August 29, 2015
August 28, 2015
BILLY & THE KIDS - Peach Fest, Scranton, PA - 08/15/2015
DISC ONE
SET ONE
tuning
(1:53)
Reuben And Cherise
(10:33)
Scarlet Begonias
(12:30)
He's Gone
(8:53)
Eyes of the World
(15:57)
The Wheel
(11:58)
Bird Song
(10:13)
Cumberland Blues
(7:43)
DISC TWO
SET TWO
tuning
(3:05)
Jam
(1:25)
Feel Like a Stranger
(13:05)
New Minglewood Blues
(9:27)
Cassidy
(16:00)
Estimated Prophet
(14:00)
The Other One
(8:10)
Space
(5:34)
Stella Blue
(8:55)
DISC THREE
Help On The Way
(3:35)
Slipknot!
(5:24)
Sugar Magnolia
(9:33)
Encore Break
(2:01)
ENCORE
Brokedown Palace
(7:06)
JAHMAN BRAHMAN - ''LIVE @ DARK STAR JUBILEE - MAY 24 2015
''LIVE @ DARK STAR JUBILEE 5.24.15''
55:55
1 Sidecar Sundown 04:42
2 Bookmark 07:28
3 The Others 05:01
4 Let It Come Naturally 05:17
5 Life 11:31
6 A Screw Loose 07:23
7 Shouting Quietly 05:43
8 Collared and Bothered 08:47
ABOUT JAHMAN BRAHMAN
By Official Website
Jahman Brahman is a five-member collaboration originating from Columbus, Ohio in 2007. They currently reside in the mountains of Asheville, NC. The name Jahman Brahman emerged from the band’s goal to achieve ultimate musical cohesion: each instrument a facet of a single greater goal to deliver music from the heart of one. The band strives to leave the listener with thoughts of love, life, and the wonders experienced while being part of an extraordinary musical family.
Shred ‘N’ Flow is how Jahman Brahman describes their unique style, meaning dynamic sound with a wide breadth of influence, but a focus on rich and fluid progressions of energy. Each member’s musical intuition and influences are unique. From Classic Rock to Electronica to Punk to Jazz, elements from many genres are found in the band’s music. As a result the band pioneers new sounds as the coalescence of their diverse styles unfolds into powerful jams and creative compositions.
Providing the low end, Nate “Brother” Brown brings his own style of funked-out and super-fresh bass grooves. Layered on top are transcendent key strokes and myriad of effects, which highlight Justin Brown’s full and conscious lyrics. Drummer, Chuck Knott, provides a steady concrete pulse, the heartbeat for Casey Chanatry’s riveting guitar-work.
https://www.filefactory.com/file/3xyfwqunuh17/JAHMAN%20BRAHMAN%20LIVE%20@%20DARK%20STAR%20JUBILEE%205.24.15%20%282015%29.rar
JAHMAN BRAHMAN - LIVE AT FAMILY ROOTS
''LIVE AT FAMILY ROOTS, DISC ONE''
JULY 17 2015
94:20
DISC ONE (45:34)
1 Heart On 05:12
2 A Screw Loose 07:25
3 Space Cowboyz 08:37
4 Sidecar Sundown 06:33
5 Bookmark 08:03
6 Alibi 09:43
DISC TWO (48:46)
1 Oddiction 05:26
2 WOW 06:15
3 Odd Eye See 06:50
4 Collared and Bothered 08:12
5 Let It Come Naturally 09:09
6 Appetite 12:52
ABOUT JAHMAN BRAHMAN
By Official Website
Jahman Brahman is a five-member collaboration originating from Columbus, Ohio in 2007. They currently reside in the mountains of Asheville, NC. The name Jahman Brahman emerged from the band’s goal to achieve ultimate musical cohesion: each instrument a facet of a single greater goal to deliver music from the heart of one. The band strives to leave the listener with thoughts of love, life, and the wonders experienced while being part of an extraordinary musical family.
Shred ‘N’ Flow is how Jahman Brahman describes their unique style, meaning dynamic sound with a wide breadth of influence, but a focus on rich and fluid progressions of energy. Each member’s musical intuition and influences are unique. From Classic Rock to Electronica to Punk to Jazz, elements from many genres are found in the band’s music. As a result the band pioneers new sounds as the coalescence of their diverse styles unfolds into powerful jams and creative compositions.
Providing the low end, Nate “Brother” Brown brings his own style of funked-out and super-fresh bass grooves. Layered on top are transcendent key strokes and myriad of effects, which highlight Justin Brown’s full and conscious lyrics. Drummer, Chuck Knott, provides a steady concrete pulse, the heartbeat for Casey Chanatry’s riveting guitar-work.
https://www.filefactory.com/file/5htafcknp9eh/JAHMAN%20BRAHMAN%20LIVE%20AT%20FAMILY%20ROOTS%2C%20%282015%29.rar
JAHMAN BRAHMAN - LIVE AND WELL, FLAWS AND ALL
''LIVE AND WELL, FLAWS AND ALL''
JUNE 27 2014
79:13
1 Habitual Biped 03:57
2 Nature Self 03:52
3 Sidecar Sundown 06:07
4 OddEyeSee 06:53
5 Scope Scale 09:36
6 Without Words 06:39
7 NewFields 10:15
8 Appétit 10:56
9 Cannonball 13:53
10 Alibi 07:02
ABOUT JAHMAN BRAHMAN
By Official Website
Jahman Brahman is a five-member collaboration originating from Columbus, Ohio in 2007. They currently reside in the mountains of Asheville, NC. The name Jahman Brahman emerged from the band’s goal to achieve ultimate musical cohesion: each instrument a facet of a single greater goal to deliver music from the heart of one. The band strives to leave the listener with thoughts of love, life, and the wonders experienced while being part of an extraordinary musical family.
Shred ‘N’ Flow is how Jahman Brahman describes their unique style, meaning dynamic sound with a wide breadth of influence, but a focus on rich and fluid progressions of energy. Each member’s musical intuition and influences are unique. From Classic Rock to Electronica to Punk to Jazz, elements from many genres are found in the band’s music. As a result the band pioneers new sounds as the coalescence of their diverse styles unfolds into powerful jams and creative compositions.
Providing the low end, Nate “Brother” Brown brings his own style of funked-out and super-fresh bass grooves. Layered on top are transcendent key strokes and myriad of effects, which highlight Justin Brown’s full and conscious lyrics. Drummer, Chuck Knott, provides a steady concrete pulse, the heartbeat for Casey Chanatry’s riveting guitar-work.
https://www.filefactory.com/file/70lij66i7qdp/JAHMAN%20BRAHMAN%20-%20LIVE%20AND%20WELL%2C%20FLAWS%20AND%20ALL%20%282014%29.rar
August 26, 2015
MY MORNING JACKET - Red Rocks Ampitheater - 08/14/2015
My Morning Jacket - 2015.08.14 Red Rocks Ampitheater
1. Wordless Chorus
2. Compound Fracture
3. Off The Record
4. Circuital
5. Believe (Nobody Knows)
6. Bermuda Highway
7. I'm Amazed
8. Evil Urges
9. Dondante
10. (end of) Lay Low
11. At Dawn
12. In Its Infancy (The Waterfall)
13. Gideon
14. Tropics (Erase Traces)
15. I Think I'm Going to Hell
16. Spring (Among The Living)
17. Anytime
18. Steam Engine
19. Only Memories Remain
20. Phone Went West
21. Mahgeetah
22. Wonderful (The Way I Feel) *
23. Victory Dance
24. Touch Me I'm Going To Scream Pt.1
25. Touch Me I'm Going To Scream Pt.2
26. Highly Suspicious
27. Run Thru
28. One Big Holiday
* w/ Brandi Carlile
http://www.filefactory.com/file/u7s9vg353f9/My%20Morning%20Jacket%20-%20Red%20Rocks%20Amphitheater%2C%20Morrison%2C%20CO%20%28August%2014%2C%202015%29.rar
THE ALLMAN BROTHERS BAND - Mann Music Center Philadelphia, PA - 08/22/1992
1992-08-22
Mann Music Center
Philadelphia, PA
Soundboard Recording
320 kbps
CD 1:
01. introduction
02. Don't Want You No More >
03. It's Not My Cross To Bear
04. Statesboro Blues
05. Blue Sky
06. Nobody Knows
07. Don't Keep Me Wonderin'
08. Black Hearted Woman
09. Seven Turns (acoustic)
10. Midnight Rider (acoustic)
11. Southbound (acoustic)
12. Melissa (acoustic)
13. Goin' Down The Road Feelin' Bad
CD 2:
01. introduction
02. Goin' Down The Road Feelin' Bad (acoustic)
03. Goin' Down The Road Feelin' Bad (part 2)
04. Guitar intro >
05. Hoochie Coochie Man
06. Get On With Your Life
07. Jessica
08. Revival
09. band introduction
10. One Way Out
11. Dreams
12. Whipping Post
JAHMAN BRAHMAN - ...AND THE STORMS THAT SWARM
''...AND THE STORMS THAT SWARM''
JUNE 2 2012
26:15
1 The Dawning 05:34
2 The Others 04:26
3 Black as Day 04:16
4 Room Service 04:00
5 Boss 07:58
Justin Brown/Rhythm Guitar, Vocals
Nathan Brown/Bass Guitar, Vocals
Casey Chanatry/Lead Guitar, Vocals
Chuck Knott/Drums, Vocals, Etc.
<a href="http://jahmanbrahman.com/band-members/" target="_blank">MEMBERS</a>
**********
ABOUT THE ALBUM
By Brian Robbins, www.jambands.com
Years from now, Jahman Brahman fans will refer to … And The Storms That Swarm as the “quartet EP.” Recorded during the period when keyboardist Justin Loffer was on sabbatical (he’s now back), the five tracks on Swarm are the sound of a band hunkering down around the fire of their musical brotherhood and making it work. They might have been down a Brah for these sessions, but the vibe that lit up their debut album NewFields is still bright and growing.
Other than Loffer’s absence, how does Jahman Brahman’s sophomore recorded effort compare to their first outing? Well, more of the same, for one thing – which is a good thing … and proof that the lads knew who they were right from the beginning, rather than looking for a hook to hang their band on. Each track on … And The Storms That Swarm has a solid song at its core and the seamless jams that whirl around each of them pull off that same style of sonic shapeshifting that made NewFields so tasty.
“The Dawning” launches things off with a blend of sea breezy guitars (courtesy of Casey Chanatry and Justin Brown), take-yer-time surfbum funk rhythms (that would be drummer Rowdy Keelor and Justin’s brother Nathan Brown on bass), and vocals awash in waves of cool harmonies. At about the 2:20 mark, the tide begins to shift: Nathan Brown lays down some big, beautiful bass bubbles for a bit; Chanatry fires off a call-to-arms over some cymbal sizzles; and the band begins to air-dry themselves with a couple of minutes of swoops, dips, somersaults, curlicues, and glides. Just shy of the 5-minute mark, they hit some storm clouds on a Martian horizon, but Keelor helps them pound their way through to a safe landing. The change-ups never sound forced: after the surprises of an initial listen, they all feel like well-worn and comfy paths.
Other highlights include “The Others”: initial clean “Wharf Rat”-style guitar strums give way to a slow, tie-dyed waltz flavored with passages of guitar that combine violin sweetness with pedal steel-style heartache. Wisps of backing vocals drift through the verses; no studio trickery, just passages offered up for further consideration. The tune climbs on the shoulders of a stately guitar solo by Chanarty before returning to the quiet clearing that it started from.
You could easily imagine “Room Service” playing as the credits roll at the end of a movie where the hero doesn’t quite get the girl (maybe next time). The album’s closer, however, is “Boss”: a study of rhythm fury and guitar squall that goes as far out there as anything Jahman Brahman has captured in the studio so far.
… And The Storms That Swarm is officially an EP, but whatever it lacks in minutes it makes up for in depth. There are double albums out there that fail to cover this much territory.
**********
ABOUT JAHMAN BRAHMAN
By Official Website
Jahman Brahman is a five-member collaboration originating from Columbus, Ohio in 2007. They currently reside in the mountains of Asheville, NC. The name Jahman Brahman emerged from the band’s goal to achieve ultimate musical cohesion: each instrument a facet of a single greater goal to deliver music from the heart of one. The band strives to leave the listener with thoughts of love, life, and the wonders experienced while being part of an extraordinary musical family.
Shred ‘N’ Flow is how Jahman Brahman describes their unique style, meaning dynamic sound with a wide breadth of influence, but a focus on rich and fluid progressions of energy. Each member’s musical intuition and influences are unique. From Classic Rock to Electronica to Punk to Jazz, elements from many genres are found in the band’s music. As a result the band pioneers new sounds as the coalescence of their diverse styles unfolds into powerful jams and creative compositions.
Providing the low end, Nate “Brother” Brown brings his own style of funked-out and super-fresh bass grooves. Layered on top are transcendent key strokes and myriad of effects, which highlight Justin Brown’s full and conscious lyrics. Drummer, Chuck Knott, provides a steady concrete pulse, the heartbeat for Casey Chanatry’s riveting guitar-work.
http://www.filefactory.com/file/4onwr2wwakcd/JBas.zip
STS9 - SUMMER MELTDOWN :: DARRINGTON, WA - 08/08/2015
STS9
Summer Meltdown - Darrington, WA - SET: Bigs > One Two Three, Moon Socket, Wika Chikana, Four Year Puma, Vapors, F. Word, World Go Round, Awesome feat Cool Kids (STS9 Remix) > The Unquestionable Supremacy of Nature
TRACKS
1.
Bigs (5:13)
2.
One, Two, Three (5:55)
3.
Moon Socket (12:28)
4.
Wika Chikana (11:43)
5.
Four Year Puma (9:58)
6.
Vapors (7:55)
7.
F. Word (6:57)
8.
World Go Round (9:48)
9.
Awesome feat Cool Kids (STS9 Remix) (2:11)
10.
The Unquestionable Supremacy of Nature (12:48)
THE DOORS - The Civic Auditorium, Bakersfield, California - 08/21/1970
1970-08-21
The Civic Auditorium,
Bakersfield, California
Stereo Stage Recording
224 kbps
01. Roadhouse Blues
02. Alabama Song > Back Door Man> Old Stone Road > Five To One
03. Universal Mind
04. When The Music’s Over
05. Tuning
06. Mystery Train
07. Ship Of Fools
08. Love Me Two Times > Baby Please Don’t Go > St. James Infirmary (omitted - officially released)
Bonus Track
1970-06-05
Seattle, WA
09. Break On Through
The first indication that a fine recording of The Doors live at Bakersfield emerged in 2000 with the limited release of the CD, The Bright Midnight Sampler: 14 Songs, 8 Concerts. Tucked away as the second to final track was this medley: Love Me Two Times/ Baby Please Don’t Go/ St James Infirmary. It was identified as a “stage recording”.
We’re not sure who first mentioned this but it is believed that “Vince Treanor, The Doors’ tour manager, recorded the show for the band on a Sony reel-to-reel using two microphones placed on the stage. While not a multitrack high fidelity recording, it is clean, quiet, and clear, allowing the unbridled energy of the performances to shine through”.
On the net, fan bumina added, “The Doors never used a soundboard while Jim was with them. They tuned on stage and adjusted levels. Vince (Treanor) would use a reel-to-reel recorder and just raw fed some well-placed microphones. To my knowledge, all the Bright Midnight releases are from this kind of source which is really evident in the Boston shows released a couple of years back. Jim’s mic goes out during Alabama Song and you still hear him faintly over the music… pretty impressive stuff.”
This concert comes a week before the Doors’ performance at the Isle Of Wight. Whoever did the cover art and titled this “Jimbo’s Blues” must be referencing the Miami incident as Jim’s mugshots are on display on the cover art. That sense of despondency is clear in the ragged singing. The recording industry was rewarding hard rock and heavy metal for bringing in large crowds but The Doors’ revolution was not to be encouraged.
BLACK CREEK BAND - LIVE FROM GAINESVILLE - APRIL 25, 1995
''LIVE FROM GAINESVILLE''
RECORDED LIVE ON APRIL 25, 1995 AT THE ACROSSTOWN REPERTOIRE THEATRE, GAINESVILLE, FL
1995
79:26
1 Confused Blues 06:20
2 Movin' On 04:33
3 Shakerag Hollow 04:43
4 Black Creek Jam 10:24
5 Peachy Clean 03:49
6 Southern Spirits 05:29
7 Done Enough 07:53
8 Old Man 04:56
9 Tennessee Mountain Angel 07:12
10 Peachy Clean 03:02
11 Black Creek Jam 07:22
12 Southride 06:24
13 Shakerag Hollow 07:14
All Songs Written And Arranged By Black Creek Band; All Lyrics Written By Richard Proctor, Except Tracks 2, 7, 8
Cameron Williams - guitar, vocals
Ryan Newell - lead & slide guitar, backing vocals
Jason McDaniel - bass guitar
Richard Proctor - drums, percussion
Randy Goodgame - piano, Hammond B-3 organ, backing vocals
ABOUT THE BAND
by southern-records.de
No band sounds closer to the allman brothers band than the black creek band.
Excellent southern rock from Florida/USA. The only one album of the band - recorded live in 1995. After the end of band Cameron Williams and Richard Proctor formed the band tishamingo and Ryan Newell joined the band sister hazel. http://www.filefactory.com/file/4sodandvjmnb/BLACK%20CREEK%20BAND%20LIVE%20FROM%20GAINESVILLE%20%281995%29.rar
August 25, 2015
BOB WEIR and RATDOG - London Astoria London, UK - 08/22/2003
08-22-2003
London Astoria
London, UK
Soundboard Recording
320 kbps
1st Set
01. Jam
02. The Music Never Stopped
03. Maggie's Farm
04. Minglewood Blues
05. Mission in the Rain
06. Take Me to the River
07. Loser
08. Lucky Enough
09. Playin in the Band
2nd Set
01. K.C. Moan
02. Me and My Uncle
03. When I Paint My Masterpiece
04. Odessa
05. Hell in a Bucket
06. The Wheel
07. Jam*
08. Standing on the Moon
09. Playin in the Band (reprise)
10. Sugar Magnolia
Encore:
01. Touch of Grey
*includes "Tide is High" jam and "Other One" teases followed by a jazzy jam without Bob and Mark
http://www.filefactory.com/file/135grx42e0b5/%20Rtdg%20%202003-08-22%20%20%28SBD.rar
August 24, 2015
JIMI HENDRIX - Royal Albert Hall, London - 02/18/1969
101. Introduction
102. Tax Free
103. Fire
104. Hear My Train A Comin'
105. Foxy Lady
106. Red House
201. Sunshine Of Your Love
202. Spanish Castle Magic / Message To Love
203. Star Spangled Banner
204. Purple Haze
205. Final Speak
206. Voodoo Chile (Slight Return)
Jimi Hendrix – lead vocals, guitar
Mitch Mitchell – drums
Noel Redding – bass guitar, backing vocals
On February 18, 1969, the Jimi Hendrix Experience played the first of two shows at London’s Royal Albert Hall. The band had played the venue previously, on November 14, 1967, on a bill with Pink Floyd, the Nice, the Move and other sonically adventurous bands of the time. This time, however, the Experience would be the headliner, playing first on the 18th and again on the 24th to a sold-out house.
Jimi’s great talent had grown in the 15 months since the 1967 show. Regular touring had honed his free-form playing, while his extensive studio work had seen him develop into a brilliant composer and visionary producer. Unfortunately, escalating tensions between Hendrix and his band—bassist Noel Redding and drummer Mitch Mitchell—had begun to take a toll on the group’s performances. A European tour from January 8 to 23 had been a mess. The band performed lethargically, and Hendrix was uneasy with the audiences’ requests for them to play their recent hit, “All Along the Watchtower.”
He was also unhappy that his manager, Mike Jeffrey, had sent a film crew along to record the event for a television special. Jeffrey had never asked for Jimi’s creative input on the project, and Hendrix was concerned about production matters. He was especially adamant that he be allowed to choose his own engineer for the upcoming Royal Albert Hall performance, going so far as to send a memo to his manager on the subject.
In fact, Jeffrey did have an ulterior motive. Beyond the television special, he was hoping the Europe shows would provide enough recorded material for a live album, which he hoped to release that June. Once the live album was out of the way, Jeffrey planned to get another studio album out of the Experience in time for the lucrative Christmas season.
The live album was paramount to Jeffrey’s plans, but the uneven performances on the European tour had made him concerned that he would have nothing satisfactory to release. Originally, the Royal Albert Hall performance was a one-night stand, on February 18. As a safeguard, Jeffrey booked the band for the second performance, on February 24.
Following the European tour, Jimi flew to New York City to oversee the construction of his studio, Electric Lady. While the trip gave him a reprieve from his problems with the Experience, the time away only served to exacerbate the tensions between them. There were further problems awaiting him when he returned to London. On February 17, while rehearsing at the Albert Hall, Hendrix became aggravated by the constant feedback created between his guitar and the PA system. The mobile recording unit hired for the event was also experiencing electronic interference that would make the recordings unusable.
Hendrix placed a call to Chas Chandler, his former manager, and asked him to come for assistance. “It was a shambles,” Chandler told John McDermott in his book, Hendrix: Setting the Record Straight. “I ended up running both shows for him, trying to get everything right. I hadn’t been ‘hired,’ I was there to help out a friend.”
Although the recording equipment problems with were worked out, no one could guarantee that Jimi’s guitar wouldn’t suffer from feedback. To minimize the possibility, two separate sound systems were used: one for the venue and another for the mobile recording unit. This is why Jimi can be seen singing into three microphones in footage from the concerts.
Despite the preparations, the February 18 show was a disaster. Jimi played brilliantly, but Redding and Mitchell were lifeless. Chandler was irate with them. “It truly was one of the worst shows I had ever seen,” he told McDermott. “Up until that point I had been a supportive of the group, because I thought that they made for a good unit. Now I felt it was time they got thrown out.”
Under the circumstances, the show gave Jeffrey little that he could use for a live album. Rehearsals were scheduled for the days before the February 24 show to try to salvage what little opportunity remained. As it turned out, the second show was much better. Although the band lacked the fire and energy they’d displayed at earlier shows like 1967's Monterey Pop Festival, they played brilliantly. Hendrix threw out his usual set list and instead performed three of his own blues songs: “Hear My Train a Comin’,” “Red House” and “Bleeding Heart.” The group turned in solid versions of “Little Wing,” Voodoo Chile” and “Foxey Lady,” as well.
And while Hendrix didn’t believe in giving encores, he gave one to the Albert Hall crowd, bringing out Traffic’s Dave Mason and Chris Wood and percussionist Rocki Dzidzornu to perform a stirring version of “Room Full of Mirrors.”
Oddly, for all the fireworks happening onstage, the audience was exceptionally polite. They remained seated and quiet, clapping politely, as if at the symphony. Perhaps it was down to the house lights: the film crew had asked to have them left on to provide enough light for the film stock. Under the circumstances, the audience might have felt more self-conscious than usual.
Not surprisingly, the shows were the last European performances by the Jimi Hendrix Experience. On March 30, the band began a lengthy U.S. tour that would see Hendrix make his celebrated stand at Woodstock, on August 18, with a new band, Gypsy, Sun and Rainbows. The Experience had already imploded two months before, on June 29 at the Denver Pop Festival.
Performing that night in Denver, Jimi didn’t hold back the news. “This is the last gig we’ll be playing together,” he said. The original Jimi Hendrix Experience was finished. http://www.filefactory.com/file/7hy8aeyq22h/jimi1969-02-18m.rar
JAHMAN BRAHMAN - NEWFIELDS
''NEWFIELDS''
OCTOBER 23 2010
67:33
1 Life (Give and Take) 05:38
2 Working Design 06:15
3 Appétit 09:09
4 Habitual Biped (Feat. Marianne Dobritch) 05:33
5 A Screw Loose (Or So...) 07:04
6 Potion For E-Motion 03:34
7 Mountain Top 08:31
8 Orange Station Loop 05:11
9 Wide Open Doors 07:21
10 3PoD 04:59
11 It Takes Time (Feat. Marianne Dobritch) 04:22
Justin Brown/Rhythm Guitar, Vocals
Nathan Brown/Bass Guitar, Vocals
Casey Chanatry/Lead Guitar, Vocals
Chuck Knott/Drums, Vocals, Etc.
ABOUT THE ALBUM
By Brian Robins, www.jambands.com
Describing Jahman Brahman’s sound as “Phishy” is the coward’s way out of talking about the band. Not that it wouldn’t be accurate: many of the 11 cuts on Jahman Brahman’s debut album NewFields have as many happy/quirky twists and turns as “You Enjoy Myself” on a good night. (Speaking of “YEM”, do you hear little threads of the main verse riff woven through Jahman Brahman’s “Working Design”? Or maybe it’s “Wolfman’s Brother” … except when the funk gives way to the cool reggae drift and – oh, never mind. It’s all good.)
The point is, likening the JB boys to Phish would be like comparing classic Zen Tricksters stuff to the Dead. Yep – you can hear it, but at the same time, there’s somethin’ happenin’ here …
The five-member band isn’t scared to take chances, but the results are offered up with the sort of maturity not usually found on a debut album. There’s a fearlessness to Jahman Brahman’s songwriting and arrangements that never feels at all like “Hey – look at us being clever over here!” at all. NewFields sounds like a band that’s aware of their power and sound as a whole and works hard to let the vibe thrive without letting it get away from them.
Take the album-opening “Life”, for example: by the time you’re a couple minutes into the thing, the rhythm has shifted gears four or five times, easing from cool head-bop-down-the-sidewalk to a happy, upbeat skank which begins to pick up speed until it takes off into a full-throttle variation of the opening moments before spiraling around into a flurry of funk riffs that give way to a cool guitar-and-piano jam – all seamless and natural in a manner that’s well-executed without feeling like the soul has been thought right out of it.
Or consider “Orange Station Loop”: a “Cumberland Blues”-style charge out of the hole leads the way into a magic place where Johnny Cash fronts the Mothers of Invention. The beat morphs from workboot stomp to blues-rock grind with a jam that develops into what might’ve happened if Alvin Lee and Ten Years After had stretched “I’d Love To Change The World” a little further out.
Drummer Rowdy Keelor and bassist Nathan Brown prove themselves to be fearless rhythm space explorers, leading the way through the rhythmical twists and turns of the tunes on NewFields like a psychedelic Lewis & Clark. (Give those lads a couple of tie-dyed coonskin caps.) Keyboardist Joshua Loffer is the bridge between the Keelor/Brown machine and the frontline guitars, providing everything from moments of piano grandeur to swirls of organ that’s simply wild-ass sonic color. Sure, you can hear bits of Trey in lead picker Casey Chanatry’s playing at times – but there are also Santana-ish moments, bursts of Steve Howe, and a melodic sense that recalls Dickey Betts at the height of his powers. Justin Brown (glad you’re paying attention: yes, he’s Nathan’s brother) not only does some masterful six-string weaving with Chanatry, but handles the bulk of the vocals in a style that embodies the Jahman Brahman upbeat vibe. (This is what the voice of a Jahman Brahman is supposed to sound like.)
Good vibes, smart, imaginative songwriting, and monster playing – all laid down in an ego-free fly zone. And this is Jahman Brahman’s debut album?
Well, all right.
**********
ABOUT JAHMAN BRAHMAN
By Official Website
Jahman Brahman is a five-member collaboration originating from Columbus, Ohio in 2007. They currently reside in the mountains of Asheville, NC. The name Jahman Brahman emerged from the band’s goal to achieve ultimate musical cohesion: each instrument a facet of a single greater goal to deliver music from the heart of one. The band strives to leave the listener with thoughts of love, life, and the wonders experienced while being part of an extraordinary musical family.
Shred ‘N’ Flow is how Jahman Brahman describes their unique style, meaning dynamic sound with a wide breadth of influence, but a focus on rich and fluid progressions of energy. Each member’s musical intuition and influences are unique. From Classic Rock to Electronica to Punk to Jazz, elements from many genres are found in the band’s music. As a result the band pioneers new sounds as the coalescence of their diverse styles unfolds into powerful jams and creative compositions.
Providing the low end, Nate “Brother” Brown brings his own style of funked-out and super-fresh bass grooves. Layered on top are transcendent key strokes and myriad of effects, which highlight Justin Brown’s full and conscious lyrics. Drummer, Chuck Knott, provides a steady concrete pulse, the heartbeat for Casey Chanatry’s riveting guitar-work.
http://www.filefactory.com/file/2faweixiuyqj/10023JBn.zip
PHISH - MagnaBall - 08/23/2015
PHISH 8-23-2015
Set 1: Punch You In the Eye > Buffalo Bill, A Song I Heard the Ocean Sing > Limb By Limb, Waiting All Night, Theme From the Bottom > Maze, The Line, Stash, Reba, I Didn't Know[1], Character Zero
Set 2: Martian Monster > Down with Disease -> Scents and Subtle Sounds -> What's the Use? > Dirt> Mike's Song > Fuego > Twist -> Weekapaug Groove -> Martian Monster
Encore: You Enjoy Myself
Notes: Mike teased The Tears of a Clown before Punch You In the Eye. Buffalo Bill was played for the first time since June 22, 2012 (134 shows). Trey thanked the fans, crew, production staff and local officials during I Didn't Know while Fishman "sucked love" on his vacuum. Down with Disease was unfinished. Immigrant Song was teased in both Twist and Weekapaug Groove. Mainstreet was teased in Weekapaug Groove, which was unfinished. Mike teased Brick House in You Enjoy Myself, which culminated in a fireworks display and a quote from The Very Long Fuse to celebrate the end of the festival.
http://www.filefactory.com/file/209nzcwv8t4v/ph2015-08-23%20Watkins%20Glen%2C%20NY.zip
August 23, 2015
PHISH - MagnaBall - 08/22/2015
Set 1: Divided Sky, The Moma Dance > Mound, Army of One, Scabbard > Sample in a Jar, Tube,Halfway to the Moon, Camel Walk, How Many People Are You?, When the Circus Comes, Undermind >Run Like an Antelope
Set 2: Wolfman's Brother, Halley's Comet > 46 Days -> Backwards Down the Number Line > Tweezer >Prince Caspian
Set 3: Meatstick, Blaze On -> Possum > Cities > Light > 555, Wading in the Velvet Sea > Walls of the Cave
Encore: Boogie On Reggae Woman > Tweezer Reprise
Encore 2: Drive-In Jam
Notes: Tweezer was teased in Prince Caspian. Cities contained a Mind Left Body Jam tease. The Jam in the Fourth Set started with the band playing behind the "Drive In Movie" screen that had been created for the festival. Slowly, their silhouettes became visible and the ambient jam veered towards a full on band jam while the screen simultaneously http://www.filefactory.com/file/1kxtitmq5vwz/ph2015-08-22_Watkins%20Glen%2C%20NY%20%282015%29%20%5BV0%5D.zip
PHISH - FTA 17 August 20, 2015 Magnaball
FTA 17
August 20, 2015
Magnaball
All Things Reconsidered
(8/2/1993 Ritz Theatre, Tampa, FL)
Tweezer -> Big Ball Jam -> Tweezer
(11/22/1992 Bailey Hall, Cornell Univ. Ithaca, NY)
Melt the Gun -> Macaroni and Cheese Jam
(9/27/85 Slade Hall, UVM, Burlington, VT)
Mike's Song ->Simple
(11/16/1994 Hill Auditorium, Univ. of Michigan, Ann Arbor, MI)
McGrupp and the Watchful Hosemasters
(6/25/97 L'Aeronef, Lille, France)
Split Open & Melt
(8/26/93 Arlene Schnitzer Concert Hall, Portland, OR)
If I Could
(6/28/00 PNB Bank Arts Center, Holmdel, NJ)
http://www.filefactory.com/file/5fg4f7fo6fzt/ph150820_FTA.zip
VARIOUS ARTISTS – Stairways To The Songbook Of Led Zeppelin – Homage To The Legend
Tracks:
01.STAIRWAY TO HEAVEN 8:22
Dweezil Zappa – Lead Guitar
Michael White – Vocals
Billy Sherwood – Bass, Guitar
Vinnie Colaiuta (ex-Frank Zappa Band) – Drums
02.BABE I’M GONNA LEAVE YOU 6:34
Joe Lynn Turner (Rainbow) – Vocals
Jeff “Skunk” Baxter (The Doobie Brothers) – Guitars
Tony Franklin (The Firm) – Bass
Doane Perry (Jethro Tull) – Drums
Bob Kulick -12 String Electric Guitar
03.DAZED AND CONFUSED 6:35
Jack Russell (Great White) – Vocals
Bob Kulick – Guitars
Bruce Kulick (ex-KISS) – Guitars
Tony Franklin (The Firm) – Bass
Doane Perry (Jethro Tull) – Drums
04.HEARTBREAKER 4:38
Steve Morse (ex-Deep Purple) – Lead Guitar
Michael White – Vocals
Billy Sherwood – Bass, Guitar
Alan White (Yes) – Drums
05.YOU SHOOK ME 5:54
Artimus Pyle (ex-Lynyrd Skynyrd) – Drums
Jimmy Hall (Wet Willie) – Vocals, Harmonica
Abe White – Bass
Kurt Menk – Guitar, Slide
Ryan Bullington – Open Tuned Slide
Jim “Turbo” Kirby – Organ, Piano
06.WHOLE LOTTA LOVE 4:48
Pat Travers – Guitar, Vocals
Kirk McKim – Guitar, Vocals
Randy Lane – drums
Frank Rizzo McDaniel – Bass
07.HOUSES OF THE HOLY 4:37
Pat Travers – Guitar, Vocals
Kirk McKim – Guitar
Frank McDaniel – Bass
Randy Lane – drums
08.RAMBLE ON 4:39
Rick Derringer – Vocals, Guitar
Billy Sherwood – Bass
Alan White (Yes) – Drums
http://www.filefactory.com/file/1dk5t49gngnh/
LITTLE FEAT - Live Ultrasonic Studios Hempstead, NY. September 19, 1974
Hempstead, NY.
September 19, 1974
WLIR FM Source @ Flac
Source FM rebroadcast on WLIR
Lineage reel > reel > m-audio transit > cool edit > cd wave editor
Thanks to archive.org and the unknown taper!
This is ridiculously great! This recording presents them at their peak. Little Feat has one of the greatest rhythm sections ever. The sound quality is great and the performance is outstanding! Check out The Fan, Fat Man In The Bath Tub or Spanish Moon at least.
Why Little Feat isn't in the Rock and Roll Hall Of Fame is a mystery to me. They induct people like John Mellencamp, The Ventures and The Dave Clark Five this year, and still no Little Feat? Where is the love?
~SkyDog
I thought we had put this up long ago but I was wrong again as usual!
Set List:
Rock n' Roll Doctor
Two Trains
The Fan
On Your Way Down
Spanish Moon >
Skin It Back >
Fat Man In The Bath Tub
Oh Atlanta
Willin'
Cold Cold Cold >
Dixie Chicken >
Tripe Face Boogie
http://www.filefactory.com/file/4b33jj92ud5n/lf1974-09-19.rar
SPOCK'S BEARD - ''THE OBLIVION PARTICLE''
The Oblivion Particle finds the band answering the needs of their creations by utilizing the considerable versatility of each member. In addition to Ted Leonard’s soaring vocals and Dave Meros’ distinctive bass, Alan Morse adds autoharp, banjolele, electric sitar and mandolin to his array of instruments, drummer Jimmy Keegan takes over lead vocals on “Bennett Built a Time Machine” and Ryo expands his arsenal of keyboard sounds throughout the album. In addition, virtuoso Kansas violinist David Ragsdale lends his touch to the album’s majestic closer, “Disappear.”
SPOCK'S BEARD
''THE OBLIVION PARTICLE''
AUGUST 21 2015
65:46
1 Tides of Time 07:44
2 Minion 06:52
3 Hell's Not Enough 06:23
4 Bennett Built a Time Machine 06:51
5 Get out While You Can 04:54
6 A Better Way to Fly 08:55
7 The Center Line 07:05
8 To Be Free Again 10:23
9 Disappear 06:35
Ted Leonard - lead vocals, guitars
Alan Morse - electric guitar, acoustic guitar, pedal steel guitar, lap steel guitar, mandolin, autoharp, backing vocals
Ryo Okumoto - organ, mellotron, piano, synths, clavinet, vocoder
Dave Meros - bass, backing vocals
Jimmy Keegan - drums/percussion, timpani, backing vocals, lead vocals on 4
David Ragsdale - violin on 9
ABOUT THE ALBUM
Spock's Beard is a progressive rock band formed in 1993 in Los Angeles who play a brand of progressive rock which draws on influences ranging from classical, pop, rock, jazz/fusion and R&B. Spock’s Beard return with the same lineup for the band’s twelfth album (including vocalist Ted Leonard, also of Transatlantic) for an album that captures the band’s core essence while stretching out into some exciting new avenues. With The Oblivion Particle, Spock’s Beard prove themselves an amazingly compelling band some 20 years after their formation, and one that continues to be a leader in the prog rock field.
BIOGRAPHY/AMG
by David White
Spock's Beard began in 1992 when brothers Neal (lead vocals) and Al Morse (guitar) teamed up with drummer Nick D'Virgilio. After self-financing their first album, bassist Dave Meros joined, and The Light was recorded in 1994. Consisting of four lengthy songs, this debut album was well received by progressive rock fans, but received little public acclaim. Ryo Okumoto joined in 1995 to play keyboards. In 1996, The Official Bootleg was released, a live performance containing the entire first album plus one song from the upcoming second album. 1996 also saw the band sign with various record labels around the world, in addition to releasing Beware of Darkness, which contains the same style of music, but in shorter pieces (all ten minutes or less, except for the 15-plus-minute last track). Spock's Beard's third studio album, The Kindness of Strangers, was released at the end of 1997; Day for Night followed in 1999 and V was issued a year later. Deciding they had the experience and chops to attempt a concept album, they spent the next few years putting together Snow. The double album revolved around the title character, an albino teenager that could possibly be the messiah. Taking a much more detailed approach to the material, the band had a difficult two years writing the album and was rewarded with a strong promotional push from Metal Blade Records. Following Snow, Neal Morse became a born again Christian and left the band. The remaining members quickly regrouped, however, with D'Virgilio assuming the lead vocal duties and managed to release Feeling Euphoria the following year. 2004 saw the rerelease of their first three albums and in 2005 they delivered both a new studio offering (Ocatane) and Live in 2005: Gluttons for Punishment.
http://www.filefactory.com/file/6mpiyzyoj0ep/Spock%27s%20Beard%20-%20The%20Oblivion%20Particle%20%282015%29.rar
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