" (Felice Bryant/Boudleaux Bryant) – 2:46
20. "It Hurts Me Too" (Trad. Arr. Dylan) – 3:15
21. "Minstrel Boy" (Dylan) – 3:32
* Recorded live August 31, 1969 at the Isle of Wight Festival.
22. "She Belongs to Me" (Dylan) – 2:43
* Recorded live August 31, 1969 at the Isle of Wight Festival.
23. "Wigwam" (Dylan) – 3:09
24. "Alberta #2" (Trad. Arr. Dylan) – 3:12

* Byron Bach - Cello
* Brenton Banks - Violin
* George Binkley III - Violin
* Norman Blake - Guitar
* David Bromberg - Guitar, Dobro, Bass
* Albert Wynn Butler - Clarinet, Saxophone
* Kenneth A. Buttrey - Drums, Percussion
* Fred Carter Jr. - Guitar
* Marvin Chantry - Viola
* Ron Cornelius - Guitar
* Charlie Daniels - Bass, Guitar
* Rick Danko - Bass, Vocals
* Pete Drake - Steel Guitar
* Bob Dylan - Guitar, Harmonica, Keyboards, Vocals
* Delores Edgin - Vocals
* Fred Foster - Guitar
* Solie Fott - Violin, Viola
* Bubba Fowler - Guitar
* Dennis Good - Trombone
* Emanuel Green - Violin
* Hilda Harris - Vocals
* Levon Helm - Mandolin, Drums, Vocals
* Freddie Hill - Trumpet
* Karl Himmel - Clarinet, Saxophone, Trombone
* Garth Hudson - Keyboards
* Lilian Hunt - Violin
* Bob Johnston - Producer
* Martin Katahn - Violin
* Doug Kershaw - Violin
* Al Kooper - Guitar, Horn, Keyboards
* Sheldon Kurland - Violin
* Richard Manuel - Piano, Vocals
* Martha McCrory - Cello
* Charlie McCoy - Guitar, Bass, Harmonica, Vibes
* Barry McDonald - Violin
* Ollie Mitchell - Trumpet
* Carol Montgomery - Vocals
* Bob Moore - Bass
* Gene A. Mullins - Baritone Horn
* Joe Osborn - Guitar, Bass
* June Page - Vocals
* Rex Peer - Trombone
* Bill Pursell - Piano
* Robbie Robertson - Guitar, Vocals
* Albertine Robinson - Vocals
* Al Rogers - Drums
* Frank Smith - Trombone
* Maretha Stewart - Vocals
* Gary Van Osdale - Viola
* Bill Walker - Arrangements
* Bob Wilson - Organ, Piano
* Stu Woods - Bass



pass: mud

The Stooges

I just read somewhere that The Stooges are back recording again. It's called "Weirdness" and is to drop in March.. So if anyone has an advance copy and wants to post the link in comments, I wouldn't disaprove. ;}...

Featuring founding members Iggy Pop, Ron Asheton, and Scott Asheton along with new bassist Mike Watt (Minutemen/fIREHOSE) and Fun House saxophonist Steve MacKay. It is set for a March 20, 2007 release.

Also, you can read the coolest rock n roll rider in the history of rock here. If you don't know what a "rider" is, you have to read this:


The album was recorded by Steve Albini at his Electrical Audio studio in Chicago, Illinois during October 2006, and was mastered at Abbey Road Studios in London, England in December of that same year. A day by day recording diary was being posted by Mike Watt at his website, but was mysteriously deleted from the site at some point. The album was referred to as Secret Plan by Watt in the diary.

According to Watt's online diary, the songs will include a finalized version of "My Idea Of Fun" (first heard on the live CD Telluric Chaos) and a cover version of The Beatles' "I Wanna Be Your Man", while a November 20 article on the album, derived mainly from an interview with Pop, also gives the following song titles as appearing on the album: "Trollin'", "ATM", "You Can't Have Friends,", "The Weirdness" and "Greedy Awful People." Further titles were announced in December after the album was mastered.


Sweat Band - Sweat Band (Bootsy Collins)

Sweat Band was a step between Bootsy's Rubber Band and his "solo" albums. It was preceded by several (4) Rubber Band albums, one solo effort and various work with the George Clinton's Parliament-Funkadelic collective. Sweat Band's solitary album, along with 3 "solo" albums, represent the the entire studio output of Bootsy Collins in the Eighties. However he also remained a studio force for the P-Funk mobb in that era.

The Bootsy Collins side project featured Maceo Parker and several other members of Parliament. Their eponymous 1980 album was more instrumental than vocal compared to other P-funk projects.

The Sweat Band album is a classic in the "Clap Funk" sound.

With his brother, Catfish Collins, and Kash Waddy and Philippe Wynne, Collins formed a group called The Pacesetters in 1968. Until 1971, the Pacesetters were the backing band for James Brown, and were known in that context as The JB's.

Brown fired Collins after the latter suffered LSD hallucinations on-stage. It is known that the young Bootsy clashed several times with the rigid system Brown used to discipline the young band whenever he felt they stepped out of line. After leaving the band Collins then moved to Detroit, following the advice of singer and future Parliament member Mallia Franklin.

[edit] P-funk and Rubber Band

Franklin introduced both Collins brothers to George Clinton, and 1972 saw both of the Collins brothers, along with Waddy, join Funkadelic. Bootsy played on most of their early albums, garnering several songwriting credits as well. His bass playing was hard, driving and rhythmic, and has been very influential in the development of Funk, Heavy Metal and Soul music. Bootsy's characteristic watery sound, produced by envelope filters, is one of his distinguishing traits as a bass player.

Like Clinton, Bootsy took on several aliases, from "Casper the Funky Ghost" to "Bootzilla, the world's only rhinestone rockstar monster of a doll" as part of an ever-evolving character, an alien rock star who grew gradually more alien, bizarre and flashy as time went on (see P-Funk mythology). He also adopted his trademark space bass around this time. Bootsy, Catfish, Waddy, Joel Johnson, Gary 'Mudbone' Cooper, Robert Johnson and The Horny Horns formed Bootsy's Rubber Band in 1976, the character of Bootsy evolved into a rhinestone-bedecked, flashy rock god.

Bootsy's Rubber Band is a part of the P Funk umbrella of bands. Most of Bootsy's albums in the post-Parliament and Funkadelic days were released under the name Bootsy's Rubber Band, though he also released an album in 1980 under the name Sweat Band. The first three albums of Rubber Band released in years 1976, 1977 and 1978 are often considered to be among the essential funk recordings.

[edit] Later times

In 1984, Bootsy collaborated with Jerry Harrison of Talking Heads to produce "Five Minutes", a dance record sampled and edited from Ronald Reagan's infamous "Five Minutes" speech. The record was credited to "Bonzo goes to Washington".

In 1990 Bootsy collaborated with Deee-Lite on their massive hit "Groove Is In The Heart" where he contributed bass and additional vocals. He also appeared in the music video, while Bootsy's Rubber Band became the defacto backing musicians for Deee-Lite during a world tour.

Bootsy collaborated with bluegrass legends Del McCoury, Doc Watson and Mac Wiseman to form the GrooveGrass Boyz. They produced a fusion of bluegrass and funk that listeners either loved as a fresh take on tradition or hated as defiling that same tradition.

Bootsy has collaborated extensively with Bill Laswell and made appearances on two Fatboy Slim records. Bootsy provided "vocal spice" on the TobyMac album Welcome to Diverse City. He also appears on Nicole C. Mullens' latest album, "Everyday People". He has also worked with Praxis, and with Buckethead on several occasions, for example on Buckethead's first album, "Bucketheadland". Bootsy was featured in the 2002 film Standing in the Shadows of Motown.

In 2005, Bootsy Collins added vocals to fellow bassist Victor Wooten's album Soul Circus. He also served as "Heineken's Amsterjam 2005" curator and master of ceremonies on Randall's Island, New York and appeared with Madonna, Iggy Pop, Little Richard, and The Roots' ?uestlove, in an American TV commercial for the Motorola ROKR phone.

Collins' signature instrument is a custom-built star-shaped bass guitar he calls the "Space Bass". Currently built for him by Manny Salvador of GuitarCraft in 1998. More recently, Collins has made an agreement with Traben to make a signature Bootsy Collins model bass called the "Bootzilla".
Collins on the "Fear Da Tiger" shoot.
Collins on the "Fear Da Tiger" shoot.

In October, 2005, Collins co-wrote a song celebrating the resurgence of his hometown team, the Cincinnati Bengals of the National Football League called "Fear Da Tiger" which features "raps" written and performed by several Bengals players, including defensive end Duane Clemons, offensive tackle Stacy Andrews, and center Ben Wilkerson. An edited version of the song was made into a music video which features cameos by many other Bengals players. It has garnered tremendous local airplay and is viewable on Bengals.com Additionally, Cincinnati Bell is offering "Fear Da Tiger" as a free ringtone for its wireless customers in both polyphonic and MP3 formats.

He also sings "Marshal Law", the theme song of the Cincinnati Marshals indoor football team. He debuted the song on April 29, at halftime of a Marshals home game against the West Palm Beach Phantoms.

In 2006 ABC Entertainment / A Charly Films Release released a DVD/CD from Bootsy Collins and the New Rubber Band's concert at the 1998 North Sea Jazz Festival.

In 2006 Collins split from long-time friend and guitarist Gormley, citing creative differences as the reason.

Currently, Bootsy is producing the funk band Freekbass from Ohio.

Freekbass has many members, including Thadeus Eirich of Cumberland, Maryland, who, every weekend makes the trip to Ohio for practice. Thad is a guitarist/personality for the band.


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New Orleans Funk : The Original Sound Of Funk 1960-75

This is a definitive collection of New Orleans Funk featuring acknowledged masters of funk next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900s. A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk. The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.

1 Meters, The Handclapping Song (2:53)
2 Explosions, The Hip Drop (2:35)
3 Lee Dorsey Who's Gonna Help Brother Get Further (3:02)
4 Gentleman June Gardner It's Gonna Rain (2:16)
5 Eddie Bo Check Your Bucket (2:38)
6 Professor Longhair Big Chief (2:07)
7 Huey "Piano" Smith & His Clowns Free, Single And Disengaged (2:10)
8 Chuck Carbo Can I Be Your Squeeze (2:28)
9 Aaron Neville Hercules (4:11)
10 Mary Jane Hooper I've Got Reasons (2:31)
11 Gaturs, The Gator Bait (2:42)
12 Allen Toussaint Get Out Of My Life Woman (2:57)
13 Cyril Neville Tell Me What's On Your Mind (2:06)
14 Bo Dollis & The Wild Magnolia Mardi Gras Indian Band Handa Wanda
15 Lee Dorsey & Betty Harris Love Lots Of Lovin (2:58)
16 Explosions, The Garden Of Four Trees (2:40)
17 Ernie & The Top Notes Dap Walk (3:07)
18 Meters, The Just Kissed My Baby (4:38)
19 Marilyn Barbarin Reborn (2:24)
20 Dr. John Mama Roux (2:56)
21 Danny White (2) Natural Soul Brother (2:19)
22 Eddie Bo Hook 'N' Sling (Part II) (2:18)
23 Ernie K-Doe Here Come The Girls (3:03)
24 Robert Parker Hip-Huggin (2:42)

The Original Sound Of Funk

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Funkify Your Life: The Meters Anthology

These cats are pure ass haught New Orleans funk. The Meters are one of my favorite bands of all time. And this comp is probably on my "stranded on a desert" island albums list. The first time I herd "Sissy Strut" I was laid out. As a white boy rocker from the great white north, this song turned me on to the whole funk genre. If you havn't herd this cut, don't' miss this. Pull it down now! THEN CRANK THE FUNK OUT OF IT!!! The rest of this colossal comp of Meter music, is a best kept fat secret. Entertain this heavy band at any party/BBQ, and then go run and thank The Meters - for making you look so DANG BAD-CRAZY !


Funkify Your Life: The Meters Anthology

Disc: 1
1. Cissy Strut
2. Here Comes The Meter Man
3. Live Wire
4. Sophisticated Cissy
5. Ease Back
6. Stormy
7. Look-Ka Py Py
8. Pungee
9. Thinking
10. This Is My Last Affair
11. Funky Miracle
12. Yeah, You're Right
13. Little Old Money Maker
14. Dry Spell
15. Chicken Strut
16. Same Old Thing
17. Darling Darling Darling
18. Tippi-Toes
19. Ride Your Pony
20. A Message From The Meters
21. Zony Mash
22. Stretch Your Rubber Band
23. Groovy Lady
24. (The World Is A Bit Under The Weather)
25. I Need More Time
26. Good Old Funky Music

Disc: 2
1. Stay Away
2. Soul Island
3. Do The Dirt
4. Cabbage Alley
5. People Say
6. Hey Pocky A-Way
7. Africa Listen
8. Fire On The Bayou
9. Talkin' 'Bout New Orleans
10. They All Ask'd For You
11. Running Fast (Single Version)
12. (Doodle Loop) The World Is A Little Bit Under The Weather
13. Trick Bag
14. Hang 'Em High
15. Be My Lady
16. Funkify Your Life
17. Give It What You Can


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The Rolling Stones - Exile On Main Street

This has to be my favorite Stones record. It's got everything on it. Grit. Sleaze. Laid back. Rockin. And it's the best Stones ever recorded. Produced by the late great Jimmy Miller (1944-1994). Jimmy Miller was a Brooklyn-born record producer, who produced albums for The Spencer Davis Group (in fact, he co-wrote the song I'm A Man with Steve Winwood), Traffic, Blind Faith, Bobby Whitlock, New York City's shock/punk rockers The Plasmatics and Motörhead.

And of course...The Rolling Stones. All the albums from Beggars Banquet to Goats Head Soup. But Exile remains his best IMHO - wino


Legend has it that the album was recorded in the basement of Keith Richards' new home, Nellcôte, at Villefranche-sur-Mer, near Nice, France. In reality, many basic tracks were recorded in 1969 and 1970 at Olympic Studios and Mick Jagger's Stargroves country house in England during sessions for Let It Bleed and Sticky Fingers. These tracks, together with additional basic tracks recorded at Keith's villa in June 1971 (most probably only "Rip this Joint", "Shake Your Hips", "Casino Boogie", "Happy", "I Just Wanna See His Face", "Turd on the Run" and "Ventilator Blues"), were taken to Sunset Sound Recorders in Los Angeles and numerous overdubs (all piano and keyboard parts, all lead and backing vocals, all guitar and bass overdubs) were added during sessions that meandered from December 1971 until May 1972. Also some tracks (like "Rocks Off" and "Loving Cup") were freshly recorded in Los Angeles.

The basic band for the Nellcôte sessions is believed to have consisted of Keith Richards, Bobby Keys, Mick Taylor, Charlie Watts, Jimmy Miller, and Mick Jagger when he was available and/or interested. Bassist Bill Wyman did not find the ambience surrounding the Richards villa to be endearing and sat out many of the French sessions. As Wyman appeared on only eight songs of the released album, the other bass parts were played by Taylor, Richards, and on four tracks upright bassist Bill Plummer. Wyman noted in his memoir Stone Alone that there was a clear dichotomy between the band members who freely indulged in drugs (namely Richards, Miller and Keys) and those who more or less abstained (Wyman, Watts, and Jagger).

Producer Jimmy Miller, a notable drummer in his own right, covered for an absentee Watts on "Happy" and "Shine a Light". Thousands of dollars of heroin flowed through the mansion on a weekly basis in addition to a contingent of backseat drivers that included the likes of William S. Burroughs, Terry Southern, and Gram Parsons. Contrary to popular belief, Parsons does not appear on the album and was asked to leave Nellcôte in early July 1971, the result of both his obnoxious behavior and an attempt by Richards to clean the house of drug users as the result of pressure from the French police.

Although newlywed Jagger was frequently missing from Nellcôte, he immediately took charge during the second stage of recording in Los Angeles, arranging for keyboardists Billy Preston & Dr. John and the cream of the city's session backup vocalists to record layers of overdubs. The final gospel-inflected arrangements of "Tumbling Dice", "Loving Cup", "Let it Loose" and "Shine a Light" were inspired by Jagger and Preston's visit to a local evangelical church.

The elongated recording sessions and differing methodologies on the part of Jagger and Richards reflected the growing disparity in their personal lives. During the course of the making of the album, Jagger had married first wife Bianca Pérez Macías resulting in their only child, Jade, being born in October 1971. Keith Richards was firmly ensconced with partner Anita Pallenberg, yet both were in the throes of heroin addiction, which Richards wouldn't overcome until the turn of the decade. Even though the album served as an encapsulation of the "cosmic American music" theory so ardently proselytized by Parsons and is often described as being Richards' finest moment, Jagger was already expressing his boredom with rock and roll in several interviews at the time of the album's release. With Richards largely beholden to heroin, the group's subsequent 1970s releases—directed largely by Jagger—would experiment in varying degrees with other musical genres, moving away from the thoroughly roots-based sound of "Exile."

Released in May 1972, having been preceded by the Top 10 hit "Tumbling Dice", Exile On Main St. was an immediate commercial success, hitting #1 worldwide just as the band embarked on their famed 1972 American Tour, their first in the U.S. in three years, and during which they played many songs from the new album. "Happy", sung by Keith Richards, would be a Top 30 US hit later that summer. Although its initial critics considered Exile on Main St. to be a ragged record, its legend grew steadily over time and has since been considered by many as The Rolling Stones' finest hour. It is currently certified triple platinum in the US alone.

In 1998 Q magazine readers voted Exile on Main St. the 42nd greatest album of all time, while in 2000 the same magazine placed it at number 3 in its list of the 100 Greatest British Albums Ever. In 1987 it was ranked #3 on Rolling Stone magazine's list of the greatest 100 albums of the period 1967-1987, then in 2003 it was listed as number 7 on their list of the 500 Greatest Albums of All Time. Also in 2003, Pitchfork Media ranked it number eleven on their Top 100 Albums of the 1970s. In 2001, the TV network VH1 placed it at number 12 on their best albums survey. The album was ranked number 19 on the October 2006 issue of Guitar World magazine's list of the greatest 100 guitar albums of all time. [1]


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The New Meanies - Three Seeds

The New Meanies, a 4 piece rock band out of Winnipeg, Manitoba Canada (Randy Bachman's home town). Blues-influenced rock. I'm not sure what ever happened to this great little band. The were a hard working outfit, always in the van touring like hell. Winnipeg being an eight-hour drive from anywhere, they were known to drive non-stop from B.C. to Manitoba. Sometimes hard work never pays off. Nobody ever warned the boyz, that rock n roll is a visoius game. So much for the dream eh? Especially in this counrty. Now that they are a little more experienced to the GAME, hopefully we'll see their talent again some day.

Three Seeds

pass: mud


Sensational Alex Harvey Band - Next (1972)


Alex Harvey (February 5, 1935 - February 4, 1982) was a Scottish rock and roll recording artist. With his Sensational Alex Harvey Band, he built a strong reputation as a live performer during the 1970s glam rock era. The band was renowned for its eclecticism and energetic live performance, Harvey for his charismatic persona and daredevil stage antics.

Harvey formed the Sensational Alex Harvey Band, composed of himself, guitarist Zal Cleminson, bassist Chris Glen, and his cousins Ted and Hugh McKenna on drums and keyboards respectively. All four were former members of a progressive rock band called Tear Gas.

In 1972 Alex Harvey had reached the grand old age of 38, way too old in those hedonistic days of music to consider becoming a Pop Star. But tragically, Alex's younger brother by some ten years, Leslie, had been killed in an electrical accident during a sound check with his group "Stone the Crows" at the Top Rank in Swansea. The cause was an unearthed microphone. This tragic event spurred Alex on to have one more go at cracking the big time. At the time Alex was earning a crust in the orchestra of James Rado's iconoclastic musical 'Hair', but was persuaded by his manager, friend, and mentor Bill Fehilly, to go up to his native Glasgow, Scotland, to check out a gritty Progressive outfit called Tear Gas. The band was in the throws of giving up all dreams of stardom and going back to 'normal jobs'. They were so broke that in true Scottish tradition they had resorted to haggis hunting up the side of mountains to find sufficient nutrition to survive.

However, Alex, recognizing talent when he saw it, coerced the band to stick together and plant him in as lead singer and inspirational genius. Putting "Sensational" into the title of the band, they went into the studio and in six days had recorded their first album, released in early 1973, before starting to play live anywhere that would have them. Not surprisingly, they quickly built up a reputation of one of the hottest acts on the live circuit.

Out front was Alex himself, skin tight jeans, dirty red handkerchief hanging from his back pocket, black and white looped T-shirt, with Alex's huge head sticking out the neck (with all the creativity going on in this head, it needed to be a big one), topped off by an unruly mop of unruly jet black hair, the perfect leader.

Next to him was Zal Cleminson in a green rubber jumpsuit with cake white clown's make-up, which exaggerated his gurning face as he cut loose during the solos, and becoming a complete maniac, the perfect foil.

On the other side of the stage on bass was a man who could of made a living as an Elvis impersonator, or at least one of Elvis' bouncers Mr. Chris Glen, the perfect man to have on your side if the chips were down.

On Keyboards, as befitting this lot, was Hugh McKenna, who looked more like a university music teacher than a Rock 'n' Roll star, the perfect musical director. And keeping it in the family, on drums you had Hugh's brother, Ted, the perfect rock onto which to hoist your Rock 'n' Roll flag.

The first album was a reasonable commercial success, but for once the record company saw the potential in this group. Later that year they booked a full month for the band to record their follow up album and brought in top Glam Rock producer Phil Wainman. The results were 'Sensational'. Alex sung with such pathos you cannot help but love him. Nobody else at the time could of gotten away with singing the title track, the J. Brel tribute to European Brothels, or `Gang Bang' poking fun, of an unmentionable subject. Zal Cleminson's guitar playing throughout is nothing short of brilliant, and the band supports them note for note. All of the songs here were to stay in the band's stage act in one way or another until the end, especially 'The Faith Healer' with its throbbing Tooltelbug drone opening, which was to become the band's standard bearer and opening song. (The sight of Alex staggering to the front of the stage screaming "can I put my hands on you" used to send the audience into raptures.)

`Vambo Marble Eye' became a saga that Alex was going to take to higher plains on the live stage. Final number 'The Last Of The Teenage Idols' was inspired by an event way back in 1957, when Alex Harvey won a Daily Record organized competition to find the Scottish Tommy Steele (true - I promise!), which brings the album to a fitting rocking climax before we are lulled away by a final burst of do-wop.

In another year, "The Sensational Alex Harvey Band" was the biggest touring band in Europe, quite a turn around from Haggis chasing. Unfortunately, the work load was just too much and after suffering declining health, Alex left the band in 1978, after which the band imploded. Later in 1982, Alex would die of a heart attack while on tour in Europe, a day before his 47th Birthday. Although Alex's career did not really catch fire until late, but when it finally did, it sure burned bright. If "The Sensational Alex Harvey Band" is a mystery to you, pay attention. Alex Harvey was one of the greatest ring masters to have ever strode across the field of Rock 'n' Roll.

On February 4, 1982 while waiting to take a ferry back to shore after performing his last concert with his new band, the Electric Cowboys, Harvey suffered a massive heart attack. In an ambulance on the way to the hospital, he suffered a second heart attack, this one fatal. It occurred on the day before his 47th birthday, in Zeebrugge, Belgium.

Pawed by Mott the Dog
Re-Whipped by Ella Crew


pass: mud



The Muggs (promo songs)

Man these dudes haven't come out of my player in the last three days. Calling the Motor City home... these cats ROCK!... ala Cactus meets Humble Pie. They are blowin off to Spain very soon on a tour. Tonymuggs tells me. When they come back, they start kickin out their second album. Visit their site. Here is a pull of 5 promo songs from their first release.

visit: www.themuggs.com or www.myspace.com/themuggs

pass: mud

The Muggs
by Gary Blackwell

Anyone who's seen The Muggs play out knows the trio's music is essentially a rock guitar clinic backed by a solid rhythm section. The band's forthcoming full-length CD isn't much different from the live sets (both in theory and in overall sound), serving as a Godsend for fans of blues-tinged nuggets in the vein of late 60's/early 70's stalwarts such as Bloodrock, Humble Pie and Free.

It's not a lie to say that Danny Methric's guitar chops are the focal point of the album, though drummer Matt Rost and keybassist Tony DeNardo serve up impressively thick slabs of rhythm to back him up. The band's at its best during the three-minute riff-fest "Gonna Need My Help," which couples a nasty riff with thumping bass and drums, Zeppelin-esque vocal wails and a goose-bump raising solo. "Rollin' B-Side Blues," "If You Please" and "White Boy Blues" show a dirtier, grooving side of The Muggs, proving that the band's got a sultry swagger to go with its guitar throttling bravado, as well.


The Small Faces - BBC Sessions 1965-1968

Steve Marriott was born and raised in the east end of London (Bow) 30 January 1947. He is best remembered for his musical work in the groups Small Faces (1965-1969) and Humble Pie (1969-1975). he became a noted child actor and appeared as The Artful Dodger in an early London stage production of Oliver! and appeared in two films in his early teens, one with Peter Sellers. Despite his small stature and slight build, Marriott possessed a thrilling and powerful voice; he was (and remains) widely admired as one of the best British rock and soul singers of his generation.

Lane and Marriott met in 1965 while Marriott was working at the J60 Music Bar in Manor Park; Lane came in with his father Stan to buy a bass guitar, struck up a conversation with Marriott, bought the bass and went back to Marriott's house after work to listen to records. The core of the band was born that afternoon and evening.
Recruiting friends Kenny Jones and Jimmy Winston (born Jimmy Langwith, April 20, 1945 in Stratford, London), who had to switch from guitar and learn to play the organ, they rapidly progressed from rehearsals to ramshackle pub gigs to semi-pro club dates, and while not yet the crack live outfit they became -- Marriott was still learning guitar -- his explosive, sandpapery soul-belter voice attracted rising attention. They were spotted by singer Elkie Brooks who was struck by Stevie's vocal prowess and recommended them to a local club owner, Maurice King. Impressed, he began finding them work in London and beyond.

They were kicked out of their first out-of-town gig -- a workingmen's club in Sheffield -- after only three songs. Despondent, they literally walked into the mod-oriented Mojo Club nearby, offered to perform for free and played a blistering set that had the locals screaming for more and started a strong buzz. During a crucial residency at Leicester Square Cavern, they were strongly supported by Sonny & Cher, who were living in London at the time and had first spotted them in Sheffield.
The band appeared in a 1965 adventure movie crime musical, called Dateline Diamonds, about their manager (Kenneth Cope) smuggling diamonds out of the country with the help of a former Army man (William Lucas).

Marriott abruptly quit the band at the beginning of 1969, frustrated at their failure to break out of their pop image and their inability to reproduce the more sophisticated material properly on stage, and already looking ahead to a new band, Humble Pie, with Peter Frampton. The last song released during the band's career was the folksy "The Universal" in the summer of 1968, recorded by adding studio overdubs to a basic track Marriott cut live in his back garden with acoustic guitar, taped on a home cassette recorder, complete with barking dog.

Marriott died in a house fire in his home on 20 April 1991. The accident was caused by his falling asleep while intoxicated and leaving a cigarette burning, after arriving home jet-lagged from an overseas trip. Just prior to his death, Marriott and Peter Frampton had begun writing songs together again, but the project was never completed.

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GLENN HUGHES - Music For The Divide (2006)

Hailing from Cannock, England, Glenn Hughes is a vocalist/bass player/songwriter who has a long and distinguished career to his credit. He's best-known for his work with the bands Trapeze and Deep Purple in the early to mid 1970s, both of which were true pioneers in the hard rock genre. Trapeze enjoyed some success in America, and with Deep Purple, Glenn achieved worldwide superstardom and earned a place in rock history.

After leaving Deep Purple in 1976, Glenn based himself in Los Angeles and released his first solo album, PLAY ME OUT. That album blended a mix of funk, soul, jazz, and pop with rock to create a unique sound which, along with Glenn's incredible vocal aptitude, set the stage for the diverse path his career would take in subsequent years and the singular, alluring style he would bring to all of his future work.

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OVER 100,000 visits. WOW!!!!!


Bill Bryson
A Short History of Nearly Everything

Thanks to " Bastet" for this up. Here's an audio book for the brain. Bill Bryson's -
A Short History of Nearly Everything. This should keep the mind spinning for another 365 days. Enjoy!

Editorial Review:
From primordial nothingness to this very moment, A Short History of Nearly Everything reports what happened and how humans figured it out. To accomplish this daunting literary task, Bill Bryson uses hundreds of sources, from popular science books to interviews with luminaries in various fields. His aim is to help people like him, who rejected stale school textbooks and dry explanations, to appreciate how we have used science to understand the smallest particles and the unimaginably vast expanses of space. With his distinctive prose style and wit, Bryson succeeds admirably. Though A Short History clocks in at a daunting 500-plus pages and covers the same material as every science book before it, it reads something like a particularly detailed novel (albeit without a plot). Each longish chapter is devoted to a topic like the age of our planet or how cells work, and these chapters are grouped into larger sections such as "The Size of the Earth" and "Life Itself." Bryson chats with experts like Richard Fortey (author of Life and Trilobite) and these interviews are charming. But it's when Bryson dives into some of science's best and most embarrassing fights--Cope vs. Marsh, Conway Morris vs. Gould--that he finds literary gold.


Mott The Hoople - Mad Shadows (1970)

I want to thank Liam over at "8 days in April" for this pull. This recording (their 2nd) is before Bowie tried to glam up these English rockers. A respectable sounding album for 1970 too. This is one of those "listening" albums. It needs your attention from the first song to the last. Pure reachable rock songs to be inhaled all together. No stand outs. No hits. Just one complete peice. (Although...I really liked the first cut). This record makes you want to lay on the rug of your livingroom floor, twist a mary, all the while, observing the album's cover art and liner notes. (Listening to wax, the way it was meant too). Now if I could only find the original wax. Nice straight up piano...enjoy! - wino


In 1968, Mick Ralphs, Verden Allen, Pete "Overend" Watts and Dale "Buffin" Griffin formed a band called Silence, playing near Hereford, England. Adding then lead singer Stan Tippens in 1969, the band recorded early tracks at a studio in Monmouth, later dominated by Love Sculpture and Dave Edmunds. Stan was injured soon after joining the band and was unable to continue singing, but the band rallied and eventually signed with Island Records, moving to London to record with Guy Stevens as producer.

Stevens changed the band's name to "Mott the Hoople" from a novel of the same name by Willard Manus; the book is about an eccentric who works in a circus freak show. The band also recruited a new singer and boogie piano player, Ian Hunter. Hunter had replied to a music magazine advertisement which read "Singer wanted, must be image-minded and hungry." Tippens became the road manager for the band. Their debut album, Mott the Hoople (1969), was a cult success, and their repertoire included memorable cover versions of "Laugh at Me" (Sonny Bono), and an instrumental version of "You Really Got Me" (The Kinks).

The second album, Mad Shadows (1970), sold poorly and received generally negative reviews; as did Wildlife (1971). Even though the group was building a decent following, Brain Capers (1971) failed to sell well, and the band was close to breaking up.

David Bowie had long been a fan of the band, and heard that they were about to split. Bowie convinced them to stay together, and offered them "Suffragette City" from his then yet-to-be-released Ziggy Stardust album. They refused the song so Bowie wrote "All the Young Dudes" for them instead. Released as a single in July 1972, it was a major success in the UK, with the band using Tippens - who by this time was the band's tour manager - to sing backing vocals during live gigs. A Bowie-produced album, also called All the Young Dudes, sold well. Late in 1972 the band was going to record another Bowie song, "Drive-In Saturday", but their intended arrangement dissatisfied the composer, and their professional relationship effectively ended. Another casualty in the wake of All the Young Dudes was Verden Allen, who departed before the release of their next album, Mott.

Mott climbed into the Top Ten of the UK album charts, and became the band's best seller to date in the US. It yielded two UK hits, "Honaloochie Boogie", and "All the Way from Memphis", both featuring Andy Mackay of Roxy Music on saxophone. "All the Way From Memphis" is also featured in the movie Alice Doesn't Live Here Anymore.

Mott the Hoople's new-found popularity ultimately helped lead to the band's break-up, perhaps helped along by an exposé in New Musical Express of Tippens' role in singing the chorus of "All the Young Dudes", from a hidden microphone backstage. Ralphs left in 1973 to form Bad Company and was replaced by former Spooky Tooth guitarist Luther Grosvenor. For contractual reasons, he changed his name to Ariel Bender for his stint with the band. At the same time, former Love Affair member Morgan Fisher joined as keyboardist.

In the afterglow of The Hoople (1974), a live album was quickly released, after which Mick Ronson replaced Bender. The end was nigh when both Ronson and Hunter left the group to form a duo. Ray Major and Nigel Benjamin were added to continue the group, which abbreviated its name to "Mott".

No Mott the Hoople reunion has ever occurred, though negotiations for one were attempted in 1985; all parties have shown some interest at various times in the idea over the last 25 years or so, though recently Hunter has ruled out a full Mott reunion. A full reunion currently seems unlikely, although in 2002 and 2004, Mick Ralphs toured with Ian Hunter, as part of Hunter's backing band.