BEATLEJAM - live at the keswick theatre - 1/18/2002

beatlejam
''live at the keswick theatre''
floating world records


1 - Taxman 8:36
2 - Come Together 10:13
3 - Something 5:19
4 - Get Back 7:42
5 - Eleanor Rigby 8:46
6 - Cry Baby Cry 5:53
7 - You Can't Do That 6:26
8 - Lady Madonna 6:48
9 - Why Don't We Do It In The Road 9:44
10 - Lucy In The Sky 6:33

Matt Abts/Drums
Slick Aguilar/Guitar
Johnny Neel/Keyboards
Berry Oakley, Jr./Bass
Vince Welnick/Keyboards
http://fp.io/2fb822m2/

BEATLEJAM - LIVE AT BB KINGS CLUB - 1/17/2002

beatlejam
''live at bb kings blues club''
floating wold
76:44


1 Come Together 7:21
2 Taxman 8:18
3 You Can't Do That 7:22
4 Eleanor Rigby 8:55
5 Slow Down 7:26
6 Why Don't We Do It In the Road 9:11
7 Cry Baby Cry 5:55
8 Hey You've Got To Hide Your Love Away 9:44
9 Day In the Life 5:19
10 Get Back 7:13

Matt Abts/Drums
Slick Aguilar/Guitar
Johnny Neel/Keyboards
Berry Oakley, Jr./Bass
Vince Welnick/Keyboards
http://fp.io/feced41e/

BEATLEJAM - Live at the Webster Theatre, Hartford, Ct, 2002

UK pressing of this live album from the jam band supergroup consisting of Matt Abs (Govt Mule), Berry Oakley (Allman Brothers), Vince Welnick (Grateful Dead), Slick Aguilar (Jefferson Starship) and Johnny Need (Govt Mule, Allman Brothers, Lonny Mack). Beatlejam are a sort of spin off from the successful US jam band Blue Floyd only this time its Beatles songs rather than the Pink Floyd, given the unique jam spin.

Live at the Webster Theatre, Hartford, Ct, 2002

DISC 1:
01. A Day In The Life
02. Taxman
03. Get Back
04. Cry Baby Cry
05. When I'm Sixty-Four/Lady Madonna
06. Drum Solo
07. The Other One Jam  Eleanor Rigby
08. The Long And Winding Road
09. Bass Solo
10. Come Together

DISC 2:
01. Something
02. You've Got To Hide Your Love Away
03. Why Don't We Do It In The Road
04. Lucy In The Sky With Diamonds
05. Helter Skelter
06. Hey Jude
07. All You Need Is Love

http://fp.io/85383m83/

MAHAVISHNU ORCHESTRA - Barton Hall Cornell University Ithaca, NY - 11/29/1973

Mahavishnu Orchestra
November 29, 1973
Barton Hall
Cornell University
Ithaca, NY

01. Meeting Of The Spirits 13:35
02. Trilogy 19:02
03. Sister Andrea 19:49
04. Open Country Joy 8:22
05. The Dance Of Maya 17:55
06. Sanctuary 7:00
07. One Word 25:13
08. Hope 1:59
09. Celestial Terrestrial Commuters 4:33


Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

Many of the musicians who participated in Miles Davis' explorations into electric instrumentation eventually moved on to create groups of their own. Few were as adept or as influential as Mahavishnu Orchestra, a globally diverse quintet formed by British guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, this group also brought elements of Far Eastern, R&B, Blues and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics; equally adept at dense aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted less than three years and, despite releasing only two studio albums and one live recording during this era, they had a profound effect, redefining the jazz/rock fusion movement in the process.

By the tail end of 1973, Mahavishnu Orchestra had firmly established their reputation and was now a world-class headlining act. Their debut album, The Inner Mounting Flame, and its follow-up, Birds Of Fire, had mesmerized musicians and listeners alike and they had become one of the most exciting bands on the planet. Material from the group's sophomore studio effort, Birds Of Fire was now firmly ensconced into the group's performances. Tracks destined for their ill-fated third studio album (released 26 years later as The Lost Trident Sessions) was also now integrated into their live repertoire. The newer material was now formulated around riffs and repetitive patterns established by the various band members and were intentionally designed as a looser framework. With considerably more stage time, they were consciously taking the improvisational approach to its extreme.

This performance is a prime example of that extreme, capturing one of the final performances of the classic lineup, headlining a double bill, which also included Weather Report, at Cornell University's Barton Hall. The recording begins shortly in progress with "Meeting Of The Spirits." More adventurous than its studio counterpart, this is an incendiary opener that sets the stage for what is to come. The next nearly 40 minutes of the performance consists of "Trilogy" and "Sister Andrea," two compositions that had been recorded a few months prior, both during the Trident Sessions and at the Central Park concert partially released as their live album, Between Nothingness And Eternity. Not surprisingly, these performances are similar to the live album versions, but by this point both compositions have become far more improvisational. The first section of "Trilogy" is a relatively laid-back passage that soon develops into a more elaborate trade-off between McLaughlin and Hammer, with the guitar dominating. The second section is similar to the first, but with Goodman's violin dominating and Hammer providing birdcall effects via his synthesizers. Cobham's drumming is particularly impressive during this passage. Then the group suddenly launches into the third section—an aggressive hyperactive jam, first featuring a brief violin solo followed by a scorching solo from McLaughlin. The entire group develops an impressive repetition based on McLaughlin's lead riff that remains captivating for several minutes, before they revert back to the original theme, bringing "Trilogy" to a close nearly 20 minutes later.

Jan Hammer's "Sister Andrea" has also become an improvisational launch pad by this time, beginning with a bluesy funk-flavored opening sequence. After a brief spatial break, McLaughlin takes a remarkable solo with surprising twists and turns. When he reaches a crescendo and one expects another member of the band to take over, he takes off again on another impressively developed solo. Following McLaughlin's initial solos, the piece becomes dominated by Hammer and Goodman, with Laird and Cobham establishing a funky backdrop for them to improvise over. Goodman takes the initial flight with a riveting solo that features plenty of wah-wahed violin. Near the nine-minute mark, Laird reestablishes the primary statements and Hammer takes flight, complementing the bass line. Approximately a minute was lost due to a change in tape stock near the 11:30 mark, but when the recording resumes a minute or so later, Goodman is off again for a second blazing solo, followed by a second flight by Hammer on synthesizer as Cobham's hi hat dances between channels. Like the version of "Trilogy" that preceded it, the group explores "Sister Andrea" for nearly 20 minutes, before easing into the Birds Of Fire track, "Open Country Joy." This strutting, gradually intensifying urban blues is perhaps the least complex, most easily accessible music the classic lineup ever played. Vacillating between a laidback county feel and frenzied rocking power, its disarming rustic theme provides musical contrast to conclude this first half of the performance. (Note: Part 2 of this performance coming to Concert Vault soon!)


As the performance continues, the band begins another expansive journey into "The Dance Of Maya," one of the most popular tracks from their debut album. This piece features an infectious rhythmic pattern that compeiments the melodic line. Once the initial sequence has been established, the band suddenly shifts focus, with Cobham playing a bluesy 10/8 drum pattern. Many subtle changes occur during the extended exploration to follow and despite its imposing length; this is one of the most intriguing and accessible pieces for newcomers to the band.

After all the furious intensity and adventurous music that preceded it, "Sanctuary" provides some contrast and tranquility. Hauntingly beautiful and taken at an extremely slow tempo in 9/4, Hammer's introspective synthesizer solo weeps while Goodman's wailing violin compliments McLaughlin's guitar. Cobham and Laird establish the perfect relaxed rhythmic groove that further accentuates the contemplative mode, with a gentle serenading foundation. An extended (with volume gradually increasing) snare roll from Cobham signals the beginning of "One Word," one of the most compelling compositions from the Birds Of Fire album. Beginning with a haunting and frighteningly intense sequence, this soon gives way to an impressive bass improvisation from Laird. Bassist Laird becomes the driving force for the next ten minutes or so, as Cobham followed by Hammer on electric piano, begin to follow him. They eventually propel into a fiery jam, with McLaughlin joining back in, trading solos with Goodman and Hammer, who switches back over to synthesizer. A most furious and frantic three-way call and response ensues that is truly astonishing in its intensity. Just as all five musicians are blazing simultaneously, everyone dramatically stops, giving themselves and the audience a few seconds to catch their breath! Then Cobham begins a powerfully expressive solo that is staggering in its virtuosity. This eventually leads up to the explosive second half of the composition, at which point the group launches back in. Within its complicated time signature, Laird and Cobham anchor things, while all contribute to a truly incendiary conclusion to the set.

Returning to the stage for an encore, the group pair two additional Birds Of Fire tracks together. "Hope" begins contemplatively, with Mclaughlin and the group slowly building up the intensity level. This stays relatively true to the original two-minute studio arrangement, but when one expects the piece to end, they explode into "Celestial Terrestrial Commuters." This features expressive soloing from Hammer and blazing call and response sequences between Goodman and McLaughlin. Although relatively short compared to the highly improvisational material featured earlier in the set, this is another thrilling hyper-drive performance.

This recording of Mahavishnu Orchestra is more strong evidence that they remain the brightest and most astounding of all the early 1970s fusion bands. The improvisational abilities of the group were at the most astonishing level during this latter part of 1973. This performances displays the intensity, speed, and breathtaking technical abilities that initially established the group's reputation, but with a less elegant, increasingly edgier sound. McLaughlin would rarely play electric guitar with such ferocity again. Although this initial groundbreaking lineup would call it a day less than a month later, here they are still clearly challenging themselves, with constantly surprising and utterly compelling results.

http://fp.io/b3dda1e9/

MAHAVISHNU ORCHESTRA - Cornell University Ithaca NY - 1/23/1973

Mahavishnu Orchestra
1973-01-23
Cornell University
Ithaca
NY

01. Birds Of Fire - Miles Beyond (22:15)
02. Noonward Race (16:22)
03. A Lotus On Irish Streams (8:51)
04. One Word (20:38)
05. Vital Transformation (5:42)

Billy Cobham: Drums
Jerry Goodman: Violin
Jan Hammer: Keyboards
Rick Laird: Bass
John McLaughlin: Guitar


Musicians that recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely three years and only released two studio albums and one live recording, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process.

By early 1973, the Mahavishnu Orchestra had firmly established their reputation. Their debut album, The Inner Mounting Flame, had mesmerized musicians and listeners alike and with more than a year of live performing behind them, they had become one of the most exciting bands on the planet. The material from the group's blazing sophomore studio effort, Birds Of Fire was introduced into the live repertoire and they were consciously taking a more improvisational approach to much of The Inner Mounting Flame material.

This February 1973 performance captures the group as they were diversifying the onstage repertoire and extending the improvisational approach. Recorded at Cornell University, this performance is yet another stellar example of the band's high energy and fluid virtuosity. They begin the set much like many 1972 sets, with the opening title track of the second album, Birds Of Fire. This intense, high energy number then segues into McLaughlin's tribute to the master himself, "Miles Beyond," a funky and more relaxed display. Both compositions are nearly twice the length of the studio recordings. As remarkable as this opening sequence is, it is a mere warm-up exercise to the devastating "Noonward Race" which follows. This is the Mahavishnu Orchestra at full throttle and playing at warp speed. To break up the intensity level and give the audience a chance to catch their collective breath, McLaughlin switches to acoustic guitar, Hammer plays acoustic piano and along with Jerry Goodman on violin, perform a lovely acoustic trio rendition of the more classically influenced ballad, "A Lotus on Irish Streams."

Then it is on to perhaps the group's most fully realized composition, "One Word." Another piece from the Birds Of Fire album, this begins with the extended snare drum roll from Cobham before launching into a haunting and frightening sequence that gives way to a relatively straightforward jam, with McLaughlin adding delicious effect-laden guitar over a solid groove, while the band members trade solos. Billy Cobham gets a solo spot in the middle, which begins smoothly and escalates in both speed and dynamics, preparing one for the explosive second half of the piece. The group launches back in, playing in 13/8 time, continually increasing in speed, with McLaughlin, Goodman and Hammer blazing away, often in unison. Within this complicated time signature, one will discover McLaughlin applying a technique where he reduces his guitar strokes by one with each proceeding line, playing six notes on the first line, five on the second and so on. Beneath all this, Laird and Cobham anchor things while contributing to the overall searing effect. This piece is the unquestionable highlight of the show and although it clocks in at 20 minutes here, "One Word" would continue to expand in the coming months, sometimes reaching nearly half an hour in length.

A blazing "Vital Transformation," in 9/8 time closes the set and contains some of the most furious playing that the band would ever achieve. Charismatic, powerful and blazing with energy, this is a tour-de-force blend of all the elements that comprised the band’s music, condensed into seven minutes of pure power. Like all the music performed on this night, it burns with an intensity that will leave a lasting impression on all who dare to listen.

As the Mahavishnu Orchestra ventured into the final year of the original lineup, they began headlining more shows, which provided them more time to experiment on stage. In the months to come, this would be taken to the extreme, with compositions often stretching out to over twenty minutes. However, this performance is a prime example of the middle phase of the original lineup, when they were simultaneously introducing new material to the live repertoire and taking the more familiar first album material further than it had gone before.

http://fp.io/7136b57a/

THE GRATEFUL DEAD - Civic Center, Philadelphia, PA - 04/19/1984

Grateful Dead
1984-04-19
Civic Center, Philadelphia, PA

Set I:
d1t01 - Bertha >
d1t02 - Greatest Story Ever Told
d1t03 - Loser
d1t04 - C C Rider
d1t05 - Bird Song
d1t06 - Hell In A Bucket
d1t07 - Big Railroad Blues
d1t08 - The Music Never Stopped >
d1t09 - Don't Ease Me In

Set II:
d2t01 - Tuning
d2t02 - China Cat Sunflower >
d2t03 - I Know You Rider
d2t04 - Estimated Prophet >
d2t05 - Terrapin Station >
d2t06 - Drums >
d3t01 - Space >
d3t02 - The Wheel >
d3t03 - Wharf Rat >
d3t04 - Sugar Magnolia
Encore:
d3t05 - It's All Over Now, Baby Blue


Recording Info:
SBD > Cassette Master > Reel > Dat (SV3800/48k)

Transfer Info:
DAT (Sony R500) > Sound Devices 744T > Adobe Audition v3.0 >
Samplitude Professional v11.2 > FLAC
(3 Discs Audio / 1 DVD FLAC)

All Transfers & Mastering By Charlie Miller
February 2, 2012

Notes:
-- Set 2 is seamless
-- Thanks to Joe B. Jones for his help with the pitch correction

http://fp.io/d8188885/

THE GRATEFUL DEAD - Marin County Veterans Memorial Auditorium, San Rafael, CA Rex Foundation Benefit - 03/31/1984

Grateful Dead
1984-03-31
Marin County Veterans Memorial Auditorium, San Rafael, CA
Rex Foundation Benefit

Set 1
Disc I:
01-Tuning >
02-Alabama Getaway >
03-Feel Like A Stranger
04-Dupree's Diamond Blues
05-New Minglewood Blues
06-Dire Wolf
07-Hell In A Bucket >
08-Althea >
09-Looks Like Rain >
10-Deal

Set 2
Disc II:
01-Scarlet Begonias >
02-Fire On The Mountain >
03-Women Are Smarter
04-He's Gone >
05-Drums >

Disc III:
01-Blues For Allah >
02-Throwing Stones >
03-Not Fade Away >
Encore:
04-Crowd NFA Chant >
05-It's All Over Now, Baby Blue



Source Info:
SBD > Cassette Master (Sony D5) > Cassette (Sony D5/Maxell XLIIS-90)

All Transfers & Mastering By Charlie Miller 2010

Transfer Info:
Cassette (Nakamichi DR-1) > Sound Devices 744T (24bit/96k) > Adobe Audition v3.0 > Samplitude Professional v10.22 > FLAC/16

Patch Info:
(FOB) Sony ECM-220T > Cassette Master (shnid=98823) supplies:
204-II-He's Gone-» (7:56 - 8:22)
205-II-Drums-» (1:12 - 3:43)

Notes:
Set 2 is seamless
Thanks To:
Joani Walker and Paul Scotton For the TAPES.
Joe B. Jones for the pitch correction.

http://fp.io/799b95df/

IRON MAIDEN - Aaron's Amphitheatre at Lakewood Atlanta GA - 06/23/2012

Iron Maiden - 2012-06-23 - Atlanta
Iron Maiden
2012-06-23
Aaron's Amphitheatre at Lakewood
Atlanta GA


01 Ice Shelf Video Intro
02 Moonchild
03 Can I Play With Madness
04 The Prisoner
05 2 Minutes To Midnight
06 Afraid To Shoot Strangers
07 The Trooper.
08 The Number Of The Beast
09 Phantom Of The Opera
10 Run To The Hills
11 Wasted Years
12 Seventh Son Of A Seventh Son
13 The Clairvoyant
14 Fear Of The Dark
15 Iron Maiden
16 Audience
17 Aces High
18 The Evil That Men Do
19 Running Free
Total Time 107:03

Bonus Audio

Iron Maiden
2012-06-21
Verizon Wireless Amphitheatre
Charlotte NC

20 Ice Shelf Video Intro
21 Moonchild
22 Can I Play With Madness
23 The Prisoner
24 2 Minutes To Midnight (cut)
Total Time 17:33
http://fp.io/76e48b49/

CAMEL - A NOD AND A WINK

http://fp.io/9m23c8e2/

BRAND X - Unorthodox Behaviour (1976)

Brand X - Unorthodox Behaviour (1976)

"BRAND X is, no doubt about it, one the most original and well-known British groups of the seventies jazz/rock fusion scene. Made of musicians that are technicians at their respective instruments and that are as inspired as talented. Absolut amazing from start to finish, this is a masterpiece of jazz-fusion. Again Phil Collins, is beyond super, not to mention the rest. About the music, all track are sounds very tight, well played. Nuclear Burn is simply outstanding and the rest of the tracks are all impressive in terms of dexterity/virtuosity. 5 stars, highly recommended, one of the best jazz albums ever." - Review by b_olariu-ProgArchives


- John Goodsall / guitar
- Percy Jones / bass
- Robin Lumley / keyboards
- Phil Collins / drums

1. Nuclear Burn (6:20)
2. Euthanasia Waltz (5:39)
3. Born Ugly (8:13)
4. Smacks of Euphoric Hysteria (4:26)
5. Unorthadox Behaviour (8:25)
6. Running on Three (4:37)
7. Touch Wood (3:03)

http://fp.io/ma495eme/

BIG BROTHER AND THE HOLDING COMPANY - Be A Brother (1970)

Big Brother and the Holding Company - Be Brother (1970) (@256)
(Review from bbhc.com, allmusic, wikipedia, amazon)

Janis Joplin left Big Brother in December 1968 and Sam Andrew went with her to form the Kozmic Blues Band, while Peter Albin and Dave Getz joined Country Joe and the Fish and the band disintegrated.

In the fall of 1969, the band reformed around the same line-up (except Joplin); Albin, Andrew, Getz and Gurley were joined by Nick Gravenites (vocals), Dave Schallock (guitar) and Kathi McDonald (vocals).

Their 1970 album, "Be A Brother" is a good indicator of what they would have sounded like without Joplin's amazing voice. These ten original compositions include "Home on the Strange", "Mr. Natural", "Funkie Jim", and "I'll Change Your Flat Tire, Merle" dedicated to Merle Haggard. This is a decent blues-based session similar to early Butterfield Blues Band records, which isn't a bad thing at all.

The album is a taste of west coast sixties music. The songs pretty much all have that naive yet honestly hopeful quality that makes certain "hippy" songs still seem fresh after all those years. The musicianship has improved since the likes of cheap thrills, not that it was bad then, but now every note is exquisite, with a whole heap of different approaches to aid the variety of the songs.

Whether Big Brother & the Holding Company would have made any waves at all in the late-'60s San Francisco music scene without Janis Joplin could be argued. Nevertheless with this album, the band prove that they are more than just one great singer.

Line-up :
* Peter Albin / Bass, Guitar
* Sam Andrew / Bass, Guitar, Arranger, Vocals
* David Getz / Piano, Drums
* James Gurley / Bass, Guitar
* Kathi McDonald / Vocals
* Nick Gravenites / Vocals
* David Schallock / Guitar, Vocals
with
* Mike Finnigan / Keyboards, Vocals
* Richard Greene / Violin
* Ira Kamin / Keyboards

Track List :
01. Keep On - 4:21
02. Joseph s Coast - 3:10
03. Home On Strange - 2:15
04. Someday - 2:17
05. Heartache People - 6:36
06. Sunshine Baby - 3:30
07. Mr Natural - 3:31
08. Funkie Jim - 3:47
09. I'll Change Your Flat Tire Merie - 3:14
10. Be A Brother - 3:04

http://fp.io/379eb425/

BILL WYMAN'S BOOTLEG KINGS - JUMP, JIVE & WAIL: THE VERY BEST OF BILL WYMAN'S BOOTLEG KINGS

BILL WYMAN'S BOOTLEG KINGS
"JUMP, JIVE & WAIL: THE VERY BEST OF BILL WYMAN'S BOOTLEG KINGS"
OCT 16, 2006
CASTLE
COMPILATION
----------
CD1
       1  Let the Good Times Roll  (Moore, Theard)  3:30
       2  Stagger Lee  (Traditional)  5:07
       3  Rockin' Pneumonia & The Boogie Woogie Flu'  (Smith, Vincent)  2:04
       4  Georgia on My Mind  (Carmichael)  5:54
       5  Land of a Thousand Dances/Tequila  (Domino, Kenner)  6:47
       6  Good Golly Miss Molly  (Blackwell, Marascalco)  4:04
       7  Tear It Up  (Burlison, Burnette, Burnette)  6:47
       8  I'm Ready  (Durand, King, Robichaux)  4:37
       9  Lead Me to the Water  (Brooker)  5:35
       10  Baby Workout  (Tucker, Wilson)  3:34
       11  Jump, Jive & Wail  (Prima)  4:19
       12  Mystery Train  (Parker, Phillips)  6:43
       13  I'll Be Satisfied  (Carlo, Gordy)  3:06
       14  Hello Little Boy  (Ellington, Kemp)  3:21
       15  Baby, You've Got What It Takes  (Benton, Otis, Stein)  3:49
CD2
       16  Chicken Shack Boogie  (Cullum, Milburn)  5:10
       17  Walking One and Only  (Hicks)  3:27
       18  Love Letters  (Heyman, Young)  3:50
       19  Jitterbug Boogie  (Taylor, Wyman)  3:24
       20  This Little Girl's Gone Rockin'  (Curtis, Darin)  3:40
       21  I Put a Spell on You  (Hawkins)  6:42
       22  Tell You a Secret  (Taylor, Wyman)  12:17
       23  Down in the Bottom  (Dixon)  3:53
       24  Trust in Me  (Ager, Schwartz, Wever)  4:20
       25  Kiddio  (Benton, Otis)  4:05
       26  Midnight Special  (Traditional)  3:23
       27  Lights Out  (David, Rebennack)  2:11
       28  Chantillylace  (Richardson)  4:28
       29  Melody  (Jagger, Richards)  4:44
       30  Frankie & Johnny  (Traditional)  4:24
----------
Gary Brooker - Piano, Vocals
Georgie Fame - Organ, Vocals
Albert Lee - Lead Guitar, Vocals
Martin Taylor - Lead Guitar
Terry Taylor - Rhythm Guitar
Bill Wyman - Bass
Beverley Skeete - Vocals
Janice Hoyte - Vocals
Frank Mead - Horns
Nick Payn - Horns
Henry Spinetti - Drums
----------
Born:
William George Perks on Oct 24, 1936 in Lewisham, London, England
----------
BIOGRAPHY
by Jason Ankeny
As a member of the Rolling Stones for three decades, Bill Wyman established himself among the greatest bassists in rock & roll history; in tandem with drummer Charlie Watts, he belonged to one of the most stalwart rhythm sections in popular music, perfectly complementing the theatrics of Mick Jagger and the gritty guitar leads of Keith Richards. Born William Perks in London on October 24, 1936, Wyman was playing in a group called the Cliftons when he was asked to join the Stones in mid-1962, replacing bassist (and future Pretty Things member) Dick Taylor. Reportedly asked to join the group simply because he had his own amplifier, he was, at age 25, by several years the oldest member of the group; regardless, his chemistry with the other bandmembers was immediate, and with the subsequent arrival of Watts, the classic Rolling Stones lineup was soon cemented.
The rest, of course, is history, and before too long the Stones were widely recognized as the World's Greatest Rock & Roll Band. In 1974, Wyman became the first from their ranks to record a solo LP, the all-star Monkey Grip; two years later, he repeated the trick with Stone Alone. His next major side project was the 1985 cover band Willie and the Poor Boys, which also included Watts, Jimmy Page, and Paul Rodgers. While rarely the recipient of the kind of media attention given his more notorious bandmates, Wyman found himself at the center of scandal in 1989 when he married model Mandy Smith, whom he'd begun dating when she was just 13 years old; they divorced a year later. Finally, in January 1993, he publicly announced his long-rumored departure from the Stones, announcing plans to publish an autobiography, Stone Alone; in 1997 Wyman formed a new band, the Rhythm Kings, which featured guitarists Peter Frampton and Albert Lee as well former Procol Harum keyboardist Gary Brooker. The group debuted with the LP Struttin' Our Stuff, followed in 1999 by Anyway the Wind Blows. Wyman greeted the new century with a string of albums including Groovin' (2000), Double Bill (2001), Just for a Thrill (2005), and numerous live recordings and compilations.
http://fp.io/eda781b4/

BILLY PRESTON - "LIVE EUROPEAN TOUR" 1974

Billy Preston (1946 – 2006) was an American soul musician from Houston, Texas, raised mostly in Los Angeles, California. In addition to his successful, Grammy-winning career as a solo artist, Preston collaborated with some of the greatest names in the music industry, including The Beatles, The Rolling Stones, Nat King Cole, Little Richard, Ray Charles, George Harrison, Elton John, Eric Clapton, Bob Dylan, Sam Cooke, King Curtis, Sammy Davis Jr, Sly Stone, Aretha Franklin, The Jackson 5, Quincy Jones, Richie Sambora, and Red Hot Chili Peppers.

"Live European Tour", released in 1974 is a nine track collection which features Billy Preston's acrobatic, soulful keyboard playing. Recorded on tour with the Rolling Stones (Mick Taylor plays lead guitar), this live catalogue includes performances of "Day Tripper," "Space Race," and hit "Outa-Space."

01. Day Tripper
02. The Bus (Medley)
03. Let It Be
04. Let's Go Get Stoned
05. Billy's Bag
06. Will It Go Round In Circles
07. Outa-Space
08. Higher (Vamp)
09. Get Back
http://fp.io/mf85b5ec/