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Rockpalast Blues Rock Legends 3

Rockpalast Blues Rock Legends 3


12-track, two-disc set. The definitive breakthrough for the Rockpalast came on the fourth night, from 21st to 22nd April: The Grugahalle in Essen - the traditional staging location at this point, and it remained so for the next ten years -was completely sold out for the first time (an audience of 10,000) - which also remained the case: the subsequent Rockpalast Nights were sold out even before the programme was announced. The expectation that it would be good, regardless of the performers, was confirmed by the line-up in this fourth night. At prime time (News, Weather, Word for Sunday, Rockpalast) it was shown live again on the first TV channel and Europe-wide - from Italy to the North Cape - via Eurovision; the programme only ended when the last note was played. No time limit was set; one could only guess when it would end. An "American Night". It began with the J. Geils Band rhythm and blues; they wanted a "marching band" as introduction, and got it. They were followed by the Pattie Smith Group, who transported us to higher levels, and the concert culminated in blues music, which has influenced American music as no other has. In this night Johnny Winter, who had played at Woodstock, irrevocably established his name in Europe. He gave one of the most important concerts in the total 17 Rockpalast Nights (till 1986). He continued the blues trend of the Rockpalast, including the Johnnie Wells classic "Messin' with the Kid", which Rory Gallagher had opened the first Rockpalast Night with. Johnny Winter arrived in Dsseldorf and immediately wanted to watch our Muddy Waters concert (1978) tape on the video recorder in my room. He was very short-sighted, due to his albinism, and sat about ten centimetres from the screen and watched the show from beginning to end in this position. He was fascinated by Muddy Waters and obviously very pleased with our recording. Johnny said, "If you managed so well with a seven-man band, then I don't think we need to rehearse. We are only three men!" But this was not what the producer, Christian Wagner, had in mind, of course. We had allowed a whole day's rehearsals each for Johnny and the other groups. We had agreed that Johnny would play for 80 minutes. But when he went on stage long after midnight, his tour manager asked me, "Can he play for two hours, too?" "O.K., let him", I answered. We and the WDR were very flexible when it came to live programmes on the first channel (ARD) at that time. We experienced all the power and flair of Johnny's guitar playing in long solos. He concentrated solely on the blues. But later, when the audience needed more movement and wanted some rock'n'roll, he gave them what they wanted, e.g. "Johnny B. Goode" and "Jumping Jack Flash". Patti Smith, who considered it an honour to be on a stage with Johnny Winter, stood in front of the stage with her clarinet in her hand. She wanted to jam. But Johnny was so absorbed in his own music and emotions that he did not notice.
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Recorders Recorded

Recorders Recorded


All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.
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Rockpalast Blues Rock Legends 3

Rockpalast Blues Rock Legends 3


12-track, two-disc set. The definitive breakthrough for the Rockpalast came on the fourth night, from 21st to 22nd April: The Grugahalle in Essen - the traditional staging location at this point, and it remained so for the next ten years -was completely sold out for the first time (an audience of 10,000) - which also remained the case: the subsequent Rockpalast Nights were sold out even before the programme was announced. The expectation that it would be good, regardless of the performers, was confirmed by the line-up in this fourth night. At prime time (News, Weather, Word for Sunday, Rockpalast) it was shown live again on the first TV channel and Europe-wide - from Italy to the North Cape - via Eurovision; the programme only ended when the last note was played. No time limit was set; one could only guess when it would end. An "American Night". It began with the J. Geils Band rhythm and blues; they wanted a "marching band" as introduction, and got it. They were followed by the Pattie Smith Group, who transported us to higher levels, and the concert culminated in blues music, which has influenced American music as no other has. In this night Johnny Winter, who had played at Woodstock, irrevocably established his name in Europe. He gave one of the most important concerts in the total 17 Rockpalast Nights (till 1986). He continued the blues trend of the Rockpalast, including the Johnnie Wells classic "Messin' with the Kid", which Rory Gallagher had opened the first Rockpalast Night with. Johnny Winter arrived in Dsseldorf and immediately wanted to watch our Muddy Waters concert (1978) tape on the video recorder in my room. He was very short-sighted, due to his albinism, and sat about ten centimetres from the screen and watched the show from beginning to end in this position. He was fascinated by Muddy Waters and obviously very pleased with our recording. Johnny said, "If you managed so well with a seven-man band, then I don't think we need to rehearse. We are only three men!" But this was not what the producer, Christian Wagner, had in mind, of course. We had allowed a whole day's rehearsals each for Johnny and the other groups. We had agreed that Johnny would play for 80 minutes. But when he went on stage long after midnight, his tour manager asked me, "Can he play for two hours, too?" "O.K., let him", I answered. We and the WDR were very flexible when it came to live programmes on the first channel (ARD) at that time. We experienced all the power and flair of Johnny's guitar playing in long solos. He concentrated solely on the blues. But later, when the audience needed more movement and wanted some rock'n'roll, he gave them what they wanted, e.g. "Johnny B. Goode" and "Jumping Jack Flash". Patti Smith, who considered it an honour to be on a stage with Johnny Winter, stood in front of the stage with her clarinet in her hand. She wanted to jam. But Johnny was so absorbed in his own music and emotions that he did not notice.
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RipEditBurn-Wave and MP3 Sound Recorder & Editor - Vista and Windows 7-compatible - Record Anything You Can Plug into Your Computer - Make CDs & iPod Files - Convert Records to Digital Format - Remove Vocals - Edit with Full Effects Toolbox - Online Tutorials & Support - Easy to Use

RipEditBurn-Wave and MP3 Sound Recorder & Editor - Vista and Windows 7-compatible - Record Anything You Can Plug into Your Computer - Make CDs & iPod Files - Convert Records to Digital Format - Remove Vocals - Edit with Full Effects Toolbox - Online Tutorials & Support - Easy to Use


RipEditBurn records from any audio source that you can plug into your computer: live performances, interviews, conventional radio, record players, tape players, preamps, microphones, mixers, electronic instruments. If you can plug it in, you can record from it! All input is transformed into digital files, which can then be manipulated in the editor. You can cut, copy, paste, crop, mix files together, adjust sampling rate and bit depth, and add sound effects such as echo, EQ, chorus, flange, reverse, fade in and out, mono to stereo conversion, notch filter, and more. RipEditBurn is designed to be easy to use while still providing powerful audio tools. Free lifetime email support and free online tutorials.
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Recorders Recorded

Recorders Recorded


All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.
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Rush to Relax

Rush to Relax


THE FOLLOW-UP TO THE MELBOURNE QUARTET'S AMP-WINNING SECOND ALBUM PRIMARY COLOURS. RECORDED BY GUITARIST MIKEY YOUNG ON EIGHT-TRACK IN REVOLVER REHEARSAL STUDIOS IN THE MELBOURNE SUBURB OF PRAHRAN. FEATURES THE BAND'S 'LEAST BORING COVER ART' (DESIGNED BY THE BAND AND SNAPPED BY NICOLE REED), TWO BALLADS 'MADE FOR A MAN AND HIS WOMAN', TWO PUNKERS TO PROVE THEY'RE STILL KEEPING IT 'MAD REAL' AND THREE 'SELF INDULGENT' JAM THAT GO FOR MORE THAN SIX MINUTES. EDDY CURRENT'S MOST DIVERSE SET OF TUNES YET; ANOTHER ARTISTIC LEAP FORWARD BY A BAND THAT REFUSES TO REST ON THEIR LAURELS. THE KRAUT-INSPIRED `SECOND GUESSING' MIGHT BE THE BEST SONG THEY'VE RECORDED TO DATE.
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Rush to Relax [Vinyl]

Rush to Relax [Vinyl]


THE FOLLOW-UP TO THE MELBOURNE QUARTET'S AMP-WINNING SECOND ALBUM PRIMARY COLOURS. RECORDED BY GUITARIST MIKEY YOUNG ON EIGHT-TRACK IN REVOLVER REHEARSAL STUDIOS IN THE MELBOURNE SUBURB OF PRAHRAN. FEATURES THE BAND'S 'LEAST BORING COVER ART' (DESIGNED BY THE BAND AND SNAPPED BY NICOLE REED), TWO BALLADS 'MADE FOR A MAN AND HIS WOMAN', TWO PUNKERS TO PROVE THEY'RE STILL KEEPING IT 'MAD REAL' AND THREE 'SELF INDULGENT' JAM THAT GO FOR MORE THAN SIX MINUTES. EDDY CURRENT'S MOST DIVERSE SET OF TUNES YET; ANOTHER ARTISTIC LEAP FORWARD BY A BAND THAT REFUSES TO REST ON THEIR LAURELS. THE KRAUT-INSPIRED `SECOND GUESSING' MIGHT BE THE BEST SONG THEY'VE RECORDED TO DATE.
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The Boss Mustangs

The Boss Mustangs


Recorded at the incredibly analog Goon Lagoon Recorders, this debut album by The Boss Mustangs is proof positive that Rock is NOT Dead! Sounding like a throwback soundtrack to a 1968 Motor City Dragway short film, there's no mistaking the band's understanding of stripped down, raw, PowerGarage RocknRoll. All five lads hail from various enclaves of The World's Motor Capital, and recorded these cuts this past February. The kickoff is Turn On, a potboiler that was penned by guitarist and founder Mickey Catalina. A stomping, driving old school rock song, the riff is as sexy and hooky as it gets. Dan Cadillac belts out a scream to kick off the disc that absolutely sends shivers! The record continues with an unrelenting drive and pace, following a pattern of high energy and dynamics coupled with tempo, timbre, and tone variations that keep the record coherent and consistent while being deliciously different from cut to cut. Solid! Another highlight is Mrs. McKee, an all meat no filler sexy swaggery tune, also written by Mr. Catalina. The feel of this song is that of a post '67 riot Detroit night, on your way the Grande Ballroom, with Rob Tyner at the wheel. Vintage Motor City vibe all the way. The album closes with White Rose, THE most authentic psychedelic song put to tape in 45 years. Drenchy reverb, Leslied vocals, organ, et. al. There's nary a soul that's heard this track and thought it was recorded any later than November of 1967! In fact, all ten of the songs on this record nail the sounds of the heavier pre and post psychedelic era Detroit and London so well, it could fool most program directors at any rock station! An ageless LP for the ages to be sure. PLAY LOUD! - Johnny Hiwatt
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Rush to Relax

Rush to Relax


THE FOLLOW-UP TO THE MELBOURNE QUARTET'S AMP-WINNING SECOND ALBUM PRIMARY COLOURS. RECORDED BY GUITARIST MIKEY YOUNG ON EIGHT-TRACK IN REVOLVER REHEARSAL STUDIOS IN THE MELBOURNE SUBURB OF PRAHRAN. FEATURES THE BAND'S 'LEAST BORING COVER ART' (DESIGNED BY THE BAND AND SNAPPED BY NICOLE REED), TWO BALLADS 'MADE FOR A MAN AND HIS WOMAN', TWO PUNKERS TO PROVE THEY'RE STILL KEEPING IT 'MAD REAL' AND THREE 'SELF INDULGENT' JAM THAT GO FOR MORE THAN SIX MINUTES. EDDY CURRENT'S MOST DIVERSE SET OF TUNES YET; ANOTHER ARTISTIC LEAP FORWARD BY A BAND THAT REFUSES TO REST ON THEIR LAURELS. THE KRAUT-INSPIRED `SECOND GUESSING' MIGHT BE THE BEST SONG THEY'VE RECORDED TO DATE.
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Other Half - Other Half [cd New]

Other Half - Other Half [cd New]


Recording information: Golden State Recorders, San Francisco.Photographer: Tom Hall .This album has been kicking around for ages, first in cut-out bins in the 1970s and subsequently on want lists, ever since "Mr. Pharmacist" (which was not on this long-player) turned up on Rhino's Nuggets, Vol. 12. It turns out to be not at all bad, if not exactly distinguished -- the Other Half were a much better garage band than they were a psychedelic outfit, their frantic, crunchy rockers (which dominate this record) being far more memorable and impressive than their efforts at trippy, spaced out, languid psych ("Wonderful Day"). "I Need You," and "Feathered Fish" give lead guitarist Randy Holden the opportunity to stretch out in the best Jeff Beck manner (circa the Yardbirds' Roger the Engineer), and even their more primitive numbers, such as "Oz Lee Eaves Drops," are good showcases for the group. Holden and rhythm guitarist Geoff Westen also get into some entertaining faux mandolin sounds on "Morning Fire," but when the
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Lost Rehearsals 1953-56

Lost Rehearsals 1953-56


2009 collection of previously unissued recordings by the Jazz great, taped between 1953-56. This release contains a batch of rare rehearsals preserved by Brownie himself with his own amateur tape recorder. They feature such stars as Tadd Dameron, Benny Golson and Gigi Gryce, as well as the classic quintet with Sonny Rollins and Max Roach. Clifford plays amazing solos on all of these tunes, many of which, like 'Somebody Loves Me', 'Bula-Beige Blues' and 'Sometimes I'm Happy', he would never record again. Includes eight page booklet. RLR.
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Robert Randolph & The Family Band: We Walk This Road

Robert Randolph & The Family Band: We Walk This Road


Audio Mixer: Jason Wormer.Recording information: Electro Magnetic Studios, Los Angeles, CA; The Pass Studio, Los Angeles, CA; Village Recorder, West Los Angeles, CA.Photographer: Danny Clinch.Even though Robert Randolph & the Family Band had already become famous for blending gospel, blues, and contemporary styles on their first two albums, they decided to bring that same sort of syncretism to their source material for the third, We Walk This Road. Toward that end, they brought in producer T-Bone Burnett, a man who knows a thing or two about reconciling American roots music with the modern world. The results succeed in extending the group's scope in a way that matches its sound. Randolph, who was only allowed to listen to Christian music growing up, has stated that Burnett's deep knowledge of blues history opened up new worlds for him, and the steel guitar star has reckoned that he ended up spending thousands of dollars "catching up" and buying music from iTunes. Ultimately, though, the process isn't importan
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Rush to Relax [Vinyl]

Rush to Relax [Vinyl]


THE FOLLOW-UP TO THE MELBOURNE QUARTET'S AMP-WINNING SECOND ALBUM PRIMARY COLOURS. RECORDED BY GUITARIST MIKEY YOUNG ON EIGHT-TRACK IN REVOLVER REHEARSAL STUDIOS IN THE MELBOURNE SUBURB OF PRAHRAN. FEATURES THE BAND'S 'LEAST BORING COVER ART' (DESIGNED BY THE BAND AND SNAPPED BY NICOLE REED), TWO BALLADS 'MADE FOR A MAN AND HIS WOMAN', TWO PUNKERS TO PROVE THEY'RE STILL KEEPING IT 'MAD REAL' AND THREE 'SELF INDULGENT' JAM THAT GO FOR MORE THAN SIX MINUTES. EDDY CURRENT'S MOST DIVERSE SET OF TUNES YET; ANOTHER ARTISTIC LEAP FORWARD BY A BAND THAT REFUSES TO REST ON THEIR LAURELS. THE KRAUT-INSPIRED `SECOND GUESSING' MIGHT BE THE BEST SONG THEY'VE RECORDED TO DATE.
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From First to Last

From First to Last


From First To Last battle back with their self-titled Suretone Records debut, a defiant statement of purpose which stands as the band's most self-assured work to date. Guitarist Matt Good assumes vocal duties and his powerful delivery combines with the band's melodic strength and musical muscle to drive songs like "World's Away" and "We All Turn Back To Dust." "We feel like this record is the most definitive one yet," Good says, "as far as representing who we are, as a group of people." Co-founding guitarist Travis Richter notes, "It's a rock record for people now. It's because we're all a little older, our feet are more grounded and we do things a little differently than we did in the past." The path to FROM FIRST TO LAST was fraught with turbulence. Centered on the trio of Good, Richter, and drummer Derek Bloom, FFTL had emerged screaming out of Orlando with 2003's AESTHETIC EP. A year later, DEAR DIARY, MY TEEN ANGST HAS A BODYCOUNT pushed the band into the hard punk spotlight, as did a full-bore tour schedule that included shows alongside Fall Out Boy, Story of the Year, and the All-American Rejects. The band had only just hit the road behind 2006's ambitious HEROINE when singer Sonny Moore, long plagued with health-related vocal issues, was forced to leave the tour. The band returned to Orlando and began writing and demoing new material, determined to get right back into the thick of things as soon as their singer had fully recuperated. The fates had different plans, however - in November, Moore informed FFTL that he was permanently resigning his post as vocalist. Having already undergone a number of radical lineup changes in its brief history, From First To Last was compelled to consider its future. "The thought obviously crossed our mind," Good says, "like, `Oh shit, do we have to break up now?'" "It was weird," Richter says. "The rug was pulled out from under our feet. Matt almost disappeared, he was kinda shell-shocked; Derek saw it as a challenge; and I just tried to put the pieces together, to work it all out. It was more about survival than anything else." They looked back on all that they'd accomplished and on New Year's Day 2007, From First To Last resolved to keep going as a band. Longtime friend and guitar tech Matt "EagleHawk" Manning signed on as bassist, with Good moving into the lead vocalist role. "We knew that if we brought someone completely new into the band at this point it would definitely be the wrong thing to do," he says. "I've been singing back-up this whole time, and though that's not the same thing, you still have to sound good. So I'd had some practice at it. Plus, it's something I've wanted to do for a long time, so I was just really excited about it." Within weeks, From First To Last signed a new deal with Suretone Records and immediately headed west to begin work on a new album. Taking up residence in Studio City, FFTL got right to business, eager to assert its identity after the seismic shifts of the past year. "It was our band from the beginning," Richter says, "but a lot of kids saw Sonny as the front man and assumed he was the heart of From First To Last. So we needed to hurry up and do something without him to show everybody who we really are." The initial sessions went well, but FFTL opted to further hone their sound by doing what they do best - touring hard and fast, first supporting Hawthorne Heights, then with lifelong heroes the Deftones, and finally, a week of headline dates. The road worked its magic, sharpening the band's edge and reminding them of why they'd formed the band in the first place. "That's what really triggered it," Good says. "We remembered what it was like to be on stage and just have fun." "We couldn't actualize this record in the studio until after we'd toured," Richter says. "After that, it was easy as pie. Touring tightened us up and gave us a fresh perspective on what we needed to do with our music." Fired up and reenergized, the band go
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Passionoia by Black Box Recorder

Passionoia by Black Box Recorder


One Little Indian (USA) more		 $10.86 - $15.79
from 3 stores
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Studio Rehearsal Tapes 89 by Daevid Allen

Studio Rehearsal Tapes 89 by Daevid Allen


United States of Distribution ( June 06, 2006 ), Genre: Rock & Pop more		 $34.59 - $34.59
from 1 stores
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Lakota Piano by Brule'

Lakota Piano by Brule'


Natural Visions more		 $14.70 - $14.70
from 1 stores
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Going to the Theatre * by Audra

Going to the Theatre * by Audra


Projekt Records more		 $4.74 - $17.37
from 3 stores
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The Very Tall Band Live at the Blue Note by Oscar Peterson/Ray Brown/Milt Jackson

The Very Tall Band Live at the Blue Note by Oscar Peterson/Ray Brown/Milt Jackson


Telarc ( April 17, 2001 ), Genre: Jazz Instrument more		 $15.18 - $15.18
from 1 stores
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On the Other Side by Brother Ape

On the Other Side by Brother Ape


Prog Rock Records ( January 01, 2005 ), Genre: Rock & Pop more		 $11.38 - $11.38
from 1 stores
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