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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!

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Showing posts with label Grateful Dead. Show all posts
Showing posts with label Grateful Dead. Show all posts

Monday, August 17, 2015

Real Gone Music presents: Grateful Dead Dick's Picks Vol Seven September 1974 - New release review

I just received the latest release from Grateful Dead's Dick's Picks, Vol Seven and it's a strong set. Opening with Scarlet Begonias the Dead wastes no time whatsoever getting the groove going. Western flavored Mexicali Blues has a great feel and Weir's vocals are strong and clear. Row Jimmy is a nice change up and Garcia plays some shimmery guitar riffs that are actually chilling. Very cool! On Black-ThroatedWind the Dead's blues influences are particularly strong. Lesh's contribution on bass are vital on this track. A cool little (extended) ditty, Mississippi Half-Step Uptown Toodeloo has a real nice swagger and clean guitar solos. Garcia's vocals are spot on and fine! Beat It On Down The Line is of course one of the band's rockers and has great drive. Keith Godchaux lays down some nice piano work on this track and Donna Jean adds nice vocal harmonies. Tennessee Jed has just the right groove and Garcia leads it perfectly. Keith, Jerry, Bob and Phil really get a solid footing on this track held tight by Bill Kreutzmann for my favorite track on disc one. Band hit, Playing In The Band wraps side one in classic style with a 23 plus minute jam.

 Opening disc two is Weather Report Suite, opening with it's classical nature but evolving into a rowdy Dead western rocker with Weir and Donna Jean taking the vocal lead. Stella Blue is a classic Dead blues ballad and finds Garcia in some of his best vocals for my own personal preference in a long time. Jack Straw has a particularly cohesive feel with tight overlayed guitar and bass work. Brown-Eyed Women is as straight up crowd pleaser with no extraneous jams as I've heard the band perform. It is well received and clear. Big River has a hard driving feel and Weir coupled with Keith really gets it going on this one. Of course there is plenty of guitar to go around but the boys keep it reeled in and tight. Classic Dead track, Truckin' is a very short 10 plus minute version of one of their mist popular tracks ever. Nice! Blending straight into Wood Green Jam the band get creatively loose and although cohesive, more expressive. Wrapping disc 2 is Wharf Rat. Compelling vocals by Garcia as well as bass work by Lesh, piano by Keith and tight rhythms by Bill give this track real texture.

Western flavored Me and My Uncle is a great opener for disc 3 featuring Weir on vocal and fast paced soloing. This is a great toe tapper and gives Garcia a real opening to play some of his best riffs on the release. Just the opening of Not Fade Away elicits a crowd roar. Weir and Garcia sing in tandem as Lesh and Bill drive the rhythm train. Melodic soloing by Jerry and Lesh gets this track flying and it doesn't land for over 16 minutes. Clocking in at over 24 minutes, Dark Star pushes the envelope for free form jamming, with a solid melody falling out of the mist a times but only briefly. A continuation of the jam, Spam Jam, is much more wide open and experimental although a really cool jazz formation does appear. Interesting. Morning Dew is wound way down from Spam Jam with cohesive bass lines from Lesh driving Jerry vocally. Nice tight piano work from Keith leads to some frenzied guitar work and nicely woven solo lines between Weir and Garcia. Wrapping the release is U.S. Blues, an all time favorite with ideal framing and strong closing capabilities. Tight and powerful, the Dead crushes it.

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If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”


Thursday, May 7, 2015

Real Gone June 30-July 10 Releases Include Ronny and the Daytonas, New Riders of the Purple Sage, The Viscounts and More


2-CD Set Featuring Their Complete Recordings Highlights June 30/July 10 Slate That Also Includes Limited-Edition Releases from the New Riders of the Purple Sage, Viscounts and Banana and the Bunch, a Deluxe Fanny Reissue and a Timely Grateful Dead Release


Nothing says Summer like surf and hot rod music, and on June 30 Real Gone Music is paying tribute to one of the greatest bands ever to come down the (turn)pike, Ronny and the Daytonas, with a 2-CD, 48-track set featuring four unreleased tracks and notes from “Ronny” himself! Being from Nashville, Ronny and the Daytonas tossed a little country twang into their surfin’ sound; our next artist, the New Riders of the Purple Sage, also turned country on its head by injecting an unapologetic hippie ethos into their country-rock sound. On July 10, we are reissuing their classic The Adventures of Panama Red album on limited edition (of 1000) purple vinyl with the fantastic gatefold album artwork intact.

Real Gone Music is also preparing a couple of other long-lost, limited-edition releases on CD, both in mini LP sleeves that exactly replicate the original album artwork. The first, The Viscounts’ Harlem Nocturne, features the definitive hit version of the oft-covered title track along with 11 other tracks of noir-inflected R&B and jazz. The second, Banana and the Bunch’s Mid-Mountain Ranch, is essentially a Youngbloods album without Jesse Colin Young, and is an early alt-country classic.

Finally, Real Gone returns to two artists whose catalogs the label has repeatedly mined with great results. The label is reissuing the Fanny Hill album from the groundbreaking female rockers Fanny in an expanded edition offering six bonus tracks and notes from three of the four band members. And, on June 30, right smack dab in between the band’s reunion shows in Santa Clara and Chicago, the label is releasing another essential live Grateful Dead show from the hallowed Dick’s Picks series of archival concerts.

Ready for a little more octane into your car stereo? Here come 48 tracks from Nashville’s greatest contribution to surf and hot rod music, Ronny and the Daytonas! “Ronny” was singer-songwriter-guitarist John “Bucky” Wilkin, who wrote their first hit, “G.T.O.,” while attending physics class as a senior in high school; his mom, country songwriter Marijohn Wilkin, then landed him a session with producer and former Sun session saxophonist Bill Justis that yielded the #4 chart smash. Justis became the group’s producer for their recordings on the Amy label imprint Mala, which featured Wilkin and a rotating cast of characters, the most prominent of which was frequent co-writer Buzz Cason. Though Ronny and the Daytonas never notched another hit as big as “G.T.O.,” their infusion of country twang put a unique spin on mid-‘60s surf ‘n’ drag music, and their use of strings and willingness to cut ballads alongside the requisite uptempo fare showed that Wilkin refused to be pigeonholed. His move towards a more personal style accelerated with the band’s move to the RCA label, where Wilkin assumed producer duties, culminating in the 1966 solo “Delta Day”/”I Wanna Be Free” single (included here as bonus tracks), which reflected Wilkin’s eagerness to embrace the folk-rock sounds that were in the air at the time. Now, Real Gone Music has assembled a 2-CD set that includes every single A and B-side (many of which have never appeared on CD) and unique album track recorded by Ronny and the Daytonas—just like the title says, The Complete Recordings! But even that title doesn’t really do the set justice; in addition to all the group sides we’ve included Bucky’s solo sides, two tracks (“Tiger-A-Go-Go” and “Bay City”) recorded under the moniker Buzz & Bucky, and four UNRELEASED tracks, all but two taken from the original mono tapes and remastered by Vic Anesini at Sony’s own Battery Studios. Notes authored by Bucky himself plus previously unseen photos drawn from his private collection round out the set. The ultimate look at one of the all-time great surf combos.

If there was ever any doubt that the New Riders of the Purple Sage were the ultimate hippie country rock band—and having had Jerry Garcia, Phil Lesh and Mickey Hart of the Grateful Dead as early members meant that there wasn’t much—The Adventures of Panama Red put them to rest. This 1973 album’s loosely connected tall tales of drug culture, complete with the album’s underground comic book graphics, ensured that this gatefold record was a long-time dorm room favorite for separating out those stems and seeds. But Panama Red (their only gold record) had a lot more going for it than just countercultural kicks—the band, by now consisting of John Dawson, David Nelson, Dave Torbert, pedal steel ace Buddy Cage and Jefferson Airplane drummer Spencer Dryden—was much tighter than any outfit this stoned had a right to be, and with songwriting contributions from Peter Rowan (the hit “Panama Red” and “Lonesome L.A. Cowboy”) and Robert Hunter (“Kick in the Head”) as well as from the band’s own fine tunesmiths in Dawson and Torbert, the songs were of a uniformly high quality.  Production by multi-instrumentalist Norbert Putnam, charts by the Memphis Horns and vocal contributions by Buffy Sainte-Marie and Donna Godchaux helped enshrine this record as one of the finest country-rock outings of the ‘70s. Now, Real Gone Music is reissuing this classic album for the first time on vinyl, remastered by Vic Anesini at Battery Studios in NYC and lacquer cut by Kevin Gray, with a limited edition pressing of 1000 in—what else?—purple vinyl, with the original gatefold album and inner sleeve graphics (with lyrics) intact. Time to add to your stash of essential ‘70s vinyl.

A lot of folks covered Earle Hagen and Dick Rogers’ classic composition “Harlem Nocturne”—there are over 500 recorded versions by some estimates—but the definitive take was laid down by a little-known R&B combo out of New Jersey named The Viscounts, who had a hit with the song for two different labels, for Madison in 1959 and for Amy in 1965. The latter release, which cracked the Top 40, spawned an entire album—also named Harlem Nocturne—to go with it, and if you are looking for the perfect soundtrack to set a bleary, late-night mood straight out of a Raymond Chandler novel (or a film by David Lynch or Quentin Tarantino—you can bet both of those guys have listened to this record), look no further—guitar dripping with reverb and tremolo, minor-key Hammond organ fills and sleazy saxophone create a mutant musical love-child of the Ventures, Link Wray and Earl Bostic. The original Amy album makes its worldwide CD debut on this Real Gone Music release, and we’re putting it out exactly as it was originally issued, in a limited-edition mini LP sleeve that re-creates the original album art to the T. Remastered from the original mono tapes at Sony’s own Battery Studios and LIMITED TO 1200 COPIES.

Recorded right after the Youngbloods broke up, and released on their own Raccoon label, 1972’s Mid-Mountain Ranch was the sole solo album from the band’s multi-instrumentalist Banana a.k.a. Lowell Levinger. Except that it wasn’t really a solo album, because the Bunch included Joe Bauer and Michael Kane from Banana’s former outfit! So, Mid-Mountain Ranch really was a Youngbloods album sans Jesse Colin Young; and the absence of their former front man allows Banana and the Bunch to stretch out with some bluegrass and jazz licks alongside their patented folk rock sound. It’s something of an early alt-country cult classic, reissued here on CD for the first time ever in a limited-edition mini LP sleeve that re-creates the original packaging right down to the label on the CD. LIMITED EDITION OF 1000.

Fanny had already stepped into some big shoes by being the first all-female rock band signed to a major label, but with the release of 1972’s Fanny Hill, they took things to a new level, recording at Abbey Road with producer Richard Perry and famed Beatles engineer Geoff Emerick (the album includes a Beatles homage with a cover of “Hey Bulldog”). And the result was Fanny’s most varied and ambitious album, sporting a beautiful mix of ballads and rockers and a mature, socially conscious lyrical approach. Not coincidentally, it’s long been the most-requested reissue in the Fanny catalog, and we’re adding six bonus tracks to the original release along with new liner notes from the band and rare photos. Another essential, expanded Fanny album from Real Gone Music.

Taken, like Dick’s Picks Vol. 10, from one of the Grateful Dead’s annual year-end runs of Bay Area concerts, Dick’s Picks Vol. 5—Oakland Auditorium Arena 12/26/79 marked five straight volumes of ‘70s shows selected by archivist Dick Latvala to start the series, and as it was from one of the very last days of the decade, it was the perfect way for Dick to complete his own mini “tour” of the ‘70s (Vol. 6 would break the string by forging ahead to the ‘80s). But Vol. 5 has a lot more going for it than just a convenient spot on the calendar; this is one of the rawest and most energetic Picks, a complete show anchored by a second set that is in essence one big medley that begins with “Uncle John’s Band” and ends with it two hours later, with a supercharged “The Other One” and the first appearance of “Brokedown Palace” in two years among many high points in between. Set one is no slouch, either, with a great, Garcia-led rendition of “Alabama Getaway” four months before it appeared on record and a passionate vocal by Bob Weir on “Looks Like Rain” leading to a spirited, set-closing “The Promised Land.” And throughout it all you’ll hear Brent Mydland serving notice in one of his first shows with the band that he is fully up to the task of replacing Keith Godchaux. Out of print for years, and a perfectly timed release for the Dead reunion shows (the label is also pressing up a 300-unit limited-edition run of Dick’s Picks Vol. 29, the only 6-CD set in the series, consisting of two monster May 1977 shows with stellar bonus material).


Limited Edition 300-Unit Repress


About Real Gone Music
Real Gone Music, formed and helmed by industry vets Gordon Anderson and Gabby Castellana, is an eclectic and prolific catalog and reissue label with distribution through Sony via Razor & Tie. Anderson and Castellana each started businesses in 1993 — Collectors’ Choice Music and Hep Cat Records & Distribution, respectively — that became two of the most important outlets for buyers and sellers of vintage music recordings. They joined forces in 2011 to launch Real Gone Music, which serves both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites. Real Gone Music is dedicated to combing the vaults for sounds that aren’t just gone — they’re REAL gone.

Friday, February 27, 2015

Real Gone Records: Grateful Dead - Dick's Picks Volume 12 - 6/26 & 28/74 - New Release Review

I just received the newest Grateful Dead release from Real Gone Records, Disk's Picks Volume 12. Starting Disc 1 with a jam that leads into what many have labeled "the most extraordinary live version of China Cat Sunflower ever recorded". Transitioning with Mind Left Body /Jam into I Know You Rider this is an exceptional recording. Having a little fun with the Beer Barrel Polka and then Truckin' these guys are really on a roll! Spanish Jam has a lot of fire and a certain spirit that is different from much of what I have heard throughout the other recordings. Very cool! Up next is Wharf Rat and then super closer Sugar Magnolia. The band is tight and on fire.

 Disc 2 opens with Eyes Of the World, the encore from the Boston show. Needless to say it is superb. The legendary second set of the Boston show opens with the rare performance of Seastones (Phil Lesh and Ned Lagin's electronic piece). The balance of the concert as recorded includes Sugar Magnolia, a rockin' Scarlet Begonias, Johnny Cash's country jam Big River, the somber To Lay Me Down; on of my favorites in the set, western style Me And My Uncle, and and the more bluesy Row Jimmy.

 Disc 2 continues with one of the most renown live jams of the band's career, a flawless 14 plus minute Weather Report Suite. A creative endeavor led by the vocals of Weir and flowing into a full blown 27 minute fusion jam. An always favorite US Blues, Chuck Berry's Promised Land, a really nice version of Going Down The Road Feeling Bad and then for the final 1-2 punch, Sunshine Daydream / Ship Of Fools which I really loved.

 Real Gone is also reissuing on a very limited basis (300 units) Dick's Picks Volume 35.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”


Friday, January 2, 2015

Real Gone Music: Grateful Dead - Dick's Picks 13 - Nassau Coliseum 5/6/81 - New release Review

I just received the newest release, Volume 13 of Dick's Picks from the Grateful Dead and the concert is quite entertaining. Opening with Alabama Getaway Garcia wastes no time getting the crowd on its feet and hopping. A wide open guitar solo in this one sets the pace. Continuing with the high energy rock of Greatest Story Ever Told, Weir leads the way. Settling down into a groove with They Love Each Other Lesh has his bass popping and Brent Mydland opens the door with some cool piano. Garcia uses the funky beat of the track to play some otherwise uncharacteristic riffs. Cool! On Cassidy, the easy country rock feel that the Dead developed so well gives Garcia and Weir the opportunity to get a little more progressive in their approach. Jack-A-Roe has a strong country flavor and is one of my favorites on the release. lead by Garcia on guitar and vocal it has that pure feel. Excellent finger work by Garcia on this track is icing on the cake. The Dead's take on Burnetts' Little Red Rooster maintains much of the original blues feel with some over driven guitar tones. Mydland takes a nice organ interlude nicely complimenting Garcia's guitar work and Wier's vocals. Classic Dead track, Dire Wolf is always a favorite with Garcia back on lead vocal. Although not prolonged, Garcia's guitar work on this track is spot on. One of Weir's extended ballads, Looks Like Rain follows with quiet emotion and Weir on lead vocals. On hopped up Big Railroad Blues, Garcia rocks out in a near Chuck Berry style for a refreshing rocker. Weir's Let It Grow has a nice quick moving pace and a twist of Mexico with nice drive by Hart and Kreutzmann on drums and crisp riffs from Garcia. Wrapping disc one is another all time favorite of the Dead, Deal. Garcia leads this track as fresh as the first time. Mydland and Lesh carry the bulk of the load with Garcia on vocal and light guitar riffs. Cutting in at over 7 minutes a good closer. Opening disc two is New Minglewood Blues, a traditional blues track similar to Rolling and Tumblin, with underlying blues riffs but with modern attributes. Mydland takes a nice organ solo on this track and Garcia lays down some pretty hot slide riffs of his own. A nice quiet bluesy ballad, High Time, is up next with Garcia showing some really lush guitar work. Another Weir track, Lost Sailor, has that unique blend of jazz, progression and ballad. Excellent writing. A 42 minute version of Saint of Circumstance is the first really extended jam by the gang on this recording and as a somewhat mid point of the release... very nice. Opening disc three is He's Gone with a Dead style boogie. Weir and Garcia harmonize nicely with sufficient cool guitar work to keep your ears on alert. On Caution/ Spanish Jam the Dead wanders through many different themes from driving rock to jazz. Hart and Kreutzmann take an extended (7 plus minute) drum excursion satisfying that drum itch and leading back into a loose guitar jam. With it's unusual rhythm pattern, The Other One seems a perfect sleigh to ride for yet another instrumental jam. Well constructed and moving, it's over in a moment. Back to the blues roots with Going Down The Road Feeling Bad, Garcia leads the way with a Delaney and Bonnie style. Pulling out all of the blues riffs, this track hits the note. A heavy shot of Wharf Rat is up next with Garcia leading on vocal and guitar. As has become customary, Weir takes the mic for a rocking version of Good Lovin'. On encore is another Dead favorite, Don't Ease Me In. This is a great terrific track to wrap up this mostly rockin' concert.

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”


Monday, October 14, 2013

Dick's Picks Vol. 21 - Grateful Dead - New Release Review

I just received the latest release of Grateful Dead music from the vault, Dick's Picks Vol. 21. This 3 disc set is a bit different from the others that I have reviewed in that it showcases many tracks by other artists and covered by the Dead. The first disc, recorded at the Richmond Coliseum (1985), opens with Dancing In The Streets popularized mostly by Martha and the Vandellas and Mick Jagger with David Bowie. On this extended track, Garcia opens the door early to a cool jam. Cold Rain and Snow follows being one of my favorite originals on this disc. Lesh plays some of the coolest riffs and the vocal harmonies are right on. A cover of Willie Dixon's Little Red Rooster showcases Brent Mydland on keys some excellent slide work by Garcia making it an absolute standout for the entire set. Western style track Me And My Uncle is really done nicely with not only pace and rhythm but also smart guitar riffs. A little more country in Big River, and again Mydland steps up on keys drawing Garcia out with one of his more inspired solos. One of my personal Dead favorites, Jack Straw, is up next followed by Don't Ease Me In, which is short, peppy and crisp. Disc 2 opens with the Dead's arrangement of the traditional Sampson and Delilah.Always an enjoyable track from the Dead and with musical certainty it is a great opener for the disc. Heartfelt High Time is up next and a great showcase again for Garcia. Another Willie Dixon tune, Spoonful gets a strong cover with super guitar leads and arrangement. Another sweet melody, Comes a Time provides a vessel for bluesy guitar riffs and a nice jam... possibly my favorite track on disc 2. Lost Sailor featuring vocals by Weir leads into a mega long jam lasting 20 minutes into disc 3. Saint Of Circumstance emerges from the myst . The rockier side of the Dead is emerging here and more complex instrumentation from Garcia freed from lead vocal duties. Spencer Davis Group track Gimme Some Lovin' became almost as much a part of the Dead's repertoire as some of their own tracks. It's tracks like this that really give Garcia the opportunity to pursue alternate melodies on guitar with a solid primary melody acknowledged and recognized. Garcia brings on Dylan's She Belongs To Me, One of my favorite tracks on this disc. Soloing is of course a primary goal but on this track focused and concise. Van Morrison's Gloria is always a fan favorite and the Dead keep a lot of the edge of the original track. Garcia's Keep Your Day Job is a is a great country rocker showing the vitality of the band in this stage of their careers. The final 4 tracks are excerpts from an earlier concert (1980) in Rochester. Opening with the progressive track, Space, the band is captured in one of it's modestly long experimental tracks. Followed by "Dedulated" version of standard New Orleans track Iko Iko the crew presents a much more laid back version of the track. An 11 minute version of Morning Dew is next and really a super addition to this particular set. Garcia is really on this evening and was lucky to have it captured, Finishing up with Sugar Magnolia and despite listening to about 3 hours of non stop music, you find yourself smiling and wanting more.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Sunday, May 19, 2013

Real Gone Music - Grateful Dead - Dick's Picks Volume 24 - New Release Review

I just received the newest in the line of Dick's Picks Grateful Dead releases by Real Gone Music and there are some real gems here. This 2 cd set was recorded on March 23, 1974 at the Cow Palace in California. Hot tracks on disc one are U.S. Blues, Scarlet Begonias, Deal and a great cut of Weather Report Suite. This particular cut is terrific and a special gem. Disc two opens with crowd favorite Playing In The Band and continues into Uncle John's Band. Garcia is really on tonight and his extended soloing on this track is particularly tasty. I am also particularly fond of this particular cut of Morning Dew and the handling of the vocals in particular. Second runs, or a refrain if you wish, on Playing In The Band and Uncle John's Band give the band ample opportunity to jam. Another sparkling guitar solo appears on Bertha. A slower than usual tempo is presented on Sugar Magnolia, the closer on this recording. One more chance for a tight and cohesive isn't missed and vocal harmonies are particularly good. This release won't of course appeal to everyone, but it is a great addition to Dead fans collections and is also a great addition for someone not having a lot of live Dead music!  

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Tuesday, March 26, 2013

Real Gone Music - Dick's Pick Volume 25 - The Grateful Dead

Real Gone Music has got another gem here with the re release of The Grateful Dead's Dick's Pick Volume 25. This four CD (HDCD) set includes classic concert recordings from the Veterans Memorial Coliseum in New Haven, CT on May 10, 1978 and the Springfield Civic Center in Springfield, MA on May 11, 1978. Consisting of 35 extended tracks, these recordings are certainly for GD/jam connoisseurs but even for your average music listeners there are some real gems here. The Dick's Picks series which started in 1993 was named for Grateful Dead Dick Latvala who selected shows with the band's approval and oversaw production of the releases. After Latvala's death David Lemieux took over responsibility for the Dick's Picks releases. Some of my favorite tracks on this super deluxe set are Ramble On Rose, Deal, Estimated Profit and Eyes Of the World from the New Haven Show but not to miss extensive jamming on Drums, The Other One and Wharf Rat are also sure to be favorites to Deadheads. (Mickey Hart fans should be in Heaven). In the Springfield set my particular favorites are Looks Like Rain, Loser, New Minglewood Blues, Supplication, Not Fade Away and I gotta comment on the wild guitar solo on Werewolves of London...just a blast. This set is jammed with jam and is bound to be a favorite set. Finishing with Johnny B. Goode you are left wanting even more. OK Deadheads... it's here!

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band! This is not a track from this concert but I hate making a post without a here is the Dead!

Monday, January 14, 2013

Real Gone Music's February: Short Month, Big Release Schedule


February 26 Releases Include Titles from Fanny, Freddie King, Rod McKuen, Cat Mother & the All Night Newsboys, the Hello People and Grateful Dead

Los Angeles, California-Real Gone Music's February releases, due out on the 26th of the month, continue to cut a wide swath through the various genres of popular music, with entries ranging from to folk cabaret to electric blues to chick rock to even mime rock! At the front of the line is the first-ever standalone CD release of the debut album from Fanny, the first-ever all-female group signed to a major label, and a thundering, 54-track double-CD set from blues guitar legend Freddie King featuring all of his King and Federal label singles, both A and B-sides. And Real Gone is, by exclusive arrangement with the artist himself, releasing what are arguably the two signature albums of poet-singer-songwriter-actor Rod McKuen's career with copious bonus tracks.

The focus shifts firmly to rock for the label's other February releases, featuring the debut album by Cat Mother and the All Night Newsboys, which was co-produced by none other than Jimi Hendrix. The unique "mime-rock" of The Hello People, who later collaborated with Todd Rundgren, sees its first-ever reissue of any kind with the release of their album Fusion. And Real Gone continues its dance through the Grateful Dead's Dick's Picks catalog of rare live recordings with another first-time-ever retail release of Dick's Picks Vol. 25.

It's hard to overstate the importance of Fanny's self-titled 1970 debut album. For the first time, a group of women (sisters June and Jean Millington, Alice De Buhr and Nickey Barclay) wrote and sang their own songs, played their own instruments and, perhaps most importantly, rocked just as hard as any male band out there. And, as the first all female band signed to a major label (Reprise) and with superstar producer Richard Perry at the board, these four women seemed poised for stardom.  But, without a reference point with which to review them, the rock press was less than kind, often dismissing them as a novelty act. Fanny would have to become that reference point, and so they did for the generations of female rockers to come after them, from Joan Jett to Girlschool to Courtney Love and beyond. They were truly the Godmothers of Chick Rock. Now, Real Gone Music is proud to reissue, for the first time on a stand-alone CD, the self-titled debut release from Fanny, complete with the original gatefold album art and sporting new liner notes from none other than June Millington with contributions from Alice De Buhr and Jean Millington, whose tales will take you inside the studio and out to the front lines of rock's feminist makeover. Grrl power starts here!

Rolling Stone ranked him the #15 greatest guitarist of all time. His sharp treble tone, hooky melodic licks and innovative fingerpicking style-using metal banjo picks on electric guitar-were a profound influence on such British guitar gods as Eric Clapton, Jeff Beck, Peter Green and Mick Taylor. And his live performances were so incendiary, so unstoppable-and his build so imposing-that he was nicknamed "The Texas Cannonball." Yet to date, no collection has focused on the original single sides Freddie King cut for the King and Federal labels in the '60s, the blistering tracks that made his reputation and continue to be the centerpiece of his recorded legacy. The Complete King Federal Singles rounds up all 54 of those original single sides and carefully packed them on to two CDs for about 155 minutes of pure blues guitar heat, featuring such hits as "Hideaway," "Lonesome Whistle Blues," "San-Ho-Zay!" and "I'm Tore Down." Notes by Freddie King expert Bill Dahl, photos and pristine mastering complete as concentrated a dose of blues guitar greatness as you will ever find.

Poet, writer, performer, songwriter, singer, producer, actor-Rod McKuen was the true Renaissance man of the '60s generation. However, despite having notched a number of charting albums, almost all of McKuen's recorded work remains out of print. Now, by special arrangement with the artist himself, Real Gone Music is releasing two signature albums from Rod McKuen's career, complete with a bounty of bonus tracks from his private archive, personally annotated and remastered under his supervision. Recorded on his 36th birthday on April 29, 1969, the double live album Sold Out At Carnegie Hall was the highest-charting (double platinum) release of Rod McKuen's career, and exposed a whole new audience to the man's multifaceted talent. This Real Gone reissue of this landmark live recording adds an unreleased track, marking the most complete version of this legendary concert that has ever been released, and also offers 13 tracks from his triumphant, platinum-selling Back to Carnegie Hall album, recorded on his 40th birthday in 1973. And McKuen's 1967 release Listen to the Warm, which was based on his poetry book of the same name-then the bestselling poetry book of all time-was his first charting album. Our Real Gone reissue presents over a dozen bonus tracks-all never before available in the U.S.-that in effect create an unreleased Listen To The Warm Volume Two.

Though the 1969 debut release from Cat Mother and the All Night Newsboys was co-produced by none other than Jimi Hendrix (they were long-time friends, the band opened for the Experience on tour, and had the misfortune of sharing the same manager, Mike Jeffrey), Cat Mother was far more than a footnote to a superstar's career. Not only did The Street Giveth...and the Street Taketh Away score a Top 40 hit with "Good Old Rock 'N Roll," but it's also a marvelously eclectic affair beloved by record collectors of every stripe-just do a quick Google search-with elements of folk, country and late '60s riff rock alongside the hit's tongue-in-cheek revivalism. This album's been briefly reissued on CD twice before and commands huge sums online; it's not JUST for Hendrix completists (though they will want it, too).

There was a lot more to The Hello People than just whiteface. Their roots actually trace back to the father of French mime, Etienne Decroux. During the '60s, Decroux taught painting to a group of musicians, who learned to paint so quickly that Decroux reasoned that musicians could also learn mime and apply it in some new way to create a new form. Thus inspired, the manager of the musicians Decroux had taught, Lou Futterman, then put together The Hello People, who went on to appear on The Tonight Show and The Smothers Brothers Comedy Hour, tour with Todd Rundgren during the '70s, and release four albums for Philips and ABC-Dunhill during the late '60s and early '70s. Fusion, their second (1968) album for Philips, is easily their best; it features "Anthem," whose stark, antiwar lyrics ("So I'm going to prison for what I believe/I'm going to prison so I can be free") penned by band songwriter W.S. "Sonny" Tongue (who had been incarcerated for resisting the draft) led to its being banned in a number of radio markets. Our Real Gone reissue includes the original gatefold art and adds new liner notes; it's the first album from this one-of-a-kind group ever released on CD.

The latest august addition to Real Gone's reissues of Grateful Dead live shows, Dick's Picks 25-May 10, 1978 New Haven, CT May 11, 1978 Springfield, MA hails from an extended East Coast run in the Spring of 1978, offering a pair of Dead shows that, with the loving touch of Bear and Betty Cantor-Jackson at the controls, rank as one of the most beautifully recorded entries in the Dick's Picks series. Both concerts-which appear here minus just two and three songs, respectively-find the group in exceptionally lyrical form on ballads like "Loser," "Stella Blue," "Looks Like Rain" and "They Love Each Other." Also not to be missed is a superlative, slowed-down version of "Friend of the Devil" and the rare performance of Warren Zevon's "Werewolves of London" as an encore (the band only played it about a dozen times live). Full of diamonds for Deadheads.

February 26 Releases from Real Gone Music

Rescheduled from January:

Thursday, March 8, 2012

It Hurts Me Too - Pigpen / Grateful Dead

Ronald C. "Pigpen" McKernan (September 8, 1945 – March 8, 1973) was a founding member of the Grateful Dead. His contributions to the band included vocals, Hammond organ, harmonica, percussion, and occasionally guitar. In 1994, Pigpen was inducted into the Rock and Roll Hall of Fame, along with the other members of the Grateful Dead.
McKernan was born in San Bruno, California, the son of an R&B and blues disc jockey. He grew up with many African-American friends and felt very strongly connected to black music and culture. As a youth, McKernan taught himself blues piano and developed a biker image. In his early teens, McKernan left Palo Alto High School by mutual agreement with the school's principal. He also began using alcohol in his adolescence.

McKernan began spending time around coffeehouses and music stores, where he met Jerry Garcia. One night Garcia invited McKernan onstage to play harmonica and sing the blues. Garcia was impressed and McKernan became the blues singer in local jam sessions. A high-school friend named Roger gave him his nickname based on his "funky" approach to life. However, in an essay included with the Grateful Dead box-set The Golden Road (1965-1973) it is claimed that a girlfriend of McKernan's gave him the nickname, owing to his similarity to the permanently dirty character in the comic-strip Peanuts.

McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Bob Weir and Bill Kreutzmann were added and the band evolved into The Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Around this time Phil Lesh joined, and they became the Grateful Dead.
McKernan had a short relationship and longer friendship with Janis Joplin — a poster from the early 1970s featured them together.[6] Joplin joined McKernan onstage at the Fillmore West in June 1969 with the Grateful Dead to sing his signature "Turn On Your Lovelight," despite her dislike of the band's jamming style. The two reprised this duet July 16, 1970 at the Euphoria Ballroom in San Rafael, California.

In 1970, McKernan began experiencing symptoms of congenital biliary cirrhosis. After an August 1971 hospitalization, doctors requested that he stop touring indefinitely; pianist Keith Godchaux was subsequently hired and remained a permanent member of the band until 1979. Ever restless, the ailing McKernan rejoined the band in December 1971 to supplement Godchaux on harmonica, percussion, and organ. After their Europe '72 tour, his health had degenerated to the point where he could no longer continue on the road. He made his final concert appearance on June 17, 1972 at the Hollywood Bowl, in Los Angeles, California.

On March 8, 1973, he was found dead of a gastrointestinal hemorrhage at his home in Corte Madera, California.
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