ELO – “Secret Message”. (. unreleased version) (upgrade)

 In December 1982, Jeff Lynne, "alma mater" of the "Electric Light Orchestra", E.L.O; He moved to the Dutch studios of Wisselord, inaugurated in 1978, which by then were reputed to have the latest advances in technology, for the recording of new themes. So between the months of December and January 1983, recorded a series of songs for his next album: "Secret Messages" ,title put with all the intention, since Jeff Lynne was more than tired of hearing that in his works used to intersperse hidden messages, some of them of satanic origin.

Hence this name so decisive and enlightening, it is more, on the back cover of the album placed a warning: "Warning: contains secret backward messages" ,and it was no joke, because the album It was full of them, even in Morse. I will mention some, in "stranger", you can hear: "You're playing me backwards".

Two acetates were made, or discs of tests of how the final album should be, this time in Allen Zentz Studios; one dated March 11 and another on April 3, when the final "line-up" was delivered to CBS Records, the label advised Jeff Lynne to reduce it to only one, since production costs, say .., due to the consequences that still dragged from the Second Oil Crisis, they did not make it advisable.

So of the 18 songs that made up the original version, I quote them following the order of the acetatos: "Secret messages; Loser gone wild; Bluebird; Take me on and on; Stranger; No way out; Beatles forever; Letter from Spain; Danger Ahead; Train of gold; Mandalay; Endless Lies; Hello my old friend; Four little dreams; Building have eyes; Time after time; After all; Rock'n'Roll is King "; only eleven of them appeared in the commercial version.

Five others were B-sides and two were unpublished. One of them, the famous "Beatles Forever", song that is still not published officially, at least until the date I write this. In this reconstruction is included as a "bonus track" , because it´s a "Rou

Side A: (19:22)

1.Secret Messages.(4:43)

2.Loser Gone Wild.(5:27)

3.Blue Bird (4:13)

4.Take me on and on.(4:57)

Side B: (17:54)

5.Stranger.(4:27)

6.No way out.(3:28)

7.beatles forever.(4:14)

8.Letter from Spain.(2:51)

9.Danger Ahead.(3:52).

Side C:(19:08) 

10.Four Little Diamonds.(4:05)

11.Train of Gold.(4:20)

12.Endless Lies.(3:26)

13.Buildings have eyes.(3:56)

14.Rock´n´Roll is king.(3:19)

Side D: (17:53)

15.Mandalay.(5:18)

16.Time After Time.(4:01)

17.After All (edit).(0:41)

18.Hello My Old Friend.(7:51)  

Bonus tracks:

1. After All (full lenght version).(2:23)

Finally, on June 1 Jet Records, whose main distributor was CBS Records, released the penultimate album of the ELO, under a climate of tension, desertions within the band, such as bassist Kelly Groucutt and cancellation of the promotional tour . Four singles were extracted from it: "Rock'n'Roll is King"; "Secret Messages" "Four Little Dreams &" Stranger ". Another theme "Letter from Spain" was used as part of the promo of the Olympic Games of Barcelona´92.

The "artwork", it´s the original  of the 18-track version.Ok.., for now it's all, here you have a good album, not the best one, of the Electric Light Orchestra, but it does not detract, especially the theme that closes the double album.Bit.ly/sMeL82 This is the alternative  from the original line-up of the unpublished version of "Secret Messages":

Pink Floyd - "More" - (Reconstructed the lost Soundtrack)

 

"More" is an German-French production. A film written and directed by Barbet Schroeder. Production began in 1968, Released n August 4, 1969, More garnered mostly negative reviews from critics.

The film screenplay was written by Paul Gégauff and Barbet Schroeder with the original story by Schroeder. it deals with heroin addiction as drug fascination on the island of Ibiza, Spain. Schroeder's inspiration for the film came from the counterculture tradition of the 1960s with themes of drugs, addiction, sexual freedom and the beauty of life often in New Wave films. Real drugs were used in scenes showing the use of marijuana, heroin, and LSD.

Starring Mimsy Farmer and Klaus Grünberg,

Schroeder was a fan of Pink Floyd, and brought a rough cut of the film to London for them to work with.he director wanted the soundtrack to relate exactly to what was happening in the movie, rather than a film score backing the visuals.

It was recorded at Pye Studios in London, in late January and early February 1969 with engineer Brian Humphries. Produced by Pink Floyd without assistance from Norman Smith, who retained an executive producer credit, and the first full album without Syd Barrett, who had been ousted from the group in 1968, during the recording of their second album, A Saucerful of Secrets.

Pink Floyd worked out most of the music in two weeks, with material put together quickly and semi-improvised. Schroeder was impressed by how quickly the group created and recorded the material. Roger Waters wrote most of the lyrics during breaks between recording backing tracks. David Gilmour handled all lead vocals on the album. Mason and keyboardist Richard Wright co-wrote the instrumental "Up The Khyber", the only time the pair were credited as sole co-composers.

One song written by Roger Waters  can be heard in the film which were not included on the album:Sea"Seabirds". it was supposedly released in the 2016 box set, The Early Years 1965–1972. But no, it still remains unpublished because The track called "Seabirds" in the box set is not the original song, but an alternative take of "Quicksilver. And it is believed that this song has actually been lost. because, the teacher was lost during recording sound session for the film or when it was returned was mislabeled and therefore not found.

More reached number 9 in the UK and 153 in the US. It was the last of three Pink Floyd albums to be released in the United States by the Tower Records division of Capitol Records.

The version presented here is as it appears in the movie, with some added songs and other unpublished ones, "Seabirds" is pending, one day it will appeared and we can make a complete, I hope,  and almost definitive reconstruction, while that happens, enjoy this one. Bit.ly/pFm69St For this reconstruction has been done following the order in which they appeared in the film. For this, an original copy of the film that is not the one published in 2005 on DVD has been carefully viewed.

1.- More (Main Theme)  / 2. – The Nile Song / 3.- Seabirds (Roger Waters lost song - no copy available yet) / 4.-  Escape. (A.k.a:  "Romantic theme part 1) / 5.- Cymbaline. / 6.- Hollywood. / 7.- A Spanish suite (excerpt). / .- Ibiza bar (outtake. Removed from final copy) . / 9.- The Party Sequence (excerpt). / 10.- Green is the colour (Version 2). / 1.- Quicksilver (excerpt). / 12.- Cirrus Minor (no birds intro) ./ 13.- More Blues (excerpt)./ 14.- The Crying Song. / 5.- Up The Rhyyber./ 16.-Insanity (A.K.a: " Romantic Theme Part 2  excerpt). / 17.- Green is the colour (version 1) / 17.- More (Beat version - end titles). The cirector removed this section from the final copy.

Bonus track: "Seabirds" performed by The Seabirds.

"More" is the third studio album and first soundtrack album by pink Floyd It was released on 13 June 1969 in the United Kingdom by EMI Columbia and on 9 August 1969 in the United States by Tower Records.The album was a top ten hit in the UK, but received mixed reviews. Several songs became live favourites over the following years

Well, that´s all for now. Enjoy it and see you soon.

The Mamas and The Papas: "Crashon Screamon All Fall Down" (Stereo / Mono - Test Pressing).

 

Hi!, back to the 60´s with an unreleased and controversial album.

This story began with a marital infidelity. .John Phillips fired his wife Michelle Gilliam from the band on Saturday, June 4, 1966, for having had an affair with Gene Clark of The Byrds.Within days Jill Gibson had been asked to join The Mamas & the Papas as new member. 

Shortly after, a promotional campaign to introduce Mama Jill  with articles in  press,magazines and TV-shows. The group along with Lou Adler left for Europe for several weeks to begin working together. 

Upon returning to the United States, the group, their attorney Abe Somer, and Dunhill Records officially fired Mama Michelle on Tuesday, June 28, 1966, and hired Jill Gibson. 

Begining in late June and continuing through July 1966, Jill Gibson, Cass Elliot, Denny Doherty, John Phillips and Lou Adler recorded the band's second LP at Western Studios in Los Angeles, California with Bones Howe as the engineer. 

The first studio session with Jill took place on July 5, at which the revised backing track of “No Salt On Her Tail” was recorded. On July 8, John’s song “Gypsy” (which became “Dancing Bear”) was started. On July 15, Jill replaced Michelle’s vocal on “Even If I Could.”. During the last week of July, “That Kind Of Girl,” “Did You Ever Want To Cry” and “Strange Young Girls” were committed to tape along with some orchestration on “Dancing Bear.”. Mama Cass sang John's song "Did You Ever Want To Cry", being included on the A-side of the album in the first cut that was made, replacing a song sung by Mama Michelle. 

Ten tracks were recorded for the sophomore album including "I Saw Her Again", which was quickly released as the first single in early July and would peak at No. 5 on the Billboard singles chart on July 30, 1966. 

Even If I Could (04/25/66, 07/15/66 [with Jill Gibson])
Dancing In The Street (04/25/66, 08/23/66)
Words Of Love (04/26/66, 11/09/66 [orchestration by Marty Paich])
I Saw Her Again (04/26/66, 04/27/66)
Once Was A Time I Thought (04/28/66)
Here In My Arms (04/28/66)
No Salt On Her Tail (04/28/66, 08/23/66 [new backing track], 08/24/66)
I Can’t Wait (07/06/66 [with Jill Gibson], 08/02/66 [bass, drums and keyboards replaced])
Dancing Bear (07/08/66 [with Jill Gibson], 07/27/66)
That Kind Of Girl (07/24/66 [with Jill Gibson], 08/23/66 [new backing track with Michelle’s vocal])
Did You Ever Want To Cry (07/24/66 [with Jill Gibson], 07/26/66 [new backing track], 11/29/66 [new backing track])
Strange Young Girls (07/31/66 [with Jill Gibson], 08/03/66 [new backing track], 08/23/66 [Michelle’s vocal])
My Heart Stood Still (08/23/66, 08/24/66)
Look Through My Window (09/24/66; 09/28/66 [orchestration by Marty Paich])" 

Three of the ten tracks were re-recorded (they had been previously recorded with Michelle before she was fired) to include Jill's vocals. The studio musicians and John, Cass and Denny re-recorded whatever parts were necessary to make everything sound homogenous.

Henry Lewy engineered these recordings. The band recorded their vocals to “Strange Young Girls,” “No Salt On Her Tail” and “I Can’t Wait” in early August after the keyboard, bass and drum tracks were redone on the last two songs. Re-recording was also done on “Trip, Stumble And Fall” during that session, although the vocals were not touched.

It was decided the album would be called “Crashon Screamon All Fall Down”, bit.ly/mP66Cm4 and was scheduled for an August release with this provisional line-up: 

A1. No Salt on her Tail (4/28/66 version, 7/5/66 new backing track)
A2. Trip, Stumble and Fall (4/25/66, 7/25/66 [with JG] & 8/2/66 new bass, drum & keyboard OD)
A3. Dancing Bear (7/8/66 [with JG] & 7/27/66 [with JG])
A4. Words of Love (4/26/66)
A5. Did You Ever Want to Cry (7/24/66 [with JG] & 7/26/66 new backing track OD)
A6. Dancing In the Street (4/25/66 version).

B1. I Saw Her Again (4/26/66 & 4/27/66)
B2. Strange Young Girls (7/31/66 [with JG] & 8/3/66 new backing track)
B3. I Can't Wait (7/6/66 [with JG] & 8/2/66 new bass, drum & keyboard OD)
B4. Even If I Could (4/25/66 & 7/15/66 [with JG])
B5. That Kind of Girl (7/24/66 [with JG])
B6. Once Was a Time I Thought (4/28/66) 

Prior to Michelle's firing, the band had been photographed for the cover of their second LP inside the window frame of an abandoned house in the desert. 

This was soon rectified by their label Dunhill Records who asked the original photographer Guy Webster, to photograph Jill Gibson alone in the exact same pose as Michelle had been in, and then to superimpose Jill's image over Michelle's. 

 The record label was not satisfied with the finished product and therefore ordered an entire new album cover to be shot by Webster. Guy then shot a splendid new cover with Jill, John, Denny, and Cass outside in a field of grass against a white picket fence. 

The label was pleased with this new album cover and it was used as promotion for the upcoming new LP inside of the music trade papers, as well as on large billboards across the country.

“Crashon Screamon All Fall Down” did have a pre-release,  very different from the final release.while Jill was still in the group.

The Mamas & the Papas hit the road for a five city concert tour in late July and early August But according to John, the chemistry within the group was not there with Jill. He decided in late August 1966, it would be best that Jill be let go and that Michelle be reinstated. 

The band and their label Dunhill Records gave Jill an undisclosed lump sum for her two and a half month stint as Mama Jill. 

Michelle was reinstated to the band on August 23, 1966. Once Michelle was back in the group, in three separate three-hour sessions, Michelle had to re-record as many of Jill Gibson’s parts as she could, and the first one was “Dancing In The Street.” But Jill's voice could not have been removed from anything that she originally recorded without in fact re-recording the entire song, all parts, from scratch, which would simply not have been a financially viable option for Dunhill. 

The album the group had recorded with Gibson was then pulled by the label to accommodate Michelle's return. No copies of the album featuring Jill were ever released to the public. Only the promotional copies that were sent to national radio stations across the U.S The LP was soon re-named simply as The Mamas and the Papas and it hit the stores in September 13 1966, with Michelle's image on the cover. The entire album except for two tracks that feature Michelle's vocals, the rest is sung by Jill Gibson.With.

OK!.., Here you have the stereo version and the mono version too.

That's all that is not little. Enjoy another album recovered from oblivion. I keep looking for you and see you soon.

Bob Dylan: "Slow Train Coming" " Double album - Reconstructed from the Acetate Line Up".

 

Slow Train Coming is the 19th studio album by Bob Dylan. It was recorded at  Muscle Shoals Sound Studios, in  Sheffield, Alabama, between April 30 – May 11, 1979. Produced by Barry Beckett and Jerry Wexle; and released on August 20, 1979, by Columbia Records.

The origin of the album, it is based on a mystical experience that Bob Dylan had at the end of 1978, and it goes like this.

On November 17.1978 in San Diego, CaliforniaTowards the end of the show someone out in the crowd ... knew Dylan wasn't feeling too well, and they threw a silver cross on the stage.Bob looked down at that cross. He said, 'I gotta pick that up.' So he picked up the cross and put it in his pocket"  

He brought it with me to the next town, which was out in Arizona ... He was feeling even worse than He'd felt when was in San Diego.Dylan said, 'Well, I need something tonight.' I didn't know what it was. And he looked in his pocket and he had this cross

Dylan believed he had experienced a vision of Christ in his Tucson hotel room.There was a presence in the room that couldn't have been anybody but Jesus ... Jesus put his hand on he. It was a physical thing. He I felt it. I felt it all over me. I felt my whole body tremble. The glory of the Lord knocked me down and picked me up. Jesus revealed Himself, He quite literally rescued him from an early grave.The simplest explanation is that he had a very profound experience which answered certain lifelong issues for him.

He began writing songs that would reflect his new spirituality. During soundchecks on the final two weeks of the tour, he worked on a new song called "Slow Train". At the final show in Hollywood, Florida, he would introduce a new song to his audience: "Do Right to Me Baby (Do Unto Others)". In the early months of 1979, Dylan was writing his most message-driven album in sixteen years.

Bod Dylan said: "The songs that I wrote for the Slow Train album [frightened me] ... I didn't plan to write them ... I didn't like writing them. I didn't want to write them."Precious Angel", "Gonna Change My Way of Thinking", "When You Gonna Wake Up?" and "When He Returns" all drew heavily and directly upon the Book of Revelation," 

Dylan first heard Mark Knopfler when assistant and engineer Arthur Rosato played him the Dire Straits single "Sultans of Swing". Later, on March 29, 1979, Dylan caught the final show of a Dire Straits' residency at the Roxy in Los Angeles, California. Dylan approached Knopfler after the show, asking the guitarist to participate on his next album. Knopfler agreed. When sessions were held in Alabama, Dylan retained only two members from his 1978 touring band: Helena Springs and Carolyn Dennis, both background singers. Veteran bassist Tim Drummond was hired, as was Dire Straits' drummer Pick Withers on Knopfler's recommendation. Keyboardist Barry Beckett and the Muscle Shoals Horns, both key elements of the celebrated Muscle Shoals Sound, were also brought in.” the recording of the album began on April 30 with: "Trouble in mind".

The idea was to make a double concept album inspired by Christianity and God. It was Dylan's first album following his conversion to Christianity, and the songs either express personal faith, or stress the importance of Christian teachings and philosophy. But a double lp that could not be made because the producers considered that it would be too expensive, so it was reduced to a single one, changing the original order of the songs and discarding others.

After rearranging the album and scrapping three of the songs that would have made it a double album as they were: "Trouble in Mind,"Ain't No Man Righteous, No Not One" and "Ye Shall Be Changed" The basic tracks for the remaining ten songs were recorded in just six three-hour sessions over a period of three days.

On November 1, 1979, Dylan began a tour of fourteen concerts at the Fox Warfield in San Francisco (California), playing the album live bit.ly/ BdSlC79 as it was in its original form, which is what I bring you here:

Side One: (16:20)

1.Gotta Serve Somebody. (5:40) – altérnate - / 2.I Believe In You. (5:10) /  3,When You Gonna Wake Up. (5:29)

Side Two: (15:21)

 4.When He Returns. (4:22) – altérnate - / 5.Man Gave Names To All The Animals. (4:27) / 6.Precious Angel. (6:31)

Side Three: (15:51)

 7.Slow Train. (6:02) / 8.Trouble In Mind. (4:49) / 9.Ain´t No Man Righteaus. No Not One. (4:59)

Side Four: (16:29)

10.Gonna Change My Way Of Thinking. (5:29)  / 11.Do Right To Me Baby (Do Unto Others). (4:11) / 12.Ye Shall Be Changed. (4:08) / 13.Help Me Understand, (2:41)

The album was generally well-reviewed by music critics, and the single "Gotta Serve Somebody" became his first hit in three years, winning Dylan the inaugural Grammy Award for Best Male Rock Vocal Performance in 1980. The album peaked at No. 2 on the charts in the UK and went platinum in the US, where it reached No. 3.

Well, that´s all. See you soon with more and better, I think.

The Beach Boys - "California Feeling" - (Original 1978 lost version)

 

The Beach Boys have been know as a band that leaves better material “in the can” than some of the songs that make their albums. "California Feeling lp" is an example of it

Between  1977 -1980 the Beach Boys seemed to constantly be in the studio, Early the 1977, Brian hit the studio again, the result being an album entitled "Adult/Child". Composed by new recordings: "Life Is For The Living", "Deep Purple", "It's Over Now" & "Still I Dream Of It" Brian with Dick Reynolds, the arranger for the 1964 Christmas Album and five more tracks from the archive, four of which were recycled from the lost LP: 'New Album'. The other theme being the 1973 American Spring recording of "Shortenin' Bread" (with Brian on bass vocal) completed by a Carl lead. The album was widely heralded as the Beach Boys' next release, but Reprise deemed it uncommercial and rejected it; artistically interesting, but commercially not viable.

After the rejection of the "Adult/Child' album The Beach Boys embarked on not one but two new projects, to satisfy the terms of their contracts with Warner and CBS, “California feeling” and 'Merry Christmas”. Both recorded at Maharishi International University in Fairfield, Iowa. The recording sessions lasted from November 7 to December 4, 1977. Both albums were recorded in tandem, often at the same session. The second lp was going to be published during Christmas 77 produced at these sessions, consisting of reworkings of tracks that had dated from the early to mid-1970s, as well as alternate Christmas-themed versions of songs from M.I.U.

Mike chose this venue to keep members of the band away from their drug suppliers in Los Angeles. The group and their family members took residence in the university's circular dorm rooms,and attended meditation classes and meetings.

“California Feeling”, it started out as a song written by Brian Wilson and Stephen Kalinich for Wilson's American Spring side project but the song ended up off this record. It was first tracked as a demo in November 1974 by Brian Wilson in a session that was engineered by Chuck Britz. Wilson, unhappy with his performance, instructed the engineer to scrap the tape,but this was not heded. After the rejection of the 'Adult/Child' album, Brian recorded a studio version at fall 1977 that was included as the closing of the album. From fall 1976  "New album" another unreleased album. It includes two songs "Hey Little Tomboy", the only track salvaged from Adult/Child, and "My Diane", written about Brian's affair with his sister-in-law, In an early "She's Got Rhythm" sesión, Dennis, who was busy promoting his solo album Pacific Ocean Blue, was replaced on drums by Carl Wilson.

“California Feeling album” was assembled at the last week of 1977 back in Los Angeles with this line-up. bit.ly/BB78cF ,but before that, on December 13, the band held one last session, for vocals on "My Diane" and a Toys for Tots public service announcement, at Kaye-Smiths Studios.

Side one:  1.Match Point Of Our Love -2.Pitter Patter – 3.Sweet Sunday Kinda Love – 4.Belles Of Paris – 5.My Diane* - 6. She's Got Rhythm

Side two: 1.Our Team – 2.Hey Little Tomboy* - 3.Kona Coast – 4.Won'tcha Come Out Tonight – 5.How's About A Little Bit Of Your Sweet Lovin' – 6.California Feeling.

It was projected for the summer of 1978. Produced by Al Jardine and the group's touring band, keyboardist Ron Altbach and as executive producer: Brian Wilson. But the album was canceled at the beginning of February,

Why?. Brian Wilson wasn't too happy. He was depressed and on medication all time. Brian did not want to produce his bandmates because he resented them personally. In particular, he didn't want to write with Mike Love anymore. And that feeling caused a rarefied atmosphere in the recording studio and was what led these two albums to failure and their definitive cancellation.

They did not return to the new project "M.I.U" until February 22, working on an intermittent way until June 28, 1978. Once again, the song: "California feeling", became the basis of the album 'M.I.U' (released in October 1978), one of the worst Beach Boys albums. It was also one of the first L.A. songs. (Light Album), but Brian Wilson insisted, once again, that the track "California FeelIng" be again omitted and left out.

The Beach Boys' 1974 and 1978 versions of "California Feelin'" went unreleased until 2013's Alan Boyd "Made In California" compilation. It would have been a perfect addition to LA Light.

It's no wonder that with absurd decisions like this, the group in a span of just over a year fell so low so quickly. The next two albums released in that period 1979/80, "LA Light Album" and "Keepin the Summer Alive" could have been so much better. They were still able to sell out concerts, but no one was interested in their new albums anymore. They no longer raised their heads. The game for them was over.

This lost LP was released unofficially by Making Waves Ltd. – Collectors Series #4 in Canada in 1984 and has become one of the great unreleased records and a cult classic among die-hard Beach Boys fans.

Ok folks, that's all for now. See you soon with more and better.

Eric Clapton: "E C.Was Here" - (Unreleased Atlantic Acetate)

 

After abandoning the recording of Derek and the Dominos' second studio album in mid-1971and never come back. Eric Clapton went on a wave of self-destructive drug abuse that drove him away from music. the rest of the year and the next. Caused by a deep depression due to the impossible love of Patie Boyd, at that time the wife of one of his best friends, the ex Beatle George Harrison.

Clapton's situation was so extreme that the word soon spread among his best friends who decided that the time had come to do something for Eric and recover him first as a person and then as a musician, since the recent deaths of Alan Wilson, Jimi Hendrix, Janis Joplin or Jim Morrison because of drug use made it urgent that Eric Clapton not be next on the list.

Thus, on January 13, 1973, two concerts were organized at the Rainbow Theater in London to help Eric Clapton get out of the world of drugs with the participation of several friends such as Pete Townshead, Steve Winwood, Ronnie Wood or Jim Capaldi. Concerts that were summarized in an album that was released on September 10 of that year, as the first live album in Eric Clapton's new career, released 9 days before Gram Parsons' death by overdose.

Almost recovered from his heroin addiction, Clapton left in April for the Criteria studios in Miami where the following three months were dedicated to recording one of the best solo works such as "461 Ocean Boulevard". The album was released in late July 1974 for RSO Records, shortly after the record company released the hit single "I Shot The Sheriff" in early July the same year. and sold more than two million copies.

While a concert tour of the United States was being prepared for him that began at the Yale Bowl. New Haven, CT on June 28, 1974, with a new band consisting of: Eric Clapton - Guitar / Vocals. George Terry – Guitar . Dicks Sims – Keyboards. Carl Radle – Bass. Jamie Oldaker – Drums and Yvonne Elliman - Backing Vocals.

The first part of this tour, after having given two other shows in  Stockholm and Copenhagen on June 19 and 20, 1974, consisted of 28 concerts that ended on August 4, before taking a vacation in which Following your recovery process.The tour restarts on September 28 at the Hampton Coliseum, Hampton, VA. 14 new shows that also took him to Canada ending on November 6th in Osaka, Japan, before embarking on a 9 concert mini tour of Europe that would start in Hamburg 20 days later and end in London on December 4th and 5th in the Hammersmith Odeon. The concerts were recorded by Wally Heider Recording Studio Mobile Unit. 

Eric Clapton's life was on a roll, and in the first weeks of 1975, his Record Co., made a first version of the bit.ly/75eCaZ live album with some cuts from the Long Beach concerts from July 19 and 20 plus those in London. in December such as an "outtake" recorded during the studio sessions of his previous studio album, but the result was not entirely to his liking, because many songs were edited. One lp was not enough and two were a lot. The increase in the price of vinyl due to The Oil Crisis, which is still present. So,the new work was left for later, while Eric Clapton started new dates this time in 1975 also for Australia.

Side one: 1."Have You Ever Loved a Woman" / 2.Presence Of The Lord. / 3. Driftin´Blues.

Side Two: 1."Can't Find My Way Home" / 2."Ramblin´On My Mind #1" / 3."The Sky Is Cring - Ramblin´On My Mind #2"  / 4. "Walkin´Down The Road".

All tracks are alternate or unreleased mixes. "Drifting Blues",  "Ramblin´On My Mind #1" / "The Sky Is Cring - Ramblin´On My Mind #2" were edited. When released the full version of the songs were included. Additionally, different mixes of some of these tracks were released in the four-CD set, "Crossroads 2: Live In The Seventies" (1996), like a "Walkin´DownThe Road".

In July 1975,a new version was made. It was remixed at Criteria Recording Studios, Miami, Florida. And was released in August 1.1975 by .RSO / Polydor / PolyGram.

Ok, that´s all, see you soon.

Traffic - "Live Traffic" - (Reconstructed Unreleased 1971 live album)

 

At the end of 1966, Steve Winwood, still a member of the band The Spencer Davis Group, began to meet with other musicians in a series of Jam sessions at a venue in Aston, Birmingham called The Elbow Room, these were: Jim Capaldi (1944 - 2005) , Chris Wood (1944 - 1983) and Dave Mason (b. 1946). Shortly after, he will update at a country house in Aston Tirrold, Berkshire, to practice where Traffic would be born.

Traffic's recording debut came on May 19, 1967, with the single "Paper Sun/giving to you" in the UK. In August 1967 "Hole in My Shoe/ Smiling Phases" was his second single, a great success and would also be released in the US. After a third single, his first album was published: "Mr. Fantasy". on December 8, 1967. Recorded between April and November.

In January 1968, the band began recording his second album at the Olympic studios in London with producer Jimmy Miller, which was finished at the Record Plant studios in New York in May. While Traffic got into a long tour that ended in September with two concerts at the Fillmore East on the 20th and 21st, after which Mason stayed in the United States and left the band, for which Winwood announced its dissolution.

Upon his return to England, he formed Blind Faith, with Eric Clapton, Ginger Baker, and Ric Grech (1946 - 1990), a group that started for just one year. In May 1969, what was to be Traffic's posthumous album "Laat Exit" was released.

The other members started a project with Mick Weaver, better known as Wooden Frog, which was limited to performances without any recording.

After the breakup of Blind Faith in 1969, Winwood began his solo stage, and recorded an album that, before going on sale, due to the specific interventions of Capaldi and Wood, was published under the name of Traffic: "John Barleycorn Must Die". , his most successful album to date.

Traffic was given a second chance and began a new tour of Europe between April and May 1970 followed by another tour of the US in June/July. After a well-deserved vacation, the band was back on tour in October, and in November Traffic's US record label: bit.ly/Tc71L United Artist Records recorded their two November performances at the Fillmore East on the 18th and 19th (with the band's new bassist , Ric Grech of Blind Faith).

Fillmore East - Track List concerts:

 Early Show 01. Introduction 02. Who Knows What Tomorrow May Bring 03. Every Mother's Son 04. Medicated Goo 05. John Barleycorn 06. Pearly Queen 07. Stranger To Himself 08. Empty Pages 09. 40,000 Headmen

 Late Show 01. Introduction 02. Glad 03. Freedom Rider 04. John Barleycorn 05. Can't Find My Way Home 06. No Time To Live 07. Stranger To Himself 08. Feelin' Good 09. Dear Mr. Fantasy.

The tapes were given to Eddie Kramer to make the new Traffic album,

Side One: 1.."Back Stage and Introduction" .2."Who Knows What Tomorrow May Bring?"3. Glad.

Side Two: 1.Pearly Queen. 2.40,000 Headmen.3.Dear Mr. Fantasy.4.Can't Find My Way Home.

The fact that United Artists was going to release this record without Windwood's knowledge angered both him and the band enough that this release was pulled at the last minute, amid rumors that the master tape had been lost."

In 1971, Traffic had expanded with the additions of Dave Mason, Jim Gordon, and Reebop Kwaku Baah. The band only played six dates, two of which – their opening performance at Fairfield Hall, Croydon and a London benefit for Oz – were recorded and mixed to become "Welcome to the Canteen". Mason was keen to take this version of Traffic to the United States, but Winwood was only interested in doing these six dates. Mason said, "It's Stevie's band, so it's up to him."

"Welcome to the Canteen" would be the last album Traffic would release under the band's North American distribution contract with United Artists Records; their next album The Low Spark of High Heeled Boys would be issued by Island Records, who released Traffic's records in the U.K. and who (in late 1971) had recently established operations in North America.

In the United Kingdom, the album was a surprise flop, the first in a series of albums by the group that would fail to make an appearance in the charts.In the USA, however, it was a solid success, hitting number 26 in the charts and yielding the single "Gimme Some Lovin' (live)", which reached number 68 in the Billboard Hot 100.

Although regarded as a Traffic album, it was originally released without the name "Traffic" anywhere on it; credited instead to the seven individual musicians. Nonetheless the Traffic logo appeared on the cover (on the back, in this case) as on all of their albums. Most later issues retain the original front cover with its individual crediting, but credit the album to Traffic on the spine.

Ok, I bring you a reconstruction from "live traffic" using the lost Fillmore East 

 tapes".

Side One: 01."Back Stage and Introduction" .02."Who Knows What Tomorrow May Bring?"03. "Glad / Freedom Rider" .

Side Two: 04.Every Mother's Son.  05. Medicated Goo. 06.Empty Pages. 07. 40.000 Headmen.

GENESIS - "Live at Leicester / Live at Manchester" - (Test Pressing - Restored and Enhanced)

 

Hi again!. Here we go with more and better.This time with a lost and historical record. The test pressing 2lp from a great album: "Genesis live at Leicester / Live at Manchester";digitally restored and enhanced for the first time from a second generation analog copy and not from a vinyl.So let's know a little more about this recovered and interesting recording.

Genesis Live was the first live album by Genesis and the fifth of their career. It was published in the year 1973 and reached No. 9 in the UK ranking.The group originally had no plans to release a live album at the time, but their record company decided to release Genesis Live at a promotional price, while the band recorded their next album, "Selling England by the Pound". This live recording is the only one of a concert of the band with Peter Gabriel on vocals.

The album contains songs recorded during a concert at De Montfont Hall, Leicester, on February 25, 1973 (except "The Return of the Giant Hogweed", recorded the day before in Manchester), during their Foxtrot album tour. 

Side A: (25:22) Watcher Of The Skies (8:10)  -  Get 'em Out By Friday (8:58) - 

The Return Of The Giant Hogweed (8:14)

Side B: (20:02) - The Musical Box  (10:55) - The Knife (9:47)

Three months before the official release, there was a two-disc limited pre-print released on April 13, 1973 by Phillips in the Netherlands, Philips – 6830.140.1/2 683'.141.1/2. For unknown reasons only the test pressing stage. A handful of copies (currently around 16 have been located worldwide) were printed and shipped to various Phonogram offices around the world, making "Live at Leicester/Live at Manchester" easily the official record of Rarest Genesis that exists.The mix and track listing is completely different from the Genesis Live lp.

The nice thing about this two-disc edition is that it featured the songs in the correct order that they were played during the two concerts. Ok!.., here is that original 2lp recording fully restored and enhanced.

Side A: (19:49) - Watcher Of The Skies (9:08)  -  The Musical Box (10:40)

Side B: (11:54) - Get 'em Out By Friday (11:54)

Side C: (23:56) - Supper´s Ready (23:56)

Side D: (18:33) - The Return of the Giant Hogweed (9:03) - The Knife (9:29)

"Supper's Ready" was not included, which until then was the group's favorite song, due to the lack of interest that the group had in the US, there being no interest at that time for a double album that included it and it was released. Genesis never released a live recording of "Supper's Ready" from the Foxtrot tour, but a recording of the song on their subsequent tour made its appearance on bit.ly/g73Pt2 soon the Genesis Archive 1967-75 collection album. However, this should not be considered a genuine archival recording as Peter Gabriel re-recorded the vocal parts in the studio before its release, making the original version of the track a rare collector's item. Curiously, although "Supper's Ready" is not present on the official album, the album cover shows a photo of the group performing the song.

All songs by Banks, Collins, Gabriel Hackett and Rutherford, except: "The Knife" by Banks, Gabriel, Phillips and Rutherford.

Finally to say that for the cover of this album that I bring you, I have used an alternative design of the original Italian edition.

Well.., that´s all, See you soon.