Tantor – Same (1979)

FrontCover1This Argentinian Prog/Fusion act from Buenos Aires was sort of a supergroup, when it was formed back in late-70’s with Héctor Starc on guitars, Rodolfo García on drums and Carlos Alberto Machi Rufino on bass/vocals.Starc was an ex-member of Prog/Psych Rockers Aquelarre, Garcia played drums both in Almendra and Aquelarre, while Rufino was a former Invisible member.Tantor released their self-titled debut in 1979 on Phillips, helped by keyboardists Lito Vitale from M.I.A. (Músicos Independientes Asociados) and Leo Sujatovich of Spinetta Jade.
This is a perfect example of well-executed, tight and highly technical Prog/Fusion with some really georgeous interplays and fantastic grooves.Fast and furious rhythms led by incredible guitar work and delicate electric piano combine with jazzy pianos and distinct synths to present a number of consistent and well-arranged mostly instrumental tracks.The vocals are limited in just a couple of tracks, which come as a combination of light Jazz/Fusion and Soft Rock, but even these contain some good synth work and PromotionPostersmooth guitar playing.However the instrumental ones are the real winners here with top-notch performances by all the members, the sound is incredibly rich, the guitar and electric piano solos are stunning and the rhythm section is solid all the way.
One of the finest examples of fiery Prog/Fusion, only comparable to the consistency of CRUCIS.Both the original LP and the 2-CD reissue (along with the band’s second album) come highly recommended. (by apps79)

Consistently good to great fusion. Latin vibes are everywhere here, generating a warm melodic texture. The instrumentals with the outstanding electric pulses of piano, synthesizer and guitar levitate towards high jazzy peaks, while the frenetic drumming rains dynamic fills all over. Would’ve been four stars if some of these softer tracks had been replaced with something more progressive, but it’s an album worth checking out nonetheless. (by King Insano)

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Personnel:
Rodolfo García (drums)
Carlos Alberto Machi Rufino (bass, vocals)
Héctor Starc (guitar)
+
Leo Sujatovich (keyboards on 01., 02., 04.
Leo Vitale (keyboards on 03., 05., 07. + 08., strings on 04.)

Tracklist:
01. Guarreras Club (Starc) 4.29
02. Niedernwohren (Starc) 5.18
03. Llama Siempre (Starc/Spinetta) 3.11
04. Oreja Y Vuelta Al Ruedo (Starc) 6.34
05. Halitos (Starc) 7.03
06. El Sol de la Pobreza (Starc/Spinetta) 4.33
07. Carrera de Chanchos (Starc) 7.32

Tantor

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**

The New Order – Same (1977)

FrontCover1The New Order was an American hard rock and protopunk band. The band was based in Los Angeles and existed from early 1975 to October 1976.
After The Stooges imploded in 1974, former Stooges lead guitarist Ron Asheton formed a new band, ultimately acquiring drummer Dennis “Machine Gun” Thompson, bass player Jimmy Recca and keyboardist Scott Thurston. For a while, the new band shared rehearsal space at a house owned by Ray Manzarek, during his collaboration with Stooges’ lead singer Iggy Pop.
When The New Order’s first singer Jeff Spry was forced to quit the band (due to jail time incurred from a drinking/quaalude related DUI coupled with failure to perform community service), The New Order’s first drummer, K.J. Knight, recommended Dave Gilbert as a replacement. K.J. and Gilbert had both been veterans of the 1971/1972 incarnations of Ted Nugent’s Amboy Dukes. After keyboardist Scott Thurston quit, his position was filled by a second guitarist, Ray Gunn, another Detroit veteran who was recommended by Dennis Thompson.

Leading up to the making of The New Order’s first demo tapes, long time Blue Öyster Cult producer, Sandy Pearlman, was approached to produce the band but ultimately this didn’t come together. The back cover of the Declaration Of War album bears the inscription: “This album is dedicated to the CULT”, furthering the links with the Blue Öyster Cult.

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A projected collaboration with ’60s and ’70s Rock impresario, Kim Fowley, was also talked about, but never came to fruition.
The New Order had at least one classic, the song Rock ‘n’ Roll Soldiers, later covered by The Hitmen and more recently covered by The Hellacopters. One of the lyrics from the song, the infamous battle-cry “The War Against The Jive”, is used as the heading to the liner-notes of Radio Birdman’s 2001 release, The Essential Radio Birdman (1974 – 1978). The exact heading is: “Total Victory: Radio Birdman’s War Against The Jive”.
The New Order recorded demos twice in Los Angeles: First in 1975 with Jeff Spry as lead singer and then in 1976 with Dave Gilbert as lead singer. Both recordings were later released with a production by Neil Merryweather in 1977 as a single album “The New Order”, on the Fun Records/Isadora label and distributed by RCA Records. The album’s lo-fi quality was the result of it being produced from Ron Asheton’s inferior cassette copies, instead of the original master tapes.  (by wkipedia)
Really this is just a selection of demos – i love the Stooges and there are some good song ideas on here, however nothing is of a quality that could really be enjoyed of its own merit. I have no doubts that the New Order would have been great, IF they had been produced/recorded properly though. (by Pete)

Okay … rough, loud and dirty ! The New Order … Brothers and sisters !

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Personnel:
Ron Asheton (guitar)
Dave Gilbert (vocals on 05. – 07.)
Ray Gun (guitar)
Jimi Recca (bass)
Jeff Spry (vocals on 01. 04.)
Dennis Thompson (drums)
Scott Thurston (keyboards)

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Tracklist:
01. Lucky Strike 3.52
02. Declaration Of War 2.48
03. Hollywood Holidays 3.53
04. Sidewinder 3.14
05. I Can’t Quit Ya 3.02
06. Rock ‘N’ Roll Soldiers 4.03
07. Of Another World 4.47

All Songs written by:

Tracks 01 – 04 (1975):
eton – Ray Gun – Jimi Recca – Jeff Spry – Dennis Thompson – Scott Thurston

Tracks 05 – 07. (1976):
on – Ray Gun – Jimi Recca – Dave Gilbert – Dennis Thompson – Scott Thurston

 

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Felix Pappalardi & Creation – Travelling In The Dark – Live … Denver `76 (2016)

FrontCover1As Cream’s “fourth member,” Felix Pappalardi was already a rock legend by the time he founded Mountain in 1969. Having enjoyed worldwide success with them, in 1973 he departed to collaborate with Japanese rockers Creation. This superb live set at the Ebbets Field club in Denver, Colorado, on July 30, 1976, was broadcast on KCUV-FM shortly after the release of their first album together, and includes contemporary material as well as an epic 20-minute rendition of Mountain’s classic “Nantucket Sleighride.” The complete broadcast is presented here in professionally remastered sound with background notes and rare archival photos.

This is killer album, as I was expecting this live recordings have nothing to do with their uneven studio album, here much heavier and better. The sound quality is nearly perfect, this is a rare and unique testimony, do not miss it.

And their version of “Nantucket Sleighride” is a brilliant version with great duitars and very fine drum playing.

Felix Pappalardi

Personnel:
Masayuki Higuchi (drums)
Yoshiaki Iljima (guitar)
Shigeru Matsumoto (bass)
Felix Papalardi (vocals, bass)
Kazuo Flash Takeda (guitar, vocals)

Booklet02A

Tracklist:
01. Preachers’ Daughters (Pappalardi/Collins/Takeda) 4.31
02. Secret Power (Pappalardi/Collins/Takeda) 6.47
03. Dreams I Dream Of You (Pappalardi/Collins/Takeda) 4.24
04. Travellin’ In The Dark (To EMP) () 3.55
05. Reason To Believe (Hardin) 3.15
06. Dark Eyed Lady Of The Night (Pappalardi/Collins/Takeda) 5.07
07. As The Years Go Passing By (Harris) 7.15
08. Nantucket Sleighride (To Owen Coffin) (Pappalardi/Collins) 21.39
09. High Heeled Sneakers (Higginbotham) 2.14

CD1

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**

Felix Pappalardi2

Boston – Cleveland (1976)

FrontCover1John “Sib” Hashian, who played the drums on arena-rock group Boston’s first two albums, has died on March 22, 2017. He was 67, TMZ and The Associated Press reported. His son Adam, who confirmed his death to TMZ, said Hashian was playing a set on a Legends of Rock Cruise when he collapsed Wednesday night.

He did not provide the cause of death. The cruise began on March 19 in Miami and was scheduled to make stops in the Bahamas and Puerto Rico. It’s not clear how his death will impact the rest of the voyage.

Hashian was recruited in 1975 to play drums on Boston’s self-titled debut album, replacing Jim Masdea at the request of their record label. He remained with the band for their second album, Don’t Look Back. Masdea returned for the next record, Third Stage. But that was enough time to become part of rock history, playing on hits like More Than a Feeling, Long Time and Peace of Mind. (by USA Today)

Boston – the band behind “classic rock” – a label that had been thrown at Tom Scholz’s group. And not far behind… the excesses of “corporate rock.” But then, guitar virtuoso Scholz, who has a master’s degree in mechanical engineering from MIT, was fiercely independent, taking his time to get the sound right; and the band was a real garage outfit – Scholz recorded his tracks in his basement studio.

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Boston’s rise was meteoric and this was before MTV. Overnight they had a hit debut album on their hands and vocalist (the late) Brad Delp was recognised as much as guitarist Scholz. To this day, More Than A Feeling remains a radio staple.

Thanks then to Philip Cohen for sharing the excellent sounding lossless tracks, and we are offering them as high quality mp3s (320 kbps). This is what Philip noted: “This unofficial release was taken from a radio broadcast that was aired locally in Cleveland, Ohio… which was a homecoming of sorts for Boston leader Tom Scholz, who was born in Cleveland. This was recorded by the original line-up while they were touring behind their highly successful debut album.”

Darryl Hirschler, reviewing the CD on his Unofficial Boston site adds: “This concert is one of Boston’s earliest concerts. The band had only been on the road for just over a month and it shows. Their performance is raw and unrefined with an occasional mistake. Brad is especially enthusiastic in his vocal performance. The highlight for me was the very early version of A Man I’ll Never Be. It is not to be missed. The chorus is totally different from any other version of this song anywhere. We are so lucky that this concert was recorded if not for anything else but that song. Sib’s drumming is also noteworthy, especially on Peace of Mind.

Sib Hashian

“This concert was recorded for broadcast on WMMS in Cleveland, OH back in 1976. Parts of it have been occasionally broadcast to this day. The sound quality is top notch. It rivals that of the King Biscuit CDs and may even be a tad better… The reel to reel masters have survived 20-plus years remarkably well. The odd (but beautiful) thing is that I know that the reel is presently damaged with about 3.5 seconds missing from More Than A Feeling, but source used for this CD must’ve been digitally recorded 10 years earlier – before the damage, and before 10 additional years of degradation (hiss).”

And here´s not only a tribute to John “Sib” Hashian but to the band “Boston”, too …  the perfect masters of the “adult orientad rock” (AOR) of the Seventies … and of course I have to mention Tom Scholz … the mastermind of “Boston” …

Tom Scholz

Personnel:
Brad Delp (vocals)
Barry Goudreau (guitar)
Sib Hashian (drums)
Fran Sheehan (bass)
Tom Scholz (guitar, organ)

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Tracklist:
01. Rock & Roll Band (Scholz) 3.44
02. Help Me (Shattered Images) (Scholz) 3.54
03. Peace Of Mind (Scholz) 5.06
04. Something About You (Scholz) 4.32
05. A Man I’ll Never Be (Scholz) 6.39
06. Smokin’ (Scholz/Delp) 8.04
07. Foreplay (Scholz) 2.40
08. Long Time (Scholz) 6.38
09. Don’t Be Afraid Of Love (Scholz) 5.01
10. More Than A Feeling (Scholz) 9.49
11. Television Politician (Scholz) 3.54

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John Thomas “Sib” Hashian
(August 17, 1949 – March 22, 2017)

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**

 

AC/DC – Festival Hall Melbourne (1974)

FrontCover1.jpgIt was in September 1974 when the legend that was Bon Scott joined the then still wet behind the ears AC/DC, formed the year before by brothers Angus and Malcolm Young in Melbourne, Australia. Over the next five and a half years, Scott fronted the band and, in tandem with the Youngs, established the group as arguably the finest rock act in the world. Bon’s tragic passing in the early months of 1980 only served to strengthen AC/DC’s fan base and appeal and across the next 35 or so years (and counting!) with perennial new boy Brian Johnson having taken on Bon Scott’s role with both aplomb and dignity, AC/DC have gone from strength to strength to strength.
But the Bon Scott years remain those that most adherents of the group remember most fondly and it is with this in mind that this live recording of one of his earliest shows with AC/DC is presented here
In November 1974, Michael Browning, manager of the Hard Rock Cafe (Melbourne), became AC/DC’s full time manager. Together they all moved into a house in Melbourne where there was apparent nightly debauchery. Nevertheless, though the band clearly knew how to party, especially with Bon now on board, they could also work hard and fast. Within ten days the group had recorded their first album, which they named High Voltage. This was undoubtedly influenced by the AC/DC name itself and was perhaps a discreet assertion that the name represented power and energy as opposed to sexual preferences. It also covered the base of the music, which was somewhat lo-fi, straight to the point good time rock n’ roll with an added kick; the verve of youth and the unmistakable howl of Bon Scott.

ACDC 1974

AC/DC, 1974
George Young and Harry Vanda manned the controls behind the production desk whilst George played bass himself on some songs. Session musician Tony Currenti was enlisted to finish the drum parts as Peter Clack and John Proud had only played on one track each. The band now had a real record to stand behind and after a tour of South Australia finished the year off in style with a New Year’s Eve gig at Festival Hall in Melbourne. By their own admission they would pretty much play in front of anyone, and often did. Every type of fan could be seen at an AC/DC show, from gays who assumed they were named for a different reason, to typical girl groupies and the standard male rockers – this was an act that could transcend boundaries. The High Voltage record was to set them well on their way down the road to glory. [extract from AC/DC – Two Sides To Every Glory, by Paul Stenning, Chrome Dreams Publishers, 2005. p49]

ACDC 1975
AC/DC, 1975

Thanks to heavy attention from the police, by the time AC/DC set up base in Melbourne the roaming hordes of Sharps had largely, though not entirely, died down; but a toughness of spirit and attitude in the city’s audiences remained. Melbourne’s character was what AC/DC were all about: Michael Browning was dead right.
Their reputation for high-energy performances preceded them thanks to a major New Year’s Eve show at Melbourne’s Festival Hall, and more notoriously, an incident at Prahran’s Station Hotel, when Angus took exception to someone clearly unmoved by the band’s performance.

Malcolm: ‘Angus jumped out into the crowd and he ran up to this guy, grabbed his beer and poured it on his head. This guy had really fuzzy hair and it formed a puddle on top first and then slowly fucking rolled over his face. I thought, this guy’s going to kill Angus! He didn’t. He just sat there and took it. He felt so embarrassed. I thought at that time Angus had overdone it, but the place loved it. This guy that had the beer poured over his head became a bit of a cult hero!’

Browning’s next move was to sign the band to a deal with agent Bill Joseph, who handled a number of major venues in Melbourne. A six-month contract with Joseph’s Premier Artists agency provided each member with a wage of $60 a week, and covered the cost of their sound system and repairs to their tour bus, a huge beast of a thing formerly owned by Ansett Airlines.[extract from Ac/DC – Maximum Rock & Roll, by Murray Engleheart & Arnard Durieux, Harper Collins Publishers, 2006. p98]

ACDC 1974_02
So weird hearing the “Dave” arrangement of Can I Sit Next To You Girl with Bon’s voice.
Notice that Malcolm alternates solos with his Brother during Soul Stripper and Show Business. It also happened in the launceston boot, but in this one (melbourne) we can hear it more clearly. In the BBC boot (1976), we realize that malcolm has already leaved his guitar solo roll.

Pretty weird drumming on the songs, but intersting to hear Mal and Ang trading solos on Soul Stripper, otherwise no great shakes.

That was the first time at a show I encountered religious picketers who were handing out pamphlets about the devil and rock music , some people were giving them a real hard time.

Definitely a show for all diehards to have in their file.

This concert was recorded by Melbourne radio station 2SM.
Excellent soundboard recording !

AlternateFront+BackCover1

Personnel:
Rob Bailey (bass)
Peter Clack (drums)
Singer: Bon Scott (vocals)
Angus Young (lead guitar)
Rhythm Guitar: Malcolm Young (guitar)

Tracklist:
01. She’s Got Balls (M.Young/A.Young/Scott) 7.07
02. Soul Stripper (M.Young/A.Young) 4.15
03. Show Business (M.Young/A,Young/Scott) 4.27
04. Can I Sit Next to You Girl? (M.Young/A.Young) 3.38
05. Baby Please Don’t Go (Broonzy) 11.02

J. Geils Band – Reunion In Detroit (2009)

FrontCover1Guitarist J Geils, born John Warren Geils Jr., has died on April 11, 2017. He was 71. WCVB-TV Boston reported that Geils was found dead in his Groton, Massachusetts, home. He had lived in the town for 35 years. According to the Boston Globe, Groton Police Chief Donald Palma wrote in an email to the paper: “He has passed.” Cause of death has not been established. Geils formed The J Geils Band in 1967. They had 15 charting albums on the Billboard 200, including Freeze-Frame, which spent four weeks atop the list in 1982 and finished at No. 5 on Billboard’s year-end Top Pop Albums chart (while “Centerfold” was the year’s No. 5 Top Pop Single). In 2012, The J. Geils Band toured without Geils’ involvement, leading the founding guitarist to file an unsuccessful lawsuit against group members Richard Salwitz, Danny Klein, Peter Wolf and Seth Justman over use of the band’s name for a tour without him. Geils left the band permanently following this incident. (by Billboard)

.And here´s my tribute to J.Geils
Such was their fanbase in Detroit that tickets for the shows were sold out in 15 minutes. While the J Geils Band might be Boston-based, Detroit is seen by (Detroit) fans as a home away from home. After all, they recorded the Full House live album in the Motor City, as well as Blow Your Face Out and Showtime. And don’t forget their reunion show on New Year’s Eve 1999.

Recorded live at The Fillmore, Detroit, MI, April 25, 2009,
second show. Very good soundboard

As one fan said: “This show ROCKS!”

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Personnel:
J Geils (guitar)
Magic Dick (harmonica)
Seth Justman (keyboards)
Danny Klein (bass)
Duke Levine (guitar)
Marty Richards (drums)
Peter Wolf (vocals)
+
Kid Rock (vocals on CD 2/11.)

BackCover1

Tracklist:

CD 1:
01. First I Look At The Purse (Robinson/Rogers) 4.18
02. Homework (Perkins/Clark/Rush) 6.11
03. Hard Drivin’ Man (Wolf/Geils) 6.44
04. Pack, Fair, And Square (Price) 2.32
05. Sanctuary (Justman/Wolf) 3.57
06. Night Time (Goldstein/Gottehrer/Feldman/Justman) 7.24
07. Cruisin’ For A Love (Jimmy) 4.27
08. So Sharp (Christian) 2.36
09. Detroit Breakdown (Justman/Wolf)  8.44
10. Serves You Right To Suffer (Hooker) 11.12
11. Give It To Me (Justman/Wolf) 11.43
12. Must Of Got Lost (Justman/Wolf) 4.29

CD 2:
01. Love Stinks  (Justman/Wolf) 2.50
02. Lookin’ For A Love (Alexander/Samuels) 5.39
03. Whammer Jammer (Jimmy) 2.39
04. (Ain’t Nothin’ But A) Houseparty (Sharp/Thomas) 5.54
05. Just Can’t Wait (Justman/Wolf) 3.34
06. Freeze Frame (Justman/Wolf) 3.54
07. Start All Over Again (Justman/Wolf) 3.09
08. Where Did Our Love Go (Holland/Dozier/Holland) 4.08
09. Thank you Detroit 2:18
10. Peachtree Street 2:23
11. Centerfold (Justman) 3.37
12. Love-Itis (Scales/Vance) 5.15
JGeils
John Warren Geils (February 20, 1946 – April 11, 2017) 
RIP  … and thanks a lot !

Roger Daltrey – Performs The Who’s Tommy And More (2012)

FrontCover1Paedophiles, messianic cults, sadism, pimping and prostitution, not to mention sex and drugs… and killer tracks such as Pinball Wizard and I’m Free, The Who’s Tommy rock opera was heady when it was released in 1969 and the issues continue to be headline news today.Unlike the more vitriolic and outspoken Pete Townshend, Daltrey probably preferred to let the songs do the talking. The result is a straight run through of Tommy – albeit very well performed – though some personal commentary from Daltrey (even if it’s an Italian audience) or even reinterpretation of some tunes [god forbid! – no?] would have lifted the show several notches higher.

Well, here’s one for those good times, as Debs of livinginrome.net observed:
It was already clear from the buzz of excitement in the foyer that this was going to be more than a mere concert – this was an event – with fans of all ages posing for souvenir photographs in front of the advertising billboards. After all, this was one of those “you had to be there” opportunities to hear The Who’s 1969 album played live in its entirety, and sung by Roger Daltrey.

As the lights dimmed and Daltrey appeared on stage to thunderous whoops and cheers, and the opening notes of the Tommy Overture began, it became instantly clear that he had brought a stunningly good backing band with him (including Simon Townshend on guitars, looking and sounding remarkably like his older brother Pete).

Daltrey01Moving swiftly on through the original recording with no banter – It’s A Boy, 1921, Amazing Journey – it was also clear that Daltrey, who has been beset with throat problems in recent years, was in fine voice. Effortlessly charismatic and with his trademark microphone swirls, double tambourines and poses, he was clearly enjoying himself, whilst the enthralled audience was noisily appreciative – Pinball Wizard raised the roof – but curiously remained sitting, as if in respectful reverence throughout the whole Tommy performance, until very suddenly as the “Listening to you” chorus of the final track We’re Not Gonna Take It began, the audience got to its feet and there was a rush, en masse, to the stage for Tommy’s exhilarating finale.
Music fan survivor69 had, on March 24, posted a lossless FM broadcast of this show at The Traders’ Den. The downside of the FM version is that there is a lot of DJ talk (in Italian) between the tracks, especially on Disc Two (after the Tommy section). Meanwhile, at Dime, swisstapes posted his version of the show recorded from a lossy cable broadcast. swisstapes also made the effort to remove as much of the DJ talk as possible. The cuts, which add up to 11 minutes, are noticeable – in many instances swisstapes used fade-outs (with the DJ talking) and fade-ins to bridge the tracks – but the cuts are not jarring and they won’t hamper your enjoyment of the show.
Thanks to swisstapes for sharing the tracks at Dime. Thanks also to frikiepalo for the artwork.
Recorded live at the Auditorium Conciliazione, Rome, Italy;
March 23, 2012. Excellent cable broadcast Radio RAI 2
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Personnel:
Jon Button (bass)
Roger Daltrey (vocals, guitar)
Scott Deavours (drums)
Loren Gold (keyboards)
Frank Simes (guitar)
Simon Townshend (guitar)
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Tracklist:
CD 1: Tommy:
01. Overture/It’s A Boy 6.20
02. 1921 2.55
03. Amazing Journey 3.26
04. Sparks 3.50
05. Eyesight To The Blind (The Hawker) (Williamson) 2.17
06. Christmas 4.44
07. Cousin Kevin (Entwistle) 3.59
08. The Acid Queen 4.05
09. Do You Think It’s Alright 0.24
10. Fiddle About (Entwistle) 1.40
11. Pinball Wizard 3.25
12. There’s A Doctor 1.43
13. Go To The Mirror! 2.34
14. Tommy Can You Hear Me? 1.30
15. Smash The Mirror 1.27
16. Sensation 3.47
17. I’m Free 2.44
18. Miracle Cure 0.18
19. Sally Simpson 5.09
20. Welcome 4.13
21. Tommy’s Holiday Camp 1.12
22. We’re Not Gonna Take It 8.00

CD 2: Who Classic´s & More:
01. I Can See For Miles 4.29
02. The Kids Are Alright 3.05
03. Behind Blue Eyes 3.32
04. The Way It Is (Simon Townshend) 4.11
05. Pictures Of Lily 2.47
06. Who Are You 5.56
07. My Generation 1.20
08. Young Man Blues (Allison) 7.01
09. Baba O’Riley 5.22
10. Without Your Love (Nicholls) 3.15
11. Red Blue And Grey 3.34

All Songs written by Pete Townshend except as indicated

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