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Thursday, 26 April 2018

Can “The Peel Sessions” 1995 Germany Kraut Rock Experimental

Can “The Peel Sessions” 1995 Germany Kraut Rock Experimental
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Recorded for John Peel’s BBC Radio 1 programme, the sessions took place in February 1973 (track 1), January 1974 (track 4), October 1974 (tracks 2 & 3), and May 1975 (tracks 5 & 6). The songs are mostly unreleased improvisations. “Geheim” is released as “Half Past One” on Landed and “Mighty Girl” as “November” on Out of Reach. …~

In the early 70s, British DJ John Peel was a great supporter of what later became known as Krautrock and Can recorded four sessions for his show (15 - 20 minutes recorded live at BBC studios) from 1973 - 5. Can’s albums were all recorded at their own studio with Holger Czukay producing, so this really captures them in an unfamiliar setting. Can always incorporated a lot of improvisation in their shows, and most of the music on this CD is what Holger Czukay called ‘spontaneous compositions.’ 
The CD starts with a lengthy piece from what is generally regarded as the classic Can line up with Damo Suzuki on vocals. Up The Bakerloo Line With Anne (possibly named for DJ Anne Nightingale) starts rather tentatively with some of Karoli’s trademark blues raga guitar, before quickly hitting a Future Days style groove. Czukay and Liebezeit hold down the rhythm, while Karoli and Suzuki free form all over the place and Schmidt adds odd washes of colour from his keyboards. This is Can at the top of their game, demonstrating an almost telepathic interplay and conjuring up mind spinning sounds apparently out of thin air, although the fact that they had been playing together 10 hours a day for several years probably helped. When the piece fades out at 18.46 you’re left with the feeling that they’d just got started and there was much more to come. The next two tracks were recorded 18 months later, and bear a strong resemblance to side 2 of Soon Over Babaluma. Return to BB City is a low key piece which recalls Quantum Physics, dominated by Schmidt’s ghostly keyboards and Liebezeit’s understated percussion. Tape Kebab is a fuzz guitar led freak out in the mould of Chain Reaction, but even more intense - this is one of Karoli’s finest moments as a guitarist. Tony Wanna Go was recorded 9 months earlier, and is another long improvisation with some jaw dropping moments. Suzuki may have left, but in 1974 Can had lost none of their drive and fire. The last two tracks were recorded in 1975 at around the time of Landed, and show the band just past their peak. Geheim (Half Past One), as the title implies, is a reworking of Half Past One from Landed and features Michael Karoli on vocals - it’s atmospheric stuff, but lacks the intensity of what went before. The last track is based around Irmin Schmidt’s piano playing, and there is a splendid interplay with Karoli’s guitar. It’s highly structured and probably the closest thing to mainstream prog on the album, but as with Geheim there’s a feeling that the band have lost some of their other worldliness and that they have started playing safe. 

This is an excellent collection of largely original material from one of the seminal Krautrock bands, and shows their development over 2 years and 3 studio albums. Few of their contemporaries had such a talent for improvisation - King Crimson were probably the only other band at the time who had the same kind of interplay - but very little of their spontaneous music has been officially released. This album shows just how good they could be. Strongly recommended…….by Syzygy …~

It’s such a shame that CAN didn’t release some official live albums during their peak in the seventies. This was really the first one but it wasn’t released until 1995. The Peel Sessions that these tracks were taken from happened from four different visits by the band between February of 1973 to May of 1975. Only one track features Damo on vocals and all but one of these tracks is a improv, so all new material for the CAN fan. It just seems so adventerous to me for these guys to go to the UK and go on John Peel’s show and not play songs that they and their fans were familiar with. These guys rank right up there with KING CRIMSON for having balls of steel in doing such things. I must admit that at times this doesn’t even sound like CAN. 
“Up The Bakerloo Line With Anne” is the almost 19 minute opener with Damo on vocals.This is from February of 1973. A beat with vocals kicks in just before a minute as bass and guitar help out as well. It settles back just before 5 minutes. Guitar and drums to the fore around 7 minutes. Check out Damo a minute later ! They continue to jam the rest of the way. “Return To BB City” and the next track are from October of 1974. Atmosphere to start as different sounds come and go. I’m surprised at how spacey and atmospheric this is as Schmidt works his magic. “Tape Kebab” has this relaxed beat with laid back guitar. The sound becomes fuller. I really like this. An electronic sounding beat after 6 minutes joins in. Karoli starts to rip it up after 7 minutes. Great track ! 

“Tony Wanna Go” is from January of 1974 and is the second longest track at 14 ½ minutes. A relaxed beat with guitar leads as spacey sounds sweep through. The guitar and beat become more prominant as they continue to jam. “Geheim (Half Past One)” is a re-worked version of “Half Past One” from “Landed”. This and the final track are from May of 1975. We get reserved vocals from Karoli as intricate sounds including xylophone-like sounds come and go. “Mighty Girl” has this piano led intro. This is CAN ?! Guitar joins in as well. 
Without question a must for CAN fans although right now this is a tough one to track down….by Mellotron Storm …~

For me, the single best Can album, even though it’s an archival live compilation. Encompassing the years from 1973 - 1975, we catch Can at their most inventive, entirely within an instrumental mindset. Only the near 19 minute opener features the familiar Damo ranting, and even then, the majority of the track features an overt instrumental jamming motif. Otherwise it’s psychedelic guitar, organ, bass and drum jams - wild, woolly and unpredictable - exactly what you would want to hear from a Krautrock legend. Well, OK true, Karoli puts in a few words on Geheim, but it’s easy to overlook. A phenomenal anthology of work. A must own CD….by…ashratom…~

Like the great lost Can album that should have been released in 75’ instead of “Landing”. This is amazing Improvisation on par with King Crimson’s mid-70’s Free Form run. I really love this one because it has Can channeling different sounds than they usually do like the aforementioned King Crimson, Amon Duul II and even Hawkwind but it’s still unmistakeably Can. One my favorite Can releases period….by….lovesthemetals ….~

An interesting all over the map release, much of which sounds purely improvised. “Up The Bakerloo” bears little resemblance to the longer version on “Radio Waves” (I prefer that one but this is nice too)- Damo really goes for it on this one. “Return To BB City” is my favorite track, unique in the Can canon- a showcase for Schmidt’s cascading crystalline keyboard lines and a reminder of what a great musician he was (I always wish he’d been used a more prominently). “Tape Kebab” and “Tony Wanna Go” are classic reptative, meditative Can grooves. The version of “Half Past One” is good but doesn’t add much to the “Landed” version and the closing “Mighty Girl” is another song on which Schmidt is the focus (shit, he’s practically the whole song), playing a rolling line that recalls the one on “Turtles Have Short Legs”….by…hellaguru ….~

“Up the Bakerloo Line With Anne” is the only track with Damo Suzuki and it rivals anything else on the official albums with Damo. Performed with intensity that was absent on the magically subdued Future Days. Next three tracks come from two different 1974 sessions. “Return to BB City” is more subdued and abstract, whereas “Tape Kebab” has a bit more of a drive to it with Karoli soloing on guitar, while Schmidt performs insistent counterpoint. “Tony Wanna Go” proves that Can managed to fire on all cylinders even months after Suzuki’s departure. 

“Geheim” is “Half Past One” from Landed and can’t say if it is any better or worse compared to the studio version. But “Mighty Girl” is a revelation: essentially a slower take of what would eventually become “November” on the quintessential past-one’s-prime LP Out of Reach three years later. It differs in a sense that one does not detect the Santana’s influence (as per studio version) so much as noticing a slightly different direction with the classically influenced piano part’s prominence. 

It was, however, obvious that by 1975 Can had indeed changed. The freeform fury that was still there on the 1974 sessions had dissipated. It was not necessarily Damo Suzuki’s departure that changed Can as it was some other factor that made Landed so different in feel from Soon Over Babaluma….by…stereomouse …~

This collection of songs Can recorded for John Peel’s radio show find the band in its peak period (1973-75), pumping on all cylinders. A real treat for Can collectors, most of the tracks here were improvised, and none exist on studio recordings, so this is something of a “lost” Can album. Much of the album is taken up two extended pieces, “Tony Wanna Go” and “Up the Bakerloo Line With Anne,” both of which feature swaths of fuzz guitar and jazzy drumming over intense, minimalist structures. The other tracks opt for a bit of a lower-key groove and make more use of varied atmospheric textures, but all stand to prove why Can is regarded as one of the seminal outfits of German experimental rock…by Jim Allen….~.

Bass – Holger Czukay 
Drums – Jaki Liebezeit 
Guitar – Michael Karoli 
Keyboards – Irmin Schmidt 
Vocals – Damo Suzuki

1 Up The Bakerloo Line With Anne 18:48 
2 Return To BB City 8:26 
3 Tape Kebab 8:58 
4 Tony Wanna Go 14:31 
5 Geheim (Half Past One) 6:42 
6 Mighty Girl 8:41 

Ghost “Metamorphosis: Ghost Chronicles 1984-2004” 2005 Japan Psych Folk Rock,Experimental DVD + CD Compilation

Ghost “Metamorphosis: Ghost Chronicles 1984-2004” 2005 Japan Psych  Folk Rock,Experimental DVD + CD Compilation 
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A twenty-year, career-spanning collection of music and video footage from Japanese psychedelic maestros GHOST. DVD features nearly three hours of footage—improvisations, one-time-only band lineups, freakouts, trances, live shows, and more. CD features unreleased tracks from the band’s previously undocumented 1980s era, including in-studio improvs, live tracks, and a pair of outtakes from the group’s debut album….~

This CD/DVD package collects early tracks and extensive video of the psych-folk, prog-rock band.
Early last year– as part of their regular “Invisible Jukebox” department– The Wire played Damon and Naomi an early piece featuring the duo’s frequent collaborator, Ghost guitarist Michio Kurihara. “I can’t believe he was doing this in ‘88,” said Damon. “And here we all were in our indie rock bands and we didn’t know.” 

Looking back, it’s safe to say that hardly anybody outside of Japan had much inkling of what Masaki Batoh and his fellow mystics in Ghost were getting up to in the late 1980s. Nor could anyone have easily predicted what a psych-folk, prog-rock colossus the group would someday become. With their origins in guerrilla street performance and ritualistic collective improvisations staged at various Tokyo-area temples, the band’s formative years seemed destined to remain in the shadows. 

Thankfully, however, that impression has changed with the release of Metamorphosis, Drag City’s astonishing new collection of Ghost audio and video rarities. Packed with more than an hour of previously unheard music and nearly two hours of unearthed video documents, Metamorphosis contains footage from virtually every chapter of the group’s existence. And though its appeal will likely be exclusively limited to those already familiar with Ghost’s inspired majesty, for the avid fan this set might possibly seem too good to be true.Comprised entirely of material dating from the years 1987-89, the CD portion of Metamorphosis showcases various early versions of Ghost as they ambitiously cast their sound about, quite audibly seeking to test their limits and capabilities. Centered around the steadfast core of charismatic leader Batoh and multi-instrumentalists Taishi Takizawa and Kazuo Ogino, the music created by these pre-Kurihara editions of the band often bears little resemblance to rock, and on the pieces collected here Ghost instead forge a potent, captivating blend of free jazz, acid folk, and traditional Japanese sounds. 

It’s difficult to guess what might’ve been informing the group’s material of this era– particularly since at points here these guys seem just a step or two removed from subsisting on twigs and lichen. But several of these improvised tracks consider the same fiery trails lit by such previous explorers as AMM or free players from the classic BYG label roster. Meanwhile, the 1988 outtake “Blood Red River” finds Batoh emoting over some bent dustbowl blues in a strange, low-pitched drawl that manages to evoke Skip Spence. 

As fascinating as most of this embryonic music on the CD is, it’s Metamorphosis’ DVD presentation that contains most of this collection’s true revelations. Featuring an abundance of live footage from various Ghost incarnations in a wide variety of venues, this disc provides a relatively succinct visual record of the group’s timeline. Though much of this video is of rather shaky quality- most of the clips feature the erratic sound, dim lighting and stationary cameras that U.S. viewers might associate with cable access programming- this is made up for by the fact that this material exists at all and we actually get to watch it. 

This video collection is rife with highlights, starting with the earliest clip from 1984 which features a skinny, shirtless Batoh staging a noisy one-man demonstration in front of Tokyo’s Chinese embassy to protest the occupation of Tibet. Other gems include a dynamite set of acoustic material recorded in a wooden Jesuit church in 1993 (the band billed itself as a “medieval music club” to get permission to play) a couple raucous tracks from 2002’s Terrastock Festival in Boston, and an extended segment of more recent material performed at a 2004 Tokyo concert. 

Another bonus video not to be missed is of a wild 1988 group performance in a busy Tokyo train station, showcasing Batoh and Ogino in full free-form wail as bemused commuters file past. As with all the best of Metamorphosis’ delights, the piece fills the viewer with immense appreciation for Ghost’s haunting alien magic, and also spurs the hope that somewhere right this instant– be it in Tokyo, Helsinki, Sao Paulo, or in your own town- another such collection of enlightened players are kicking up their own similarly beautiful racket….by Matthew Murphy…Pitchfork…~

From album to album, starting in the early '90s, Ghost showed a pretty amazing musical progression. But Ghost’s origins go back to 1984, so their recordings only tell part of the story, with their beginnings somewhat shrouded in mystery. Metamorphosis: Ghost Chronicles 1984-2004 is a fantastic package for fans as it contains a CD of previously unreleased material all from the late '80s (with a couple outtakes from the first album being the most recent) and a DVD with footage covering the entire time span, showing their incredible growth as a band as well as providing those who missed out on Ghost’s infrequent tours with a glimpse of what they’re like live. The CD is interesting, highlighting the improvisational nature of the band at that early stage. Aside from their reading of the traditional “Blood Red River,” all these tracks are improvisations and emphasize the nearly tribal, communal beginnings of the band. Many feature only drums, percussion, recorder, and voice as opposed to more traditional rock band instrumentation. Taishi Takizawa has some excellent moments on flute and sax, and the 35-plus-minute album centerpiece, “Children of the Sun,” is an amazing journey with some great piano from Kazuo Ogino and some electric freak-out guitar courtesy of Masaki Batoh. The last two tracks are the album outtakes: the aforementioned “Blood Red River” and “Cow’s Green Cosmic,” a short piece that has Batoh improvising some banjo over the sounds of two young sisters playing. 

The DVD is the truly exciting part of the package. The opening footage is not of Ghost, but of Batoh protesting the occupation of Tibet at the Chinese Embassy in Tokyo in 1984. After that, you get footage of Ghost performing in a variety of settings through time, in many different incarnations (Batoh claims over 100 people have been members of Ghost over the years). Much like the CD, the sequencing is not quite chronological, but serves to illustrate the progression of the band, from free-form improvisers to a more song-oriented, rock approach (though they never leave improvisation behind them completely). Some of the clips are quite brief (“Zama”), and others are a bit on the dark side (the well-titled “Marvelous Screamer”), but the vast majority of the footage is very good to excellent. Even the footage from temple performances, some lit only by candlelight, is surprisingly good. It’s interesting to note how the venue effects the performance, with the club shows demonstrating much more of a rock edge while the temple performances, not surprisingly, have a more contemplative, spiritual feel. There is also some nice visual accompaniment to a couple of the performances: an old-school oil emulsion projection inside the Waseda Salvation Church (!), and the full-on rock extravaganza lighting/visuals of the 2004 Star Pine’s Cafe footage. The 2004 footage is without doubt the high point of the DVD, as it has more performances than from any other venue; both the visuals and recordings are excellent, arguably the best of the bunch, and the band is on fire. It’s also the majority of the footage with guitar genius Michio Kurihara, and Ghost’s rhythm section at the turn of the century (Junzo Tateiwa, drums and percussion, and Takuyuki Moriya, bass) is fantastic. While the rest does vary in quality, there is nothing that’s harsh or difficult to watch or listen to because of poor fidelity. Additionally, both the CD tracks and the various filmed performances are given written descriptions in the booklet by Batoh, who displays a rather dry sense of humor that doesn’t really come through on their albums. While Metamorphosis: Ghost Chronicles 1984-2004 is an effective career overview, it isn’t really designed to be a greatest-hits package or serve as an introduction to the band; consider it an important supplement to their proper albums. This is a release for Ghost fans who want more, whether they’re interested in the early history of the band or just wonder what Ghost sounded like live at any given point in their career. Metamorphosis is not only a great addition to the Ghost catalog, it’s the perfect description for their odyssey as a band…. by Sean Westergaard…allmusic….~

Unreleased Ghost Tracks From The 1980s 
CD-1 Improvisation (Studio 1988) 4:34 
CD-2 Improvisation / Voices (Home 1989) 2:08 
CD-3 Hakkyou Dojin (Live 1989) 6:33 
CD-4 Improvisation (Live 1987) 4:02 
CD-5 Yonokuninominae (Live 1988) 1:52 
CD-6 Improvisations (Live 1988): On The Road, In The Metro
CD-7 Children Of The Earth (Live 1988) 32:27 
CD-8 Cow’s Green Cosmic (Outtake 1987) 0:53 
CD-9 Blood Red River (Outtake 1988) 4:04

Metamorphosis: Ghost Chronicles 1984-2004 150:00 
DVD-1 We Insist / Comin’ Home
DVD-2 Spirits And Energies
DVD-3 Zama
DVD-4 Marvelous Screamer
DVD-5 Hakkyou Dojin
DVD-6 Nagaki Kage Wa Hikumono
DVD-7 Choutou No Otoko
DVD-8 Tempera Tune
DVD-9 Freedom
DVD-10 Moungod Asleep
DVD-11 Moungod Radiant Youth
DVD-12 Masttillah
DVD-13 Rabi Rabi
DVD-14 Hekzermachuia
DVD-15 Mex Square Blue
DVD-16 Rakshu
DVD-17 Daggma
DVD-18 Who Found A Lost Rose…
DVD-19 Change The World / Drum Roll
DVD-20 Way To Shelkar
DVD-21 Marrakech
DVD-22 Vertigo
DVD-23 Lemon Iro No Cannabis
DVD-24 Guru In The Echo
DVD-25 Marrakech
DVD-26 Sun Is Tangging
DVD-27 Piper
DVD-28 Orange Sunshine
DVD-29 Forthcoming From The Inside
DVD-30 Snow Fakir / End Credits
DVD-31 Performance
DVD-32 Buto Session 

Yetti Men- Uppa Trio “Yetti-Men / Uppa-Trio” US 1964 Private Garage Surf Psych only 500 Copies Made (feat Tom Rapp by Pearls Before Swine)

Yetti Men- Uppa Trio “Yetti-Men / Uppa-Trio” US 1964 Ultra Rare Private Garage Surf Psych only 500 Copies Made (feat Tom Rapp by Pearls Before Swine)
Yetti Men 1964 Private Garage Surf (feat Tom Rapp) playlist dailymotion

This album features the music of two bands from Minnetonka Minnesota. Side 1 is the Uppa Trio and Side 2 is the Yetti-Men. The Yetti-Men line-up consisted of Lee Hanson (lead guitar), Henry “Skip” Webster (rhythm guitar), Joel Peterson (bass), Brian Mahin (sax, keyboards), and Jim Robinson (drums). No information could be found to identify the musicians in the Uppa Trio. A close look at the photograph on the Uppa Trio shows that the head of the guitar player may have been “photoshopped” into the photo. The album was recorded in the Minnetonka High School auditorium in early 1964. At least six tracks were laid on tape in February and March. These were: High Himalaya, Wine Wine Wine, My Baby Left Me, Blue Surfer, Yep, and Break Time. A total of 500 copies of the album were pressed at the Kay Bank Pressing Plant in Minneapolis. (Source: This record has never been reissued since the original release. Recording times are not noted on either the record labels or the record jacket, so are estimated based on stopwatch timings. Deadwax stamps read as follows:….~

The Yetti-Men featured Tom Rapp. Yes, the Pearls Before Swine Tom Rapp. After this record they put out a record for ESP Disk (the label with liner notes in English and Esperanto), which is the same NY-based label that issued the first PBS records-One Nation Under Ground and Balaclava. …~ 

The Uppa Trio were a vocal harmony folk outfit, while the Yetti Men were more into garage/surf. Surprisingly, it was the Uppa’s that approached the Yetti’s about doing the split LP together. What exactly they were thinking is beyond me, as the two styles don’t exactly segue well. Upon first listen, I had completely written off UT. as just not my kind of music. But after a couple of tries, I find a few tracks are not bad. But it is clearly The YM. that appeal most strongly to my taste. Their sound is rather crude garage, and that’s just how I like it. Though this sounds as if it could have been recorded at least a couple of years earlier, all accounts list this as a 1967 release..tymeshifter …~ 

Yep,Pearls Before Swine’s, Tom Rapp debut was in the Yetti-Men. An lp that holds up to the legend thats grown around it.Rare and really good from the ultra great cover and concept of the lp to what really shows up in the Grooves..this is a deep groove monster lp of reverb drenched surf and cool frat garage, including a cool moody punker “My Baby Left Me” and the surf instro blaster “Break Time”!Only 500 were pressed in 1964 ,this one shows up rarely.The Yetti-Men share the lp with the Uppa Trio a folk trio…..~

Kal split LP Yetti-Men & Uppa Trio. The Yetti-men side is 6 classic garage tracks bridging a Kay-Bank echo chamber-like bridge between the Fendermen & the Trashmen–the missing link between those two bands, if you will! Praised to the high heavens by Norton Records / Kicksters Billy & Miriam and other garage aficionados. Comped on Hipsville Vol 3 (where they grace the cover) and on a split single with the Readymen, but all 6 tracks rule! ….~

The Uppa Trio - Springhill Disaster 
The Uppa Trio - Come Along Julie 
The Uppa Trio - Colony Days 
The Uppa Trio - Funk 
The Uppa Trio - Green Grow the Lilacs 
The Uppa Trio - Two Hobos 
The Uppa Trio - Moscow Nights 


Yetti-Men - High Himalayas 
Yetti-Men - Wine, Wine, Wine 
Yetti-Men - My Baby Left Me 
Yetti-Men - Blue Surfer 
Yetti-Men - Yep 
Yetti-Men - Break Time 

Ry Cooder, Nicky Hopkins, Mick Jagger, Bill Wyman, Charlie Watts “Jamming With Edward” 1972 US/UK Classic Rock,Blues Rock

Ry Cooder, Nicky Hopkins, Mick Jagger, Bill Wyman, Charlie Watts “Jamming With Edward”  1972 US/UK Classic Rock,Blues Rock 
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Though many feel that the Stones were at their best when playing loose, sloppy rock & roll à la Exile on Main St., with this 1972 release on Rolling Stones Records the unrehearsed style of the album is more of a hindrance than a call to ragged glory. Not an official Rolling Stones release, the assembled band does contain three-fifths of the group (Mick Jagger, Bill Wyman, and Charlie Watts) along with session man extraordinaire Nicky Hopkins and guitarist Ry Cooder. The band stumbles through keyboard-dominated original numbers such as “Boudoir Stomp” and “Edward’s Thrump Up,” as well as more conventional cuts like a cover of Elmore James’ “It Hurts Me Too.” Yet the songs never get beyond giving the listener the impression they were thrown together during a drunken night’s rehearsals. In that sense the album is a bit of a letdown; though any Stones fan would surely clamor for lost material from the band’s golden age, Jamming With Edward instead makes one wish it had never been released….by Steve Kurutz…allmusic…~

This is my favorite Stones album. I had the vinyl once upon a time. This is the music of the Stones when they were in love with playing the Blues their way. It’s sort of garage band + studio jamming and an inside look into virtuoso rock musicians and their love of free-style creativity. I call it a Stones album, but Keith isn’t in it. Still, I wish more bands from this special period would have made a non-commercial recording from the heart like this. It is rich with certain sounds that came and went, but made this period in rock/pop/soul so intense and unique. Please reply if you know of others….by…. Vernazzait….~

NOT actually a Stones album - its Mick, Charlie and Bill Wyman with Ry Cooder (once upon a time rumoured to become a Stone), and Nicky Hopkins - it was recorded around the time of Let It Bleed. 
This is a studio jam, at times loose and boppin’, but often mediocre - the musicians aimlessly searching for a groove. 
Invariably the groove is created by Nicky Hopkins, super session pianist. Jamming With Edward is worth your attention because it is a tour-de-force showcase of Nicky Hopkins’ brilliant effortless rock and roll piano. Although prevalent in many a collection, his name was never in lights. They should have named this Jamming With Nicky. 
About Nicky Hopkins: way back, on the Who’s “A Legal Matter” - the Who are just learning to play, but there’s this frenetic brilliant piano. Yup that’s Nicky on the keys. As for the Rolling Stones - Hopkins is on just about every album from Satanic Majesties Request to Black and Blue. Nicky is awesome on Exile On Main Street. Hopkins is also the session pianist on records by The Kinks, Jeff Beck, John Lennon, Jefferson Airplane, Quick Silver Messenger Service, Joe Cocker, Strawbs, and Rod Stewart….by….phnuggle ….~

By the time the Rolling Stones began calling themselves the World’s Greatest Rock & Roll Band in the late ‘60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them. Over the course of their career, the Stones never really abandoned blues, but as soon as they reached popularity in the U.K., they began experimenting musically, incorporating the British pop of contemporaries like the Beatles, the Kinks, and the Who into their sound. After a brief dalliance with psychedelia, the Stones re-emerged in the late '60s as a jaded, blues-soaked hard rock quintet. They had always flirted with the seedy side of rock & roll, but as the hippie dream began to break apart, they exposed and reveled in the new rock culture. It wasn’t without difficulty, of course. Shortly after he was fired from the group, Jones was found dead in a swimming pool, while at a 1969 free concert at Altamont, a concertgoer was brutally killed during a Stones’ show. But the Stones never stopped going. For the next 50-plus years, they continued to record and perform, and while their records weren’t always blockbusters, they were never less than the most visible band of their era – certainly, none of their British peers continued to be as popular or productive as the Stones. And no band since has proven to have such a broad fan base or such far-reaching popularity, and it is impossible to hear any of the groups that followed them without detecting some sort of influence, whether it was musical or aesthetic. 

Throughout their career, Mick Jagger (vocals) and Keith Richards (guitar, vocals) remained at the core of the Rolling Stones. The pair initially met as children at Dartford Maypole County Primary School. They drifted apart over the next ten years, eventually making each other’s acquaintance again in 1960, when they met through a mutual friend, Dick Taylor, who was attending Sidcup Art School with Richards. At the time, Jagger was studying at the London School of Economics and playing with Taylor in the blues band Little Boy Blue & the Blue Boys. Shortly afterward, Richards joined the band. Within a year, they had met Brian Jones (guitar, vocals), a Cheltenham native who had dropped out of school to play saxophone and clarinet. By the time he became a fixture on the British blues scene, Jones had already had a wild life. He ran away to Scandinavia when he was 16 and had already fathered two illegitimate children. He returned to Cheltenham after a few months, where he began playing with the Ramrods. Shortly afterward, he moved to London, where he played in Alexis Korner’s group, Blues Inc. Jones quickly decided he wanted to form his own group and advertised for members; among those he recruited was the heavyset blues pianist Ian Stewart. 

As he played with his group, Jones also moonlighted under the name Elmo Jones at the Ealing Blues Club. At the pub, he became reacquainted with Blues, Inc., which now featured drummer Charlie Watts, and, on occasion, cameos by Jagger and Richards. Jones became friends with Jagger and Richards, and they soon began playing together with Taylor and Stewart; during this time, Mick was elevated to the status of Blues, Inc.’s lead singer. With the assistance of drummer Tony Chapman, the fledgling band recorded a demo tape. After the tape was rejected by EMI, Taylor left the band to attend the Royal College of Art; he would later form the Pretty Things. Before Taylor’s departure, the group named itself the Rolling Stones, borrowing the moniker from a Muddy Waters song. 

The Rolling Stones gave their first performance at the Marquee Club in London on July 12, 1962. At the time, the group consisted of Jagger, Richards, Jones, pianist Ian Stewart, drummer Mick Avory, and Dick Taylor, who had briefly returned to the fold. Weeks after the concert, Taylor left again and was replaced by Bill Wyman, formerly of the Cliftons. Avory also left the group – he would later join the Kinks – and the Stones hired Tony Chapman, who proved to be unsatisfactory. After a few months of persuasion, the band recruited Charlie Watts, who had quit Blues, Inc. to work at an advertising agency once the group’s schedule became too hectic. By 1963, the band’s lineup had been set, and the Stones began an eight-month residency at the Crawdaddy Club, which proved to substantially increase their fan base. It also attracted the attention of Andrew Loog Oldham, who became the Stones’ manager, signing them from underneath the Crawdaddy Club’s Giorgio Gomelsky. Although Oldham didn’t know much about music, he was gifted at promotion, and he latched upon the idea of fashioning the Stones as the bad-boy opposition to the clean-cut Beatles. At his insistence, the large yet meek Stewart was forced out of the group, since his appearance contrasted with the rest of the group. Stewart didn’t disappear from the Stones; he became one of their key roadies and played on their albums and tours until his death in 1985. 

With Oldham’s help, the Rolling Stones signed with Decca Records, and that June, they released their debut single, a cover of Chuck Berry’s “Come On.” The single became a minor hit, reaching number 21, and the group supported it with appearances on festivals and package tours. At the end of the year, they released a version of Lennon-McCartney’s “I Wanna Be Your Man” that soared into the Top 15. Early in 1964, they released a cover of Buddy Holly’s “Not Fade Away,” which shot to number three. “Not Fade Away” became their first American hit, reaching number 48 that spring. By that time, the Stones were notorious in their homeland. Considerably rougher and sexier than the Beatles, the Stones were the subject of numerous sensationalistic articles in the British press, culminating in a story about the band urinating in public. All of these stories cemented the group as a dangerous, rebellious band in the minds of the public, and had the effect of beginning a manufactured rivalry between them and the Beatles, which helped the group rocket to popularity in the U.S. In the spring of 1964, the Stones released their eponymous debut album, which was followed by “It’s All Over Now,” their first U.K. number one. 

That summer, they toured America to riotous crowds, recording the Five by Five EP at Chess Records in Chicago in the midst of the tour. By the time it was over, they had another number one U.K. single with Howlin’ Wolf’s “Little Red Rooster.” Although the Stones had achieved massive popularity, Oldham decided to push Jagger and Richards into composing their own songs, since they – and his publishing company – would receive more money that away. In June of 1964, the group released their first original single, “Tell Me (You’re Coming Back),” which became their first American Top 40 hit. Shortly afterward, a version of Irma Thomas’ “Time Is on My Side” became their first U.S. Top Ten. It was followed by “The Last Time” in early 1965, a number one U.K. and Top Ten U.S. hit that began a virtually uninterrupted string of Jagger-Richards hit singles. Still, it wasn’t until the group released “(I Can’t Get No) Satisfaction” in the summer of 1965 that they were elevated to superstars. Driven by a fuzz-guitar riff designed to replicate the sound of a horn section, “Satisfaction” signaled that Jagger and Richards had come into their own as songwriters, breaking away from their blues roots and developing a signature style of big, bluesy riffs and wry, sardonic lyrics. It stayed at number one for four weeks and began a string of Top Ten singles that ran for the next two years, including such classics as “Get Off My Cloud,” “19th Nervous Breakdown,” “As Tears Go By,” and “Have You Seen Your Mother, Baby, Standing in the Shadow?” By 1966, the Stones had decided to respond to the Beatles’ increasingly complex albums with their first album of all-original material, Aftermath. Due to Brian Jones’ increasingly exotic musical tastes, the record boasted a wide range of influences, from the sitar-drenched “Paint It, Black” to the Eastern drones of “I’m Going Home.” These eclectic influences continued to blossom on Between the Buttons (1967), the most pop-oriented album the group ever made. Ironically, the album’s release was bookended by two of the most notorious incidents in the band’s history. Before the record was released, the Stones performed the suggestive “Let’s Spend the Night Together,” the B-side to the medieval ballad “Ruby Tuesday,” on The Ed Sullivan Show, which forced Jagger to alter the song’s title to an incomprehensible mumble, or else face being banned. 

In February of 1967, Jagger and Richards were arrested for drug possession, and within three months, Jones was arrested on the same charge. All three were given suspended jail sentences, and the group backed away from the spotlight as the summer of love kicked into gear in 1967. Jagger, along with his then-girlfriend Marianne Faithfull, went with the Beatles to meet the Maharishi Mahesh Yogi; they were also prominent in the international broadcast of the Beatles’ “All You Need Is Love.” Appropriately, the Stones’ next single, “Dandelion”/“We Love You,” was a psychedelic pop effort, and it was followed by their response to Sgt. Pepper’s, Their Satanic Majesties Request, which was greeted with lukewarm reviews. 

The Stones’ infatuation with psychedelia was brief. By early 1968, they had fired Andrew Loog Oldham and hired Allen Klein as their manager. The move coincided with their return to driving rock & roll, which happened to coincide with Richards’ discovery of open tunings, a move that gave the Stones their distinctively fat, powerful sound. The revitalized Stones were showcased on the malevolent single “Jumpin’ Jack Flash,” which climbed to number three in May 1968. Their next album, Beggar’s Banquet, was finally released in the fall, after being delayed for five months due its controversial cover art of a dirty, graffiti-laden restroom. An edgy record filled with detours into straight blues and campy country, Beggar’s Banquet was hailed as a masterpiece among the fledgling rock press. Although it was seen as a return to form, few realized that while it opened a new chapter of the Stones’ history, it was also the end of their time with Brian Jones. Throughout the recording of Beggar’s Banquet, Jones was on the sidelines due to his deepening drug addiction and his resentment of the dominance of Jagger and Richards. Jones left the band on June 9, 1969, claiming to be suffering from artistic differences between himself and the rest of the band. On July 3, 1969 – less than a month after his departure – Jones was found dead in his swimming pool. The coroner ruled that it was “death by misadventure,” yet his passing was the subject of countless rumors over the next two years. 

By the time of his death, the Stones had already replaced Jones with Mick Taylor, a former guitarist for John Mayall’s Bluesbreakers. He wasn’t featured on “Honky Tonk Women,” a number one single released days after Jones’ funeral, and he contributed only a handful of leads on their next album, Let It Bleed. Released in the fall of 1969, Let It Bleed was comprised of sessions with Jones and Taylor, yet it continued the direction of Beggar’s Banquet, signaling that a new era in the Stones’ career had begun, one marked by ragged music and an increasingly wasted sensibility. Following Jagger’s filming of Ned Kelly in Australia during the first part of 1969, the group launched its first American tour in three years. Throughout the tour – the first where they were billed as the World’s Greatest Rock & Roll Band – the group broke attendance records, but it was given a sour note when they staged a free concert at Altamont Speedway. On the advice of the Grateful Dead, the Stones hired Hell’s Angels as security, but that plan backfired tragically. The entire show was unorganized and in shambles, and it turned tragic when the Angels killed a young black man, Meredith Hunter, during the Stones’ performance. In the wake of the public outcry, the Stones again retreated from the spotlight and dropped “Sympathy for the Devil,” which some critics ignorantly claimed incited the violence, from their set. As the group entered a hiatus, they released the live Get Yer Ya-Ya’s Out! in the fall of 1970. It was their last album for Decca/London, and they formed Rolling Stones Records, which became a subsidiary of Atlantic Records. 

During 1970, Jagger starred in Nicolas Roeg’s cult film Performance and married Nicaragua model Bianca Perez Morena de Macias; the couple quickly entered high society. As Jagger was jet-setting, Richards was slumming, hanging out with country-rock pioneer Gram Parsons. Keith wound up having more musical influence on 1971’s Sticky Fingers, the first album the Stones released through their new label. Following its release, the band retreated to France in tax exile, where they shared a house and recorded a double album, Exile on Main St. Upon its May 1972 release, Exile on Main St. was widely panned, but over time it came to be considered one of the group’s defining moments. 

Following Exile, the Stones began to splinter in two, as Jagger concentrated on being a celebrity and Richards sank into drug addiction. The band remained popular throughout the '70s, but their critical support waned. Goats Head Soup, released in 1973, reached number one, as did 1974’s It’s Only Rock 'n’ Roll, but neither record was particularly well received. Taylor left the band after It’s Only Rock 'n’ Roll, and the group recorded their next album as they auditioned new lead guitarists, including Jeff Beck. They finally settled on Ron Wood, former lead guitarist for the Faces and Rod Stewart, in 1976, the same year they released Black n’ Blue, which only featured Wood on a handful of cuts. During the mid- and late '70s, all the Stones pursued side projects, with both Wyman and Wood releasing solo albums with regularity. Richards was arrested in Canada in 1977 with his common-law wife Anita Pallenberg for heroin possession. After his arrest, he cleaned up and was given a suspended sentence the following year. 

The band reconvened in 1978 to record Some Girls, an energetic response to punk, new wave, and disco. The record and its first single, the thumping disco-rocker “Miss You,” both reached number one, and the album restored the group’s image. However, the band squandered that goodwill with the follow-up, Emotional Rescue, a number one record that nevertheless received lukewarm reviews upon its 1980 release. Tattoo You, released the following year, fared better both critically and commercially, as the singles “Start Me Up” and “Waiting on a Friend” helped the album spend nine weeks at number one. The Stones supported Tattoo You with an extensive stadium tour captured in Hal Ashby’s movie Let’s Spend the Night Together and the 1982 live album Still Life. 

Tattoo You proved to be the last time the Stones completely dominated the charts and the stadiums. Although the group continued to sell out concerts in the '80s and '90s, their records didn’t sell as well as previous efforts, partially because the albums suffered due to Jagger and Richards’ notorious mid-'80s feud. Starting with 1983’s Undercover, the duo were conflicted about which way the band should go, with Jagger wanting the Stones to follow contemporary trends and Richards wanting them to stay true to their rock roots. As a result, Undercover was a mean-spirited, unfocused record that received relatively weak sales and mixed reviews. Released in 1986, Dirty Work suffered a worse fate, since Jagger was preoccupied with his fledgling solo career. Once Jagger decided that the Stones would not support Dirty Work with a tour, Richards decided to make his own solo record with 1988’s Talk Is Cheap. Appearing a year after Jagger’s failed second solo album, Talk Is Cheap received good reviews and went gold, prompting Jagger and Richards to reunite late in 1988. 

The following year, the Stones released Steel Wheels, which was received with good reviews, but the record was overshadowed by its supporting tour, which grossed over 140 million dollars and broke many box office records. In 1991, the live album Flashpoint, which was culled from the Steel Wheels shows, was released. Following the release, Bill Wyman left the band; he published a memoir, Stone Alone, within a few years of leaving. The Stones didn’t immediately replace Wyman, since they were all working on solo projects; this time, there was none of the animosity surrounding their mid-'80s projects. 

The group reconvened in 1994 with bassist Darryl Jones, who had previously played with Miles Davis and Sting, to record and release the Don Was-produced Voodoo Lounge. The album received the band’s strongest reviews in years, and its accompanying tour was even more successful than the Steel Wheels tour. On top of being more successful than its predecessor, Voodoo Lounge also won the Stones their first Grammy for Best Rock Album. Upon the completion of the Voodoo Lounge tour, the Stones released the live “unplugged” album Stripped in the fall of 1995. Similarly, after wrapping up their tour in support of 1997’s Bridges to Babylon, the group issued yet another live set, No Security, the following year. A high-profile greatest-hits tour in 2002 was launched despite the lack of a studio album to support, and its album document, Live Licks, appeared in 2004. A year later, the group issued A Bigger Bang, their third effort with producer Don Was. 

In 2006, Martin Scorsese filmed two of the group’s performances at New York City’s Beacon Theatre. The resulting Shine a Light, which included guest appearances from Buddy Guy, Jack White, and Christina Aguilera, was released in theaters in 2008. The accompanying soundtrack reached the number two spot on the U.K. charts. Following Shine a Light, the Stones turned their attention toward their legacy. For Keith Richards, this meant delving into writing his autobiography Life – the memoir was published to acclaim in the fall of 2010 and generated some controversy due to comments Keith made about Mick – but the Stones in general spent time mining their archives, something they’d previously avoided. In 2010, they released a super deluxe edition of Exile on Main St. that contained a bonus disc of rarities and outtakes, including a few newly finished songs like “Plundered My Soul.” This was followed in 2011 by a super deluxe edition of Some Girls that also contained unheard songs and outtakes. That same year, the Stones opened up their Rolling Stones Archive, which offered official digital releases of classic live bootlegs like 1973’s The Brussels Affair. 

All this was a prelude to their 50th anniversary in 2012, which the group celebrated with a hardcover book, a new documentary called Crossfire Hurricane, and a new compilation called GRRR! The Stones also played a handful of star-studded concerts at the end of the year and in the first half of 2013, several of which featured guest spots from the long-departed Mick Taylor. These live shows culminated with a headlining spot at Glastonbury and two July 2013 concerts at Hyde Park; highlights from the Hyde Park shows were released that July and, later in the year, there was a home video/CD release of the concert called Sweet Summer Sun: Live in Hyde Park. 

Over the next few years, the Stones played concerts regularly – a highlight was a March 2016 concert in Havana, Cuba – and slowly worked on an album that was teased in September 2016, the same week their London/Decca works were released as the box set The Rolling Stones in Mono. On December 2, 2016, the Stones released Blue & Lonesome, a collection of Chicago blues covers that was their first studio album in 11 years. ~ Stephen Thomas Erlewine……..~

Jamming With Edward! is a 1972 album by three Rolling Stones band members (Mick Jagger, Charlie Watts, and Bill Wyman) accompanied by Nicky Hopkins and Ry Cooder. 
It was recorded at London’s Olympic Studio during the Let It Bleed sessions of 1969 and released on Rolling Stones Records in 1972. The album is a series of loose jams performed by band members while waiting for Keith Richards to return to the studio, Richards having earlier left the studio after an issue about Cooder’s role as support guitarist. On the strength of the album’s association with the Rolling Stones, Jamming With Edward! reached #33 on the US charts, although it failed to make the UK listings. 
The eponymous “Edward” was pianist Nicky Hopkins, in reference to Edward the Mad Shirt Grinder, Hopkins’ star turn on Quicksilver Messenger Service’s album Shady Grove. Hopkins also contributed the cover art. The liner notes were written by Mark Paytress and Mick Jagger. 
Jamming With Edward! was remastered and reissued by Virgin Records in 1994……~

- Ry Cooder – guitar 
- Mick Jagger – harmonica, vocals 
- Charlie Watts – drums 
- Nicky Hopkins – keyboards, piano 
- Bill Wyman – bass guitar

The Boudoir Stomp 5:16 
It Hurts Me Too 5:49 
Edwards Thrump Up 7:40 
Blow With Ry 11:12 
Interlude A La El Hopo 2:03 
The Loveliest Night Of The Year 0:29 
Highland Fling 4:20 


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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958