Related grooviness

Friday, 21 October 2011

janis and kozmic blues band live FREE DOWNLOAD

Includes interview Stockholm 1969


Janis Joplin - Live fast die young - free download

san francisco and LA live recordings 67:


Joni Mitchell- Blue New York 1972 download


New York 1972 [no label, 1CD]
Live at Carnegie Hall, New York, NY; February 23, 1972. Very good soundboard. Slight distortion.

When it comes to Joni Mitchell albums, most fans would include 1971’s Blue as among her best. Here is a Rolling Stone review:

With Blue, Mitchell’s lyrical outlook became much more entwined with her own emotions, quickly establishing her as the most significant of the confessional singer/songwriters. Her delicate but ever-adventurous vocals, bolstered by the album’s quiet but assured instrumentation, left the songs to speak for themselves. The giddy hopefulness of All I Want, the bittersweet regret of Last Time I Saw Richard and the sheer romantic wisdom of the title tune spoke eloquently.

This show has been widely shared among fans and, along the way, someone added these notes:

This soundboard show features Joni alone (until the final track) in NYC at the Carnegie. The performance is nearly exactly midway between “Blue” (June ‘71) and “For The Roses” (November ‘72) and features Joni playing mostly songs from those two LPs, plus a few of the obligatory back catalog stuff. The “For The Roses” songs are really great to hear, in raw, solo versions nine months before their actual album release. Joni is her typical effervescent early ’70s self, with quite a bit of fun audience interaction. She’s clearly happy to be there. On the last song, she is joined by Graham Nash and Stephen Stills.

Perhaps one of these days, a cleaner version of this show (a couple of generations up the line?) might surface.

This Flight Tonight (5.0MB)
Track 02. Electricity (5.4MB)
Track 03. Cold Blue Steel And Sweet Fire (8.9MB)
Track 04. Big Yellow Taxi (5.1MB)
Track 05. Blue (5.2MB)
Track 06. For Free (6.3MB)
Track 07. Banquet (5.9MB)
Track 08. All I Want (5.8MB)
Track 09. A Case Of You (9.7MB)
Track 10. Carey (7.8MB)
Track 11. Lesson In Survival (5.2MB)
Track 12. Woodstock (5.7MB)
Track 13. You Turn Me On (I’m A Radio) (5.6MB)
Track 14. For The Roses (7.5MB)
Track 15. Both Sides Now (6.8MB)
Track 16. Applause (2.0MB)
Track 17. My Old Man (6.0MB)
Track 18. The Circle Game (with Graham Nash and Stephen Stills) (12.8MB)


Buy the classic album BLUE here:

Free download: Sandy Denny & Band - City Hall Glasgow Scotland 1977-11-14

Sandy Denny & Band - City Hall Glasgow Scotland 1977-11-14


01 Solo
02 North Star Grassman & the Ravens
03 I'm A Dreamer
04 Gold Dust
05 Nothing More
06 John the Gun
07 The Sea
08 It'll Take A Long Time
09 Tomorrow Is A Long Time
10 The Lady
11 Wretched Wilbur
12 For Shame of Doing Wrong
13 Stranger To Himself
14 One More Chance
15 Take Me Away
16 Who Knows Where The Time Goes

Sandy Denny..............vocals, piano
Phil Palmer..............guitar (only mentioned in "Croydon" info)
Pat Donaldson............bass
Rob Hendry...............guitar
Pete Wilsher.............pedal steel
Trevor Lucas.............guitar
Dave Mattacks............drums

Download link

Saturday, 8 October 2011

Judy Dyble's "newborn creatures" news.....

This is taken from Judy's facebook page:

Judy Dyble's Newborn Strangers

Somehow, the following statement has disappeared from this page. So I will put it up again. And again. And again. If necessary.

Hmmm. Well I am very sorry to have to say seemingly my album, ‘Newborn Creatures‘ will now not be released in its current incarnation. Lee Fletcher and Markus Reuter have decided to remove my songwords and my vocals and artwork and anything to do with me from the recordi
ng. I do not know what they intend to do with what is left, but they have stated that they intend to release my album without me in some form and at some point in the future.

I have been trying very hard to find a solution to the difficulties that have arisen between us all. Although an agreement was reached at their request, after the completion of negotiations the parameters and the agreed terms were changed by them, and then, suddenly Lee and Markus decided to totally withdraw from the contract negotiations and the entire project.
It was never my intention to undervalue their contribution to the project, but it seems that that was their assumption, and I am sorry that they felt that way.

This has seriously damaged my delight in the music that I have made for this album, and it feels as though someone has deliberately set fire to a beautiful sonic painting that can never be reproduced. And the magic that was such an integral part of it has been drowned in a sea of misunderstandings.

Perhaps I can salvage the words and find a new and sympathetic home for them.

Onwards and upwards.

Saturday, 6 November 2010


ROGER WATERS-Live at the Air Canada Centre, Toronto - September 18, 2010

Toronto 2010 [no label, 2CD]
Live at the Air Canada Centre, Toronto, Ontario, Canada; September 18, 2010. Very good audience recording.

When Roger Waters took The Wall on the road this year, it was a special event. The Wall may be different without Dave Gilmour’s blistering guitar but the show must go on. At this point of the Waters-Gilmour breakup/partnership, it’s doubtful if anyone was hoping that Waters would fall flat on his face doing The Wall. Fans are only too happy that Waters is still playing The Wall - this being the 30th anniversary of the show’s debut in Toronto.

This is what Bryan Borzykowski reported in “It was the mind-blowing visuals that really struck me. Waters used the wall as a giant screen to display bizarre animations and photos and the more the wall got built up the more ambitious the displays got. It felt like I was watching a movie directed by a Las Vegas veteran (I mean that in the best possible way).

“I’ve seen epic shows before. There was Pink Floyd’s brilliant light show on the Division Bell tour; U2’s flying lemon during PopMart; Madonna’s always over-the-top spectacle; but this was different… This took the best parts of those performances - minus Madge’s scantily clad dancers - and took it to James Cameron-like extravagance.”

The Wall is generally seen as how a young man distances himself from the world. In the tour notes, Waters said: “I started to think that maybe there is something in the story of The Wall, which is about this one guy… that could be seen as an allegory for the way nations behave towards one another, or religions behave towards one another.”

Perhaps Hazel Sheffield of the UK Telegraph has a point when she noted: “If tonight’s audience is representative, the anniversary tour is for reliving prog rock’s most ambitious avenue with die-hard fans, rather than for any possible notion of repackaging Floyd for a new generation.”

But as Waters told Rolling Stone magazine: “You can’t ask people to go to the circus and just have fleas in the middle - you’ve got to have elephants and tigers.” The Wall was meant to be a spectacle - otherwise might as well play it as a acoustic set - and so it is.

Lineage: Audio Technica SP-CMC-8 (mounted on baseball cap) > Zoom H4N 24/96 w/ Auto Level and Mic input w/ Limit2 > Adobe Soundbooth (Secret Nerdsauce Effect, Downsample to 16/44 Wav) > Audacity Export to Flac > Flac (Level 8, 16-bit, 44.1-Khz)

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