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1 Jul 2017

Blown Free"Maximum Rock Classic" 1978 US Hard Rock

Blown Free"Maximum Rock Classic"  1978 US  Hard Rock


Blown Free were a Houston band active between 1978 and 1982. Their history is almost completely unknown, what is known is that the band's leader and main songwriter, David Matthews, has a long history in music. He got his start in Wisconsin, playing in some underground psyche bands as early as 1968.

When he moved to Houston he immediately put together his own band and the results of this can be heard on this disc, what recordings survived anyway. If there ever was a band that could be classified as "obscure, underground rock" this is surely one. The only known release on this band is a sole 45 released on Excelsior (the label owned by the late Bill Holford, SR. of ACA Studios in Houston).

Mr. Holford would sometimes take a band under his wing and help them through business deals and publishing deals, which is what he did with Blown Free. After the dissolution of the band, and the break-up of Matthews' marriage, David took off for greener pastures back in Wisconsin where he started his own label and put together another version of Blown Free, this time under the monniker of The Matthew Davis Project. Several tracks from that period are included here as "Lemonade and Suzie Tonight", "A Seedy Reefer", and "The Bash"..............

BLOWN FREE (1978) Maximum Rock And Roll The album of a little-known Texas band, though falling out of the usual period of the records under consideration, is made exclusively in the hard rock style of the early 70's, and, in the best traditions - tough, aggressive, energetic. Some songs resemble Bang (the opening album Baby Come Back or The Wizard, the second one also has certain prog features), My House is very good, based on a ripped blues rhythm in the spirit of Rory Gallagher (in Sweet Love there is also something similar to Him). The Ballad Come Back My Way causes associations with similar things GFR, and the Rock And Roll Band in the chorus reminds us again of GFR's We're Just .... The Heavy Blues I Feel Free is good, the Blown Free song itself is made in the Sabbath style (But it's still played in its own way) - the same tough, sticky riffs that are replaced by suddenly high-speed solos, Lemonade & Suzie Tonight is also good. Not all are equally qualitatively recorded, but still the album is interesting......................

1. Baby Come Back - 2:14
2. My House - 2:57
3. Sweet Love - 3:52
4. The Wizard - 3:56
5. Come Back My Way - 4:58
6. Rock And Roll Band - 2:48
7. A Little Bit At A Time - 3:59
8. My House - 3:11
9. I Feel Free - 3:54
10. Blown Free - 5:47
11. Sweet Love - 4:14
12. Lemonade & Suzie Tonight - 5:30
13. A Seedy Reefer - 3:55
14. The Bash - 4:46
15. The Wizard - 3:18

Tracks 1-4 recorded at ACA Studios in Houston, TX. Track 4 is a different mix than the released version on the 45 (Track 15).
Tracks 5-11 are taken from a rehearsal tape recorded sometime in 1978.
Tracks 12-14 are recordings made by The Matthew Davis Project.
Track 15 taken from the band's only official release, the Excelsior Records 45 recorded at ACA Studios and engineered by Bill Holford, SR.

V.A. " Acusticazo" 1972 Argentina Folk Rock

 V.A. " Acusticazo" 1972 Argentina Folk Rock


Litto Nebbia, Leon Gieco, Edelmiro Molinari, David Lebón, Raúl Porchetto and Nito Mestre, among others, recreated the mythical festival in 1972. Also participating were musicians of later generations, such as Nekro and Fernando Ruiz Díaz. In the end, everyone sang "La balsa"..................

The famous album called ACUSTICAZO .... The Acusticazo formed the tacit pole opposite to La Pesada, since it was a recital (of which the first live rock record was recorded) with artists playing 'without electric instruments'. There were Porchetto, Leon Gieco, Miguel and Eugenio, Carlos Daniel Fregtman, Litto and Gabriela. Leon always remembers gratefully without touching, and came to reconsider the proposal of Horacio Malvicino to work as a 'commercial' singer. But he gave up, following the advice of his friend Gustavo Santaolalla, whom he met because he taught music................

Acusticazo was the first acoustic festival in Argentina. I produced it in the winter of 1972, as part of the B.A.ROCK festivals, which was then performed in November. In the opportunity, we also recorded live (the first unplugged of Ibero-America) that early dawn of the guitars and natural sounds, in which recordings debuted Leon Gieco, Raúl Porchetto, Gabriela, Carlos Daniel Fregtman, Miguel and Eugenio (Pérez), David Lebon and Miguel Krochik. But they were not the only ones, they were in addition, although they were all very young, other musicians more flushed like Edelmiro Molinari (Almond) and the historical Litto Nebbia, that added to the percussionist Domingo Cura. (By Daniel Ripoll)...............

"The acusticazo" made at the Atlantic theater a few weeks ago was not the first step of soft rock in Argentina against heavy rock, nor the preposition of one music over the other. It was simpler: we tried to bring together the best of the musicians of the new generation who play in acoustic music: guitars, folk, flutes, vocals; Elements that confer a special type of transmission to the unstoppable urban music of Buenos Aires, new citizen folklore burial of expressions lacking already of eloquence and renewal.
A small festival, a meeting of friends (on stage and in the audience), "Acoustics" gathered for the first time a group of musicians explorers of a necessary expression of rescue: the simple, sincere and almost human music that comes from Acoustic guitars.
During the show everything was measured to the last detail and from the morning of that same day the groups and soloists had been rehearsing all the details of their respective sounds: the live recording that was going to be performed of each one of them demanded it .
Among the members of the program were debutantes (Raúl Roca), reappeared (Carlos Daniel), a soloist who takes his first steps (Miguel Krochik), two already in the race (Raúl Porchetto and Leon Giecco), Miguel's duo And Eugenio and the special participation of David and Edelmiro Molinari accompanying Gabriela and Litto Nebbia.
There were also some extra participants: Raúl Porchetto played along with two other musicians, one of them the soloist Petty who is having outstanding performances in semi subterranean recitals. Another of the guests was the percussionist Domingo Cura, one of the important of America that attended especially requested by Litho Nebbia. Many musicians attended the Atlantic Theater that day. It is logical: the lack of primary excitation, electrification and equipment walls, does not seduce - still - the mass audiences. But those who understood, those who feel the music in its most subtle details were willing to have the privilege of a first acoustic festival in Argentina.
Surely they did not disappoint: discounting some unpleasant improvisations of one or two soloists, the general rhythm kept the climate warm and growing. Closely applauded were some passages of Gabriela-David-Molinari, Litto Nebbia (with Cure) and Leon Giecco, certainly the most acclaimed of the night, not only for their strength to sing, there was in the applause some support for their Ultra sincere and committed letters.
Everything that happened there was recorded by the technician Carlos Robles ("Robertone"), one of the sounders in which the local rock musicians most trust. This recording that is currently in its processing period will be edited by the Trova label and will be the first album dedicated exclusively to acoustic rock and folk...............

In 1972 comes the album Acusticazo, the first record recorded live with the intention that the vedette of the album were the acoustic guitars becoming the true precursor of the unplugged. Participated in that famous meeting Litto Nebbia, Edelmiro Molinari, David Lebon, Leon Gieco and Raúl Porchetto among others. The cover art of the album showed a woman sitting naked on her back whose waist simulated an acoustic guitar, which showed a real innovation since the cover art was something to keep in mind when editing an album.
The Acusticazo was a group effort of several Argentine musicians to demonstrate that the walls of equipment are not always necessary to reach the audience of their own generation with the musical language of those times. It was also intended to present, together with well-known names such as Nebbia and Molinari, the members of a brand new layer of Argentine interpreters and authors who were having difficulty accessing genuinely interested audiences and in short, what the system calls As opportunity. All of them are united in supporting the possibilities of the natural message without great electronic artifices as a demonstration that music exists essentially in man beyond the constraints of technique........................

"There is no Acusticazo without 'Guilmar'", says Leon Gieco, who had just said Lito Vitale, behind the scenes. What is "Guilmar"? Many say that the best song of that concert that ended up recorded - and published - thanks to the occurrence in act of Robertone, legendary sonidista of the Argentine rock. And if you ask, and King Leon walks around, you have it. Towards the end of the acoustic set that he had to do, Santa Fe recreated "Something of peace" with -casi- all the musicians who had participated in the festival realized in 1972, and among them the author and interpreter of that beautiful song: Miguel Krochic. He was also surrounded by Edelmiro Molinari, David Lebón, Raúl Porchetto, Carlos Daniel Fregtman, Eugenio Pérez, the folk duo Miguel and Eugenio (who with the entry of Diego and Pablo, would become Aucán), and Litto Nebbia from behind, Listen very well to that phrase conceived by Raúl, who may well bridge the gap between the two climates of the time. "My mind asks you for light, my day asks you for light, I ask you please, in these bad days," he thundered in the midst of a large Rex filled, forty-five years of that landmark in the long coming of rock here.

The Lion's part had begun with a version of "Iron Men," this time tinted by the empirical whitening of the calico that he had made with respect to Dylan's "Blowin in the wing." "We can not take these songs from us, che, with the iron men who continue to enter the villages and schools, where is the 49 percent that has to be heard and not heard," asked Gieco, in one of His various spoken interventions. "The idea we had with Nebbia was to sing the songs in the same tone, so I'll try to do it," he continued, in the midst of the solo guitar intro from "La historia esta". Behind her, impeccable, came the "Mosquito Theme". Leon's third theme was "The Ghost of Canterville", at the same time (speedy) that Charly had spent on the phone, one early morning of the early 70's.

Behind her, the guest parade. First Nito Mestre, in excellent condition, to make the second in "The Hill of life". Then Porchetto, in order to recreate one of the most beautiful songs of the Argentine acoustic collection: "Bajaste del norte". Between her and the one that shared with Edelmiro Molinari, David Lebón and the same Porchetto ("The rat Lali"), Gieco bleached another sequence of its beginnings. "Before recording my first album, I had received an offer from the RCA to make a record of songs of the Bee Gees in Castilian. I was going to play with Horacio Malvicino, who at the time was nicknamed Alain Debray, and I said `well, I record this, I win guita, and then I record what I want`. But Daniel Ripoll appeared and said `aguantá, that the acusticazo is coming '. The truth is that I thought I was jealous of what I had achieved, but then I went to Gustavo Santaolalla, who was about to start producing my album, I told him about the Bee Gees, and he said, 'Well, Do that and here you do not stand again, "recalled the Santa Fe, before the collective laughter. It was the instant before the total assembly that versionó "Something of peace".

The man who opened the night, cold on the outside and hot inside, had been the mother of all this: Don Félix "Litto" Nebbia. Guitar in hand poured historical pieces to delight those who follow his work with musicologist precision: the wonderful "Song of the horizon", "Dream and run", originally recorded in Beat No. 1, Los Gatos; A late release called "Song for the innocent", the moving "Bohemian goes", and "Vamos negro", piece that had chosen to include in the original acoustic album, with Domingo Cura in percussion. And this time he recreated with Lito Vitale. Towards the end of his handful of presents in new glass, Nebbia received the "BARock Loor", a statuette made by the plastic artist Lean Frizzera, with the BARock icon that eternalized the movie Rock until the sun sets, and Which served to present the BARock Hall of Fame, a Foundation whose intention is to recognize the trajectory of the great Argentine musicians of all time.

After the recognition, Nebbia reappeared on stage to publicly offer an emotional version of "El rey lloró", next to Leon, and at the end-end, to be part of the song with all of the night (Emilio del Guercio and Ricardo Soulé included ) Which was - of course - "The Raft". A night that also opened its doors to the new generations. A la Banca, band not very much in line with the spirit of the group. To Tino Moroder. Nekro, the former Fun People, who actually opened it, because sound problems forced him to play two tracks without sound !, after two versions for the occasion: "This land is your land" by Woody Guthrie , And "Gurisito", by Daniel Viglietti. And to Fernando Ruiz Diaz that was dispatched with a folkie but potentísima version of "Tomorrow in the Abasto", and others of "Plan B" or "Y ....................

Continue, to continue with the stirring adventures (?) Of this humble blog, our archaeological laburo in search of discovering all the edges that occurred in a particularly high period for Argentine rock. We speak, of course, of the beautiful and (fortunately) always well-considered decade of the '70s, in particular of its first years but also of the whole development of the decade, which was without a doubt the most fruitful that has occurred in all the leafy History of the rock of our country. Why did this happen? Well, let's make a brief review before entering today's post, that more than a musical publication is a document that reflects a key moment in that story. The first years of Argentine rock took place in a framework of full creativity in which a small group of restless young people gathered in community to share their ideas, influences and opinions regarding a cultural moment boiling, or at least what came out of What they could appreciate from the countercultural explosion that occurred in the late 1960s in the United States. These revolutionary impressions, profound change, reversal of the authority of an adult society prone to the status quo, the retreat to a youth with desire, with creativity and vigor, came to Argentina at a propitious moment. The terrifyingly-called Argentine Revolution - a morsel of rampant irony - that was led by sons of bitches like Juan Carlos Onganía and Alejandro Lanusse was characterized by repressing the youth and their creative ambitions in order to avoid the alleged rise of the dirty red rag that Would copy Argentine democracy (oh irony, who said this was part of a dictatorship!) With its influence to eliminate individual liberties. The reaction was logical: all those youthful moves, which were already beginning to take place, took a clandestine (underground, let's say). The children continued to gather, taking care not to fall into the hands of the cane, and doing theirs without caring - or rather, thinking clearly of the repressive climate that surrounded them. The first bands were born, not yet rock. Initially, what existed were imitations of the initial Beatles, and for that reason to its innocent style, anglophile, pop and simple was called "beat". The neuronal movement, logical, that came from the explosion beat, facilitated the progress, the expansion of the proposals towards horizons somewhat more personal, less imitative. The cultural heritage of Argentine music, very deep, survived the psyches of some of the musicians of the time, who had their concerns anchored in rock but also invariably attended some of the oldest traditions of our country, as The tango and the folklore. With a view to these expressions, some of the most restless, intelligent and virtuous among the many kids who were going around in that cauldron of influences that was the brotherhood that was beginning to form around the Cave of Pueyrredón and La Perla Of Eleven began to think of writing and singing in the language they had heard from the cradle and not in the one that arrived outside the borders. They ventured into a path which, in Spinetta's own words, could make them look like Martians, but they kept on, convinced that this was the way. Judging by the results, reason was not lacking. Their efforts, originally only modest attempts to recreate the foreign forms-from which they could not be totally detached, given the influence they still had in everything that was done musically in the country-but in a local language, they transgressed the established forms And created a new expression. The domino effect this caused made more and more bands of the previously beat turned to this new way of seeing things. Thus, thanks to a couple of restless minds (as always happens, why deny it) began to generate, from a lot of adjacent movements, Argentine rock. Among several, it was precisely those who had made an effort to Spanish, if possible, what was happening in order to be able to communicate it to more restless people: the Almond, Manal and Los Gatos, who were the first to become professionalized and marked The way to all the others with his tenacity and laburo ethics. Those early years, which were more or less from 1966 to 1971, were of trial and error, discovery, dazzling and new attempt to discover. The first discs that came out gave rise to a renewed interest of the record companies by every young man who preached to play rock, and this made to a wave of simple that they served to the labels to test the market: if you walked, they recorded a long duration, If not, to play with the simple ones and playing anywhere, as it were. Also born the first television programs that attended the young culture, direct descendants of the programs.
But it was that same uneasiness, that desire for progress, which led - ironically or not - to the implosion, precisely, to those initiators of our rock. In a period that goes (again, roughly) from the late 1970s to the end of the following year, there were the separations of Almond, Los Gatos and Manal - in that order - each for very different reasons but all with their heads on The same objective: to channel the individual influences that made collective projects into new initiatives, but this time, rather personal. The first reaction of the national culture, however, was of fear and helplessness. Those lighthouses, those obligatory references that guided Argentine rock in its multiple initiatives from an unrivaled creative force, were no longer to help those who were just starting to decide, to collapse behind an ideal. Thus, that 1971 was a crisis and reorganization, a slow but progressive reform of the known to a new and unknown horizon, true to the creative ambition of these kids who were still very young. Already towards the end of '71, but with much more force entered the following year - in my opinion, that is the key period of the rock of here - those referents had initiated a diaspora with marvelously favorable results. Now, instead of three bands, we had many more, all with their own distinctive imprint. Fish, Aquelarre, Human Color, Pappo's Blues, Huinca appeared, all of them to join the new wave of musicians who were inspired by folk songwriters on both sides of the Atlantic and formed a healthy counterweight to some of the most rock Who came from the side of Billy Bond, Italian by birth who had come to our pampas to become a sound engineer and had organized around him a group of transhumant musicians that was called La Pesada del Rock And Roll (and which, For example, the former Manal). Inadvertently for many, this counterweight was transformed by the unfortunate interventions of the press - which sought a new way of polarizing the musicians, separating and compartmentalizing them - and, of course, some personal quarrel among the artists themselves, in A true division of Argentine rock. By 1972, this separation was clearer than ever and expressed in two apparently opposing concepts, never complementary (although in fact they could be, obviously): electric, musicians looking for a root blusera, distorted, electric and heavy in their proposals , And the acoustic ones, which were just the opposite, more prone to melody, intimate lyrics and humble and subtle arrangements. Among the first, of course, La Pesada appeared as a guiding light and main vehicle of diffusion. Among the latter there is a lot of new young people, a lot of young people who want to do their thing, but without a name that will help to carry it, although when Litto Nebbia leaves his Huinca project in favor of a creative alliance with folklorist percusionist Domingo Cura. The cause of these children. The same would occur customarily with other luminaries of the first rock, who would be, who, far from any classification, would pivot with skill between both ways of seeing things, demonstrating their complementarity and trying to move the divisions. The most visible among them would be the great Edelmiro Molinari, who was not content to include some other pastoral and peaceful song in his once electrified and zapado Color Human sponsored his wife, the singer Gabriela, in his way folk of little (?) Accompanying him with his band, but also Spinetta and Del Guercio, among others, would incur more or less frequently in the same variant. We speak of Molinari, however, because it would be central to the history that we will develop today. Noting that the so-called pre-BA Rock, or BA Rock indoors (which was done in the Atlantic theater) would not have much place for songwriters, it was he who had the idea of ​​bringing them together in one place to give them the spread Which they thought they deserved. He met with Nebbia and his former bandmate David Lebón and together they worked out the idea that would give rise to the album that we offer today: a completely acoustic show in which the walls of amps and the distortions in favor of a washed sound are abandoned and Calm that also would serve to present to the new figures of the song. The show took place on June 16, two months before the start of the pre-BA Rock, in the Atlantic Theater itself, and in addition to Nebbia, Molinari, Lebón and Gabriela, a few young people of promising future were presented: the newly arrived Santa Fe Leon Gieco , The ascendant Raúl Porchetto (months before his ambitious debut Cristo Rock), young Miguel Krochik and Carlos Daniel and the duo Miguel and Eugenio. But this is not the most interesting of the whole question, but .........

1. Introducción: Lebón - Molinari.
2. Abre el día - Gabriela.
3. Rodando - Gabriela.
4. Vamos Negro - Litto Nebbia.
5. Cuando - Miguel Pérez, Eugenio Pérez.
6. Si vos sí, no. Si vos no, sí. - Carlos Daniel
7. Cortar el viento. - Raúl Porchetto.
8. Guilmar. - Miguel Krochik- Gregorio Fleicher.
9. Hombres de hierro. León Gieco

- David Lebon / Voz, guitarra
- Edelmiro Molinari / Guitarra
- Gabriela / Voz
- Litto Nebbia / Voz, guitarra
- Raúl Porchetto / Voz, guitarra
- León Gieco / Voz, guitarra, armónica
- Miguel y Eugenio / Voz, guitarras, flautas
- Miguel Krochik / Voz, guitarra
- Carlos Daniel / Voz, guitarra de 12 cuerdas
Petty / Guitarra
Domingo Cura / Bombo, percusión

30 Jun 2017

V.A. "Rock Hasta Que Se Ponga El Sol" 1973 Argentina Psych Prog

 V.A. "Rock Hasta Que Se Ponga El Sol" 1973 Argentina Psych Prog 

Filmada en el Festival BARock III, organizado por Daniel Ripoll


In order to be able to publish his first album, he had to access a concession, participate in a film with artists of the record label. This is how The Stranger of Long Hair is born, a film that was built to promote a number of RCA artists such as The Young Guard, Fresh Painting, New Connection No. 5, Narrow Gauge and to Litto Nebbia himself, among others. The film, well, that can be counted, beat beat music at a time when the beat was already past. Litto interprets the songs "Rosemary" (thanks to the film will be his great success in the beginning of his solo career) "Woman of the thousand days" and "Let him know the world today". We could call it a great approach, but little rock and nothing. We must keep in mind that there were already groups such as Almond, Manal, Vox Dei, Arco Iris, Pedro and Pablo, etc ...
To finish the raconto of films that contained rock in its content we have to mention Tire of Grace (1968) [See in this same Web] in which the soundtrack is interpreted by Manal and With Soul and Life (1970), of the Director Jose Kohn, which contains soundtrack and a small participation of La Barra de Chocolate. These are two films that only used rock as a complement. In the matter of short films, two Los Shakers, (1966) directed by Rodolfo Corral and Bs. As. Beat (1970) directed by Néstor Cosentino, should be mentioned.
On an idea by Anibal Uset, who ended up being the director and co-author, along with Jorge Álvarez, of the script of the film, begin to take the first steps towards realizing a dream for many: to make a film about Argentine rock.

Uset was neither an improvised nor a person outside of rock. "It is one of my hidden passions."  Back in 1965-66 he was fortunate to live in London at the height of the British Invation and Swinging London. " There he had the luxury of filming groups like The Animals, Herman Hermitis, Peter & Gordon, among others. These images would later be used in the film "El Rey en Londres", which in Argentina version starred Palito Ortega and Graciela Borges.

In the minds of the producers Jorge Álvarez (former Mandioca) and Daniel Ripoll (Director of the magazine Pelo) begins to prowl the idea of generating the Argentine Woodstock and for this they organize the B.A. Rock.
"The film started a little by lying to them and another one telling them the truth, I convinced producers Olivera and Ayala, who came from making commercial music films, that there was a new music that was going to move. The owner of Microfón, who had been warning of a growth in the sales of some rock albums.This is how rock came into the cinema,

The B.A.Rock III Progressive Music Festival, were organized in the year 1972, took place in the field of Club Argentinos juniors and in the Theater Olimpia. These performances were immortalized only with two chambers, one by Marcelo País and the other by Lionel Lobótrico, and without the synchro system, something basic if you want to do things as God commands. "The film I made with equipment that was obsolete by the time, but what was important was the idea, to show all the music that was emerging in Buenos Aires at that time"

"I worked without the synchro, you know how complicated it is to work without that element, so instead of merging the images of one camera and another, it seems as if the image was cut. The one that worked that was very good "
But the film did not only stay with what happened in those Festivals, they prepared skechs, whose authorships must be awarded to the musicians themselves and images that could well become video clips. There was also space to not forget the beginnings and make a review on Los Gatos, Almond, Moris, Manal, etc ....

"The idea was to show what was going on in the musical scene of the time. Do you know why Pappo and Pescado Rabioso appear in the film? Because I believed they had to be, not only those who acted in BA Rock, but others who I thought they had to be and they had not participated in the festival.There were people that I could not put, like Moris, that I would have loved to participate or the great absent Aquelarre, but things were like that and can not be changed "
We can say that one of the star groups of the film, without demeaning anyone - was Vox Dei in his interpretation of the theme "The Wars" of the album La Biblia. Aníbal and his small group of assistants filmed the trio in the Methodist Church, which still exists today and is located on Av Corrientes to 600.

To emphasize, if you look closely Vox Dei interprets two songs, the first "Presente", which has the particularity of presenting a camera with color film, and the other in black and white. "It was not easy to obtain color film at that time, nowadays it is more expensive the black and white, but in those days there were few and very expensive"  There you can see some very bearded Vox Dei and with super hair long. For the next song they are seen (will be because they entered a church?) With short hair, well adjusted and shaved.

For the initial number of the semi documentary, images of a sunrise in the Rio de la Plata, with the music of Color Human, were filmed live at the festival. Later the same trio is seen interpreting another one of the subjects, but this time they are filmed in the funds of the cinematographic studies Baires.
In "Hasta ..." they make their debut the then successful duo Sui Generis, "I included them in the film by the insistence of Gordo Pierre Bayona, who was his producer"  Sui Generis had already entered the staff that Alvarez had and Were about to enter to record their first album. They initially were not going to participate in the festival, but that weekend it rained and had to be suspended, during the week it was arranged that Sui act and this is how the other Saturday the duo was filmed. "That day, do not ask me how or why, one of the cameras was broken, so some parts of Sui Generis had to be filmed again." (3) Of course I just explained how it was possible that the drummer in Some shots appear with white shirt and in others with blue shirt. Nito Mestre remembers that event in this way: "What happened was that on the day of the Festival we went to play with Paco Pratti, who was our drummer, the one who recorded on the first record, like a camera had broken, we had to Filming again and that day Paco could not go, so someone replaced him, I do not know who, some assistant "
Something that must be taken into account and that few people know is that much of the success that Sui Generis achieved with his album Vida, was thanks to the inclusion they had in this film. They had participated of the film and they had edited the disc, and they had gone to Mar del Plata to play during the summer. "We went to Mar del Plata so that nothing happened" (4) On the return of that excursion Marplatense and before the first recitals that the group offered in the Capital, and before its astonishment, the public asked Rock for the death.

Pappo's Blues was another one of those that were filmed them apart, in the Theater Olimpia that was located in Sarmiento and Viamonte. In his passage he can be seen accompanied by the members of the group La Máquina, a grouping of the west of Greater Buenos Aires, that could only record a simple (not even in a with Pappo). In that presentation Pappo advanced the song "Working in the Railroad, "which he would later include in Volume 3, and played" Train of 16 ". "The part of Pappo was propitious so that I could incorporate in the film Josefina Robirosa and Juan Oreste Gatti, if it did not place them there, where it did it?
Juan Oreste Gatti, is not only the dancer of the film, but is a spectacular draftsman. He owes him all the cover art of the albums edited in Microfon.

The most memorable participation of the film, may be the Pescado Rabioso. Originally they did not participate of the Festival and were proposed by Anibal to appear in the film. "Fish could not stop missing. They just played in a theater and everything was arranged so that I would go with my film crew and work"

The Rabies are the ones who have the most participation in the film with the two themes of their first simple live "Post Crusificación" and "Despiertate Nena" a skech and something like a primitive video clip.

With regard to live performance there are two things to highlight: First the skinny Spinetta scene coming out on stage with a police siren stuck behind his back. That was a direct reference to the repression that was lived, for the mere fact of being a rocker and having long hair (One knew that he was going to a recital, but not if he came back). The other touch was given by David Lebón when he appeared dressed as a woman.
"A lot of my film crew was working alongside the filming of one of Porcel's films at the Baires filming studios. There, at a lunch break, they lent me the studio, gave me a camera and told me I had an hour To work.What could I do in an hour ?, besides I only had a movie for two minutes.I installed the camera and told them to do what they wanted, I put the subject "After the Bomb" and recorded what you see in the movie  The subject to which Anibal refers was later published on the album Pescado 2, entitled "Corto".

Finally is the film consecration of Pescado Rabioso in the cinema, the scene summit: A sunny afternoon, time of the siesta. A soft paneo shows desolate streets, which reflect the tranquility of the San Isidro neighborhood. Suddenly, the Fish appear on the scene, walking leisurely talking among themselves, as if abstracted from everything that may be happening around them. At the same time, they make their appearance a Ford Farline (model that denoted luxury for the time) and a Fiat 1500 blue, that park, each by its side. From the Farline the chauffeur leaves the door for a kind of count who walks in the street and will be a witness of what is about to happen. At the approach of the Rabid, the door of the Fiat opens and a bully comes out with a shotgun and waits for his prey to be right on target. When the four many are just in sight the shotgun is fired, striking right into David Lebón's stomach, to which the belly explodes him, keeping his guts in his hands. Immutable and without any signs of pain, he approaches the aggressor, balancing his damaged entrails and rebukes him, striking him with them. "I would get you in cana ...", the whole group greets and as if nothing had happened they continue their journey that leads to the live performance of the Teatro Olimpia. "It was an idea we had with Lebón.The mobster was a friend of the group, and the one who gets out of the car and shoots was the fat Rosino, a guitarist of the time"
The film had many peculiarities and one of them was that each set was free to select the theme (s) they wanted to include in the film

"With Arco Iris I had a problem, because the song they chose lasted like 17 minutes, it was all a zapada. I had two cameras with more than three minutes of tape in each one, that making them start first one and then the Another obtained no more than six minutes of filming in total.That is why the subject is cut, I think it was the right decision given the situation "

The Heavy of Rock and Roll, true to its style, used the film to continue with its mockery towards everything established. Already from the skech in which they mock the bourgeoisie by imitating people who drink pompous tea, or who bathes calmly while an entourage of women serve the grapes directly to the mouth. As a finishing touch they used the theme "Tontos" (clear allusion to power), which is filmed at the Festival, in a live version much earlier than the one that later came out on the disc.

"For that scene use an abandoned set that was in the Baires Studios and those of the Heavy were lent for the disguises"
In the film also the novels appear, next to Sui Generis, Leon Gieco that interprets "Men of Iron", Orion's Beethoven with the subject "Nirmanacaya" included in its debut disc Superángel and Gabriela singing "Peasant of the Sun", its first simple one. If we observe carefully we realize that just these four numbers are the only ones filmed entirely live and they interpret a single song, of course they just started and had to pay floor right. Anibal recalls: "When the time came for Orion's had a single camera and for the filming was not something quiet and monotonous I came up with that lens that gives a conical effect, the sound is the live sound of the group taken with a cable From the sound console to the camera, without any improvement process, that happens throughout the film, so the sound is so irregular. " Regarding the debut of the singer Gabriela, it must be said that better not Could have been accompanied, want to know how the support band was composed? Good with Edelmiro Molinari (Ex Almendra and at that time in Color Human) on guitar; Oscar Moro (Los Gatos, Huinca and then at Aquarium) on drums; In keyboards Litto Nebbia (I think that it is not necessary more), and in the low Emilio of the Guercio (Almond and Aquelarre). As a debut support group I think it's okay, right?

Claudio Gabis, gave not only the film but also the long play an additional value, since his interpretation of "Raga", became an exclusive. Hannibal to reflect on the film mixed images of Claudio Gabis live, with other guitarist plays playing at Phonalex studios, more photos of what the real world is (hunger and war).

For the end we have the performance of the pioneer interpreter of the national rock: Litto Nebbia, that by then his musical projects were far from being rock. As shown by the images Litto joined the folklorist Domingo Cura and between the two interpreted the songs "El Bohemio" and "Vamos Negro", both included in the album Awake in America. "With LiTto it happened the same as with others, it had a single camera with film and almost three minutes of film, that's why he appears live at the beginning and at the end. For the whole medium we recorded it in a studio where he played with whites And with the blacks.............

"Rock Hasta Que Se Ponga El Sol"  was released on Thursday, February 8, 1973 at the Cinema Sarmiento de Lavalle 852, in neighborhoods of Greater Buenos Aires and in the cinema América de Mar del Plata. All his promotional campaign for the big debut was this notice in the entertainment part of the newspapers: "The best program for youth, with the best sets of the moment, in color and suitable for all"....

At the same time the B.A.Rock III National Festival of Progressive Music was organized . It was promoted, but without dissemination or dates, or the place where it was to be developed. "We have grown, and we have the problems and inconveniences that this implies, now the progressive is a real force, a position more or less clear." When the groups were able to count on the fingers of the hand, when those who moved the thing - by virtue of a very expensive oxygen - were very few and when the public was little and the businessmen despised it the whole was translucent because the small power was in sight and the fences that were interposed knew what they were.

Now the thing is different. Any movement of the progressive is a serious thing: "thousands of people gathered, long plays sold by millions, ratings are television won, etc ..." (...) "This time everyone already deduce it will be more important than ever because we have Grown in quality, in public, in ideas, in importance at a musical level, in musicians. "

We are already talking about the film in these terms: "Under the direction of Hannibal Uset will be filmed a full-length film about everything that happens in B.A. Rock, music, the public the meaning. Provisionally the film is titled "Until the sun sets" which is the proposal of B.A. Rock for three years, to frame the duration of their journeys in time. The shoot will be made with live sound and there will be four cameras simultaneously filming the performance of the participating groups. It is essential for the progressive music that this film goes well: it will be seen throughout the country (possibly in the first week of 1973) and will be taken abroad in strong circuits of release. For this, the special collaboration of the public will be requested. The close understanding with the musicians who actively participate in the basic idea of ​​the film. "

Then in number 32 of the aforementioned magazine and before the coverage of what happened at the Festival it is said: "The feature film that is being made about the BARock festival, will be a kind of image of the time stopped to analyze the whole The current record will be the first important visual document of the evolution of rock in Argentina.This evolution that is taking the rock in Argentina will surely lead to a change of guidelines in the form of presentation The festival this year - in doing so in a field - has fundamentally varied "

. "Rock Hasta Que Se Ponga El Sol" is an Argentinean film directed by Aníbal Uset and produced by Aries Cinematográfica Argentina SA. It premiered on February 8, 1973 at Sarmiento Cinema, located at Lavalle Street 852 in the City of Buenos Aires. The script was made by director Uset and producer Jorge Álvarez.

It is the first documentary of the foundational stage of the Argentine rock movement. Most of its contents were recorded in the performances of the main groups of this musical genre in the third edition of the BA Rock Festival of 1972, performed at the Argentinos Juniors club in Buenos Aires, completed with filming at the Teatro Olimpia and in The film studios Argentina Sono Film and Phonalex.

In the film live performances in color of Pappo, Sui Generis, Leon Gieco, Claudio Gabis, Billy Bond and Pescado Rabioso, among other artists, as well as plot sequences interpreted by members of some of the groups that participated in the festival.

All the artists included in the disc belonged to the label Talent, the others were of other record labels and none of them allowed them to include their artists if they did not pay rights for it. No company took the risk that the record would be a sales success and that it would not be participated, even if it was not in a small portion.

In short, I think it's a long play with very good intentions, which I think is not the true reflection of Festival B.A. Rock, nor the one of the film of the same name, but that if serves as testimony of how they sounded these bands live in 1972.......................

01. Larga vida al sol (Color Humano)
02. Cosas rústicas (Color Humano)
03. Hombres de hierro (Leon Gieco)
04. Presente (Vox Dei)
05. Guerras (Vox Dei)
06. Jeremías pies de plomo (Vox Dei)
07. Campesina (Gabriela)
08. Tontos (Billy Bond y la Pesada del Rock'n Roll)
09. Raga (Claudio Gabis)
10. Nirmanakaya (Orion´s Beethoven)
11. Canción para mi muerte (Sui Generis)
12. Si no son más de las tres (Litto Nebbia y Domingo Cura)
13. Fuerza negro (Litto Nebbia y Domingo Cura)
14. Entrevistas (Litto Nebbia y Domingo Cura)
15. El tren de las 16 (Pappo´s Blues)
16. Despierta Nena (Pescado Rabioso)
17. Corto (Pescado Rabioso)
18. Post Crucifixion (Pescado Rabioso)
19. Hombre (Arco Iris) 

Splash "Ut På Vischan" 1972 Sweden Prog Jazz Rock

Splash "Ut På Vischan"  1972 Sweden Prog Jazz Rock


Progressive/Jazz-Rock act coming from the city of S'derhamn in Central Sweden.Splash were formed in 1969 as an eight-piece group - some of the members played in the Pop band Why [SWE] in the 60's - however suffering from some line-up changes during their early years.In 1972 the band released the debut ''Ut P' Vischen'' on Polydor.By the time they had two sax players Christer Holm and H'kan Lewin and two trumpet/horn players, Leif Halld'n and Lennart L'fgren.The line-up included also drummer Jan Erik Westin, bassist/singer Kaj S'derstr'm, guitarist/singer Christer Jansson and keyboardist G'sta Rundqvist.
Splash were greatly influenced by bands lile CHICAGO and BLOOD,SWEAT AND TEARS,so their sound was much driven by the band's horn section, including refined sax attacks, melodic horns and bluesy trumpet parts, especially in the instrumental parts.The keyboard work of Rundqvist still played a major role though, filling the tracks with organ preludes and calm jazzy piano passages.Unlike many Jazz/Blues-based Progressive bands, Splash focused on producing some lovely and melodic tunes,moving far from the Jazz improvised structures, creating thus memorable and delicate song-based material.Vocals are all in Swedish with an excellent color and become real highligh throughout the listening.The style overall is quite rich, polished and elegant.

Good early-70's Jazz/Blues-Rock with nice balance and melodic arrangements, far from being too complicated.A bit dated for today's standards but definitely well-played and apps79 .................

A1 Jag Minns Min Gröna Dal 5:19
A2 Jag Drömmer Om En Annan Värld 6:16
A3 Stormen 4:34
A4 Ut På Vischan 3:58
B1 Frihet 3:01
B2 Spelmannen Och Forskarlen 6:51
B3 Vår Dröm 3:47
B4 Smutsig Jord 4:59

Donna Caroll "Donna Caroll" 1973 Argentina Prog Folk,Latin Jazz

Oscar Lopez Ruiz, Alejo Medina, Donna Caroll, Billy Bond

Donna Caroll "Donna Caroll" 1973 Argentina Prog Folk,Latin Jazz


The singer of Jazz Donna Caroll, accompanied by La Pesada, Adalverto Cevasco, Lopez Ruiz, interpreting subjects of Spinetta, A. Medina, Porchetto etc. Recorded in 1973.......

Lp by exquisite female jazz singer Donna Caroll performing all times classic Argentine standards going from tango (A. Pîazzolla) to folk (A. Yupanqui) backed by Billy Bond, Kubero Diaz, Alejandro Medina & Claudio Gabis a.k.a "La Pesada" among other top musicians from the jazz & folk scenes like Domingo Cura & Adalberto Cevasco with arrangements & conduction by Oscar Lopez Ruiz. The peculiar assemble results in an interesting folk prog album. A Must Have for Worldwide Collectors!!!........................

Another very requested album in La Nave del Rock Argento, that of this excellent jazz singer with the collaboration of La Pesada del Rock and Roll, interpreting some emblematic themes of Argentinean and Latin American popular music A delirium of eclecticism in which there are "rarities "As interesting as" The bagual rock del gualicho "(Alejandro Medina), living with" Chiquilin de bachín "(Piazzolla and Ferrer), as well as" The axes of my cart "(Atahualpa Yupanqui)," Maria Betania " (By Caetano Veloso), "El dia que me quieras" (by Gardel and Le Pera) and "Prayer for a Sleeping Child" (by Spinetta, which was the simple one for the diffusion of this album)..............

Donna and La Pesada

"For the students of the national rock, Donna Caroll is also a great singer who knew to have a meeting with the troupe of the Heavy of the Rock and Roll that commanded Jorge Álvarez, legendary publisher and producer of bands like Manal, and pioneer creator of the seal Mandioca At the initiative of Álvarez, Caroll sang in Buenos Aires Blus and then with her husband Oscar López Ruiz recorded a very good album (the namesake Donna Caroll) with musicians like Billy Bond, Alejandro Medina and other habitués of La Pesada. Piece of collection and a jewel of his discography.

"How did you end up recording with La Pesada?"

"It was Jorge Álvarez's idea. And it was the opportunity to do wonderful things, especially for Oscar, who took the opportunity to interact musically with La Pesada. They behaved excellent with us. And even today, when we see each other, we embrace and greet each other with much affection. For example with Alejandro Medina when we are in Sadaic. The truth is that I loved doing that record with them and today I remember it as a very cute moment. " ....Donna Carrol,.............


01- La baguala rock del gualicho (Alejandro Medina)
02- Sana, sana, colita de rana (Raul Porchetto)
03- Chiquilín de Bachín (Astor Piazzolla-Horacio Ferrer)
04- Las casualidades de Bebe, Belly, Donna y Juan (B.Bond-B.B.Muñoz-Juan Gelman)
05- Los ejes de mi carreta (Atahualpa Yupanqui)
06- Plegaria para un niño dormido (Luis Alberto Spinetta)
07- María Betania (Caetano Veloso)
08- El día que me quieras (Carlos Gardel-Alfredo Lepera)

Genesis "Genesis" 1972 Uruguay Latin Psych Rock monster

Genesis "Genesis" 1972 ultra rare Uruguay Latin Psych Rock monster


A psych Masterpiece from Uruguay with 8 bonus tracks. The album originally from 1972 and bonus tracks 1970 / 71 / 75 / 76. Genesis played a psychedelic hard-rock, along with many guitars combinations ballads sang in Spanish. Since their first LP, their started to fusion their style with the Uruguayan 'Condome', which originated a Latin rock, Santana's fashion, with little touch of folklore.......

Technically, this group from Uruguay is called Génesis, but it still means the same thing, but on the album cover it simply printed as Genesis (without the accent marks). Were these guys unaware that an English group had used the same name (but without the accent mark)? Probably, after all the British band was still yet to make a name for themselves (Nursery Cryme sold best in Italy, but after Foxtrot, England, and then the rest of the world would follow). But I know the English Genesis was known in Uruguay as you can get a copy of Selling England by the Pound under the Spanish title Vendendio Inglaterra por una Libra (with the song titles in Spanish) as a Uruguayan print.

This Génesis only managed one album in 1972 on the Sondor label (as well as a handful of singles previous), and you know right away it's not the Genesis we all know. There's a band photo on the cover, a five piece, and nowhere do you see Phil Collins or Peter Gabriel. Instead, the group consisted of guitarist Jorge Silva, vocalist and percussionist Eduardo Patron, guitarist and vocalist Ruben Laborde, bassist Carlos Souza and drummer Yamandu Perez. This is simply some of the finest South American rock you're going to hear, with a great combination of hard rock, psych, prog, Latin, and candombe (African derived music native to Uruguay, which conga-like drums dominate). There's at times I get reminded a bit of Santana, but without the upfront percussion, like on "Lograme", one song, "Tenne Una Vez" has almost Crosby, Still & Nash-like vocal harmonies. "Solo Voy Despertando" sounds like a variant of "Lograme", but includes an extended guitar solo, and some nice jazzy passages. Aside from the ten songs that make up the LP, this CD reissue is packed with all the singles the band released from 1970 to 1976 as bonus cuts, giving you all the recorded material this group had done. I can't believe the amount of great prog, psychedelia and just plain great rock I've been discovering out of Latin American countries. And this is just one of them. Génesis should have been big in Uruguay, as it's full of great catchy songs and melodies, and creative passages, without overly complex or elaborate passages, it's pretty accessible to the more average rock listener, but at the same time has all the great elements to please fans of hard rock and psychedelia, and even the prog rock fan who don't have to all their prog be like Yes or Genesis (the British band, that is). But I hear the 1972 Génesis LP is one of the rarest South American albums, so of course you will need the CD reissue. I was so blown away by this album, it's little wonder why they got so highly praised. Looking for more great Latin American rock? You won't go wrong with Génesis!....By BENJAMIN MILER................

Wonderful Uruguayan band that in spite of its dilated trajectory only records this excellent LP in 1972. The compositions belongs for the most part to Jorge Silva who impresses on them the fabulous sound of his guitar, sometimes clean and in most of the opportunities With fuzz, correctly accompanied by the rhythm of Laborde and the base in which the very good work of drummer of Yamandú is highlighted. The voice of Patrón, who collaborates in several of the compositions has that peculiar timbre that makes it unmistakably Uruguayan. They work an energetic rock and something elaborated with dyes of psicodelia, jazz and of course candombe. The CD edition also has four tracks that appeared in simple pre-LPs, with Hector Mosquera on bass and a wilder sound and four other tracks from 1975 to 1976 with a different lineup in which both Silva and Laborde . They incorporate keyboards and probably more subtlety, but the loss of Patron's voice is a very high price................

Eduardo Patrón: Voz, percusion
Ruben Laborde: Guitarra ritmica, voz
Jorge Silva: Guitarra lider, voz
Carlos Souza: Bajo
Yamandu Perez: Batería, percusion

A1 Cancion De Un Tiempo
A2 Lograme
A3 Manana
A4 Nosotros Hoy
A5 Ya
A6 Solo Voy Despertando
B1 Reflexion 2
B2 Tenia Una Vez
B3 Despiertas
B4 Cuerpo

The Doors "Live in New York" (The Doors Live Album) 2009 (Recorded in 1970)

The Doors "Live in New York" (The Doors Live Album) 2009 (Recorded in 1970)

full 6 CD Compilation…….

Double LP collection contains The Doors' first show from the Felt Forum in New York City on the night of January 17th, 1970 in its entirety. Recorded just a few weeks before the release of Morrison Hotel.........

I just finished listening to this 6 cd box set. It's a collection of the Doors 4 performances recorded at New York's Felt Forum on January 17/18, 1970. All I can say is I've been really impressed by the quality of the packaging, the sound, as well as the bands performances! These concerts were expertly recorded! Very clear and atmospheric recordings. The Doors performances were great and often inspired! Jim's voice gave out a little in the final show, but he made up for it with his energy and enthusiasm! Jim was really into these shows and performed very well.

Some may notice that small parts of the song introductions as well as a few sections of songs themselves have been spliced in from other performances on the rare occasion. However, this is very very minor. The vast majority of the original Felt Forum tapes are included here. The problem was since these shows were originally recorded, the tapes had been cut into many fragments for usage in various live releases through the years. From my understanding, Bruce Botnick basically had to assemble the tapes as if they were a jigsaw puzzle. A few very small tape fragments are unfortunately lost forever. With this taken into consideration, I think Mr. Botnick did a great job! The other options were to either a) release what they had with the missing pieces, or b) fill in the missing gaps with lesser sound quality audience recordings. Mr. Botnick chose to keep the flow of the concerts going without a drop in sound quality. I'm fine with his decision all things considered.

Another decision Bruce Botnick had to make was regarding John Sebastion's harmonica playing on the January 18th late show. The problem was that his harmonica wasn't miced and thus not picked up on the original recordings. The solution was to have Mr. Sebastion overdub his harmonica playing. I've read those particular songs will be released via download without Sebastion's overdubs. Keeps all sides happy I think.

In conclusion, I'm very happy with this release and highly recommend it to fans of the group! I also encourage them to BUY it. This is the last release from the 'Absolutely Live' concert recordings. Hopefully if this release is supported well and they make a little profit, it could encourage them to seek out rare recordings for future release via download or cd (I'd love Avalon Ballroom 1967 personally). Can't wait for the Matrix master tapes!......By GoBlue77......................

Whenever Rhino is involved in a project it is usually done quite tastefully. This 6CD set from " The Doors " is certainly no exception. I am a huge Doors fan and have all the recently released live sets from " The Doors " mostly on the Bright Midnight label and while they are all very fine captured moments in The Doors legacy this one smokes them all hands down. As usual when The Doors perform the crowd is quite rowdy to say the least and the are captured very well on these discs. But in no way does it interfere with the music. In fact I think it enhances the feeling of a Live Doors show. The music ( some of which appears on the incredible " Absolutely Live " Lp from 1970 ) is recorded well and hits the mark quite well. This is the best Live Doors I have ever heard. You get four complete shows on two different nights. There may be better live material out there but I have not heard it. I realize its a little pricey in this bad economy but If you can swing it you won't regret it. It is worth it. This my friends is real Rock n Roll!.......By Arthurley.............

There is very little, if any, that one could criticize about this CD set. This weekend at the Felt Forum in January of 1970 represents all that was/is pure about live music. It transcends the onslaught of all the failed attempts (for the consumer) at re-marketing, remastering and AAD conversions perpetrated by the music industry directed to it's dedicated customers. Going from AM radio to 45's to LP's to 8 tracks to cassette to reel-to-reel to CD's to digital media and back to remastered CD's - I still LOVE the music that played such an important part in my personal growth. And when it is THIS good I've come to LOVE it at a substantially greater/different level. Despite the fact that my parents literally locked me in my room that weekend in January 1970, to prevent me from sneaking to any of the Door's shows, it was a bonus to purchase this set and enjoy a truly unadulterated display of creativity. In my humble opinion the four nights are NOT the same shows but four separate performances each with it's own identity. An audiophilic Doors fan MUST HAVE. A "must have" for any fan of live/studio music. Pass the banner to the next generation. A symbolic and impressive gift to yourself or special one - Democrat or Republican. Considering the cost of a concert ticket, here your cost is $12.00 per show which is not much more than $5.50 for an Orchestra Seat at the Forum. Cost today for the Door's @ Felt Forum - Orchestra seating???? Some things are good enough to be true. P.S. I did pay $32.00 each ($26.00 more) for four seats which I consequently gave to my older sister (she didn't go).......By challenged1..............

So  I'm 13, and I'm slouching through Harvard Square on my way to get Pink Floyd boots at the used record store. I'm just starting to grow my hair long-- which never really worked out-- and I'm wearing a grey t-shirt sporting the hundred-yard-stare of Jim Morrison of the Doors. From across the street, a guy three times my age shouts: "Fuck! Yeah! The Doors!" And for that moment, we are brothers.

*The Kids in the Hall'*s Bruce McCulloch argued that Doors fans are born, not made. But he ducks the question of why we're not making them anymore. Today, one of the first standard-bearers of rock is less hip than Journey. Let's review the case against the band: First we have Morrison himself, who's been blown into a caricature by his super-sexual persona, his wifty poetry, and his early death in a Paris bathtub. The music sounds like a weird cross between shit-kicking blues-rock and brain-spraining acid-jams, and it's easier to get your avant-garage fix from the Velvet Underground, your rock shaman verse from Patti Smith (or not at all), or your psychedelic extravagance from countless Nuggets bands. As dead 1960s rockers go, Jimi's legacy has left Janis and Jim in the dust. It may be a strange way to put it, but the problem with the Doors is that they were not efficient.

Let's say that's where you are with this band. So here's how this set might change your mind.

Rhino has reissued all four sets from their gig at the Felt Forum in January 1970, right before the release of Morrison Hotel-- and still in the shadow of Morrison's drunken, obnoxious, and allegedly obscene performance in Miami, which threatened him with jail time. Many tracks from these shows have been released before, but on this box you can listen to them bootleg-style, with all the repeated songs, tuning breaks, and banter with the audience.

The Live in New York set sounds like an unedited performance, but in fact, the tapes had been so worked-over for other live albums that the team had to meticulously reconstruct it from 8-track and 2-track source tapes, using fan tapes as reference. Guest John Sebastian's harmonica wasn't even captured in the original mix; producer Bruce Botnick brought him back to the studio this year to replay the solos, based on what they got from tape bleed. Why go to the trouble? Because this is the truth. It's what the Doors sounded like, without the heavy hand of an Oliver Stone looking for the juicy parts-- and without the impatience of the iPod generation trying to trim it down.

As you listen to the set, Morrison doesn't come off as a self-absorbed mystic: He's far more like the troubled kid in school who couldn't sit still and didn't fear anything. He demands and rewards attention. He's petulant with the audience, even barking at them or pleading to "give the singer some" when they won't stop talking.

The vibe from the crowd may explain why the fourth show starts rough: After scolding the crowd, Morrison sounds disengaged or mocking as he wanders through the first few songs. But then he suddenly rewards the audience with a rare performance of his rock suite/poetry slam, "Celebration of the Lizard". The piece isn't exactly a lost classic-- it's not his most powerful verse, and musically it doesn't gel like "The End"-- but the best thing about this recording is how into it Morrison gets, from the quiet couplets to the screams. It's easy to see how people fell in love with the poet no matter the poetry, although some of his verse is still dangerous: The "Horse Latitudes" poem that he interjects in "Moonlight Drive" boasts his strongest imagery, and the contrast between that and the seaside groove is still striking.

The rest of the band is here to support the star, and it never lets him down: The Doors were a loose, groovy, and ferocious combo, here playing a setlist that sticks to rock and blues and skips all the winsome and folky stuff that cluttered up Waiting for the Sun and The Soft Parade. Organist Ray Manzarek played the hooks that turned songs like "Hello, I Love You" into pop hits, but here he's focused on driving the rhythm section. Even his legendary solo on "Light My Fire" changes in concert from a melodic improvisation to a jam that climaxes in frustration, as you can hear him stabbing the keys with all ten fingers and wishing he had another ten besides. On the other hand, guitarist Robby Krieger is ferocious right from the riff of "Roadhouse Blues", and he makes their cover of Bo Diddley's "Who Do You Love" one of the best recordings the Doors ever made.

History hates this band for its excess, but so what? The Doors thrived on excess. When Morrison gears up the crowd with his groin and his ego and roars, "gonna have a re-al, good time," no excess, no overdose, no scream is big enough for the good time he's got in mind. And that's the way to remember Chris Dahlen.....................

This six-disc compendium contains the complete run -- four sets over two nights -- by the Doors' at the Felt Forum in New York City January 17 and 18, 1970. Although previously unavailable in its entirety, music from these programs has shown up prominently throughout several live packages -- namely Absolutely Live (1970), and Alive She Cried (1983). Additionally, over an hour was excerpted to create the "Live in New York" CD within The Doors Box Set (1997). Most any unissued live material from the original quartet of John Densmore (drums), Robbie Krieger (guitar), Ray Manzarek (keyboards/vocals) and Jim Morrison (vocals/percussion) could be considered cause for celebration. However, the experience of hearing the band's ebb and flow as they organically develop the performance in real-time -- as opposed to hearing a package of material that has been cherry-picked after the fact -- is one of several advantages that the Live in New York (2009) anthology has over its predecessors. Another is the stunning fidelity throughout, thanks to the work of Doors' original producer/engineer Bruce Botnick and the exhaustive processes of restoring the eight-track, open-reel master tapes. With so much territory to cover -- over seven hours in all -- there are, inevitably, a few audio dropouts. In those rare instances, very good quality substitutions from other sources (of the exact same material) almost seamlessly fill in any moments that might be missing due to reel changes and the like. Always a question mark in terms of performance quality, Morrison is on pretty good behavior and in exceptional voice. Immediate evidence can be found on the soulful reading of "Blue Sunday" from the first show. However, by the final outing, his husky and raspy vocals make it clear that he is rapidly losing his range. Morrison has also cleaned up his stage prattle in the wake of the infamous occurrence where it was alleged that on March 1, 1969 in Miami, FL Morrison exposed himself during the show. A warrant was subsequently issued for his arrest on one felony count of lewd and lascivious behavior and three misdemeanor counts of indecent exposure, open profanity, and drunkenness. Certainly far from scared straight, he seems to have gotten the message, and was actually awaiting trial at the time of these recordings. He even jokingly refers to it during the spoken "Only When the Moon Comes Out" interlude on the 18th. On paper, there is little variance between each of the four set lists. However, the energy and vibe vacillate significantly from version to version and show to show. The core inclusions of "Roadhouse Blues," "Ship of Fools," "Alabama Song," "Light My Fire," and a combo pairing "Back Door Man" with "Five to One" were played every time. While "Alabama Song (Whisky Bar)," "Break on Through (To the Other Side)," and "Who Do You Love" were done a bit less frequently. On the other hand, there are rarities aplenty as "Blue Sunday," "Love Hides," "Little Red Rooster," "Crawling King Snake," a half-hearted "Wild Child," "The End," "Celebration of the Lizard," "Close to You" (sung by Manzarek) -- plus the four-song encore on the 18th that includes "Rock Me Baby," "Going to N.Y. Blues," "Maggie M'Gill," and "Gloria" were only unleashed once. During that same finale, former Lovin' Spoonful co-founder John Sebastian (harmonica) is invited on-stage. According to Bruce Botnick's "technical note" found in the accompanying liner notes booklet: "When John came onstage to join The Doors for the Sunday second show encore, he was handed a microphone that was only going through The Doors' sound system, and not plugged into the Fedco Audio Labs mobile truck. As a consequence, John's harmonica didn't get recorded. So, earlier in 2009, we arranged for John to join Ray Manzarek and myself at Skywalker Sound in San Rafael. John replayed his parts as closely as possible against the PA leakage from the audience tracks on the original recorded 8-track masters." Purists will be able to use a code on the Rhino Web site ( to download the untampered Lindsay Planer.....................

Rhino and Bright Midnight Archives unleash four inspired performances from The Doors‘ final tour with Live In New York. The latest addition to the band’s acclaimed series of archival concert releases, this six-disc collection contains all four of The Doors’ performances – in their entirety – recorded in 1970 at the Felt Forum in New York City. The collection will be available November 10 at all retail outlets, for suggested list price of $89.98 for the physical boxed set. A digital version featuring select highlights from all four Felt Forum shows will also be available at all digital retail outlets for $9.99.
The year prior to these shows, The Doors became one of the first rock bands to play New York City’s Madison Square Garden. When they returned in 1970, Densmore says they chose to play the Felt Forum, a smaller venue at the Garden. “It was more intimate, and you could feel the audience more,” he says. “There was more interaction, and the acoustics were much better, because it was designed for music.”

Fans will be blown away by the crisp sound found on Live In New York. All four shows were mixed and mastered by the band’s longtime engineer, Bruce Botnick, who recorded a number of shows from The Doors’ 1970 tour on multi-track tape for the Absolutely Live album. While most of the music contained on Live In New York is unreleased, a few songs (and portions of songs) surfaced in 1970 on Absolutely Live and in 1997 on The Doors Box Set.

Prior to the release of Live In New York, Rhino will release 180-gram vinyl versions of all six Doors studio albums on September 15. Previously available only in 2007’s The Doors Vinyl Box, original stereo mixes of The Doors’ six albums will now be available individually at all vinyl retail outlets......................

Disc 1
January 17, 1970 (First Show)
1. Start Of Show
2. Roadhouse Blues
3. Ship Of Fools*
4. Break On Through (To The Other Side)
5. Tuning
6. Peace Frog
7. Blue Sunday
8. Alabama Song (Whisky Bar)
9. Back Door Man*
10. Love Hides*
11. Five To One*
12. Tuning/Breather
13. Who Do You Love
14. Little Red Rooster
15. Money
16. Tuning
17. Light My Fire*
18. More, More, More
19. Soul Kitchen*
20. End Of Show

Disc 2
January 17, 1970 (Second Show)
1. Start Show 2
2. Jim “How Ya Doing?”
3. Roadhouse Blues
4. Break On Through (To The Other Side)*
5. Ship Of Fools
6. Crawling King Snake
7. Alabama Song (Whisky Bar)
8. Back Door Man*
9. Five To One
10. Pretty Neat, Pretty Good
11. Build Me A Woman
12. Tuning/Breather
13. Who Do You Love*
14. Tuning/Breather
15. Wild Child*
16. Cheering/Tuning
17. When The Music’s Over

Disc 3
January 17, 1970 (Second Show) continued
1. Tuning/Breather
2. Light My Fire*
3. Hey, Mr. Light Man!
4. Soul Kitchen*
5. Jim’s Fish Joke
6. The End
7. End Of Show

Disc 4
January 18, 1970 (Third Show)
1. Start Show 3
2. Roadhouse Blues*
3. Ship Of Fools*
4. Break On Through (To The Other Side)*
5. Tuning/Breather
6. Universal Mind*
7. Alabama Song (Whisky Bar) – False Start*
8. Alabama Song (Whisky Bar)*
9. Back Door Man*
10. Five To One
11. Tuning/Breather
12. Moonlight Drive
13. Who Do You Love*
14. Calling Out For Songs
15. Money*
16. Tuning/Breather
17. Light My Fire
18. More, More More
19. When The Music’s Over*
20. Good Night – End Show

Disc 5
January 18, 1970 (Fourth Show)
1. Start Show 4
2. Roadhouse Blues*
3. Peace Frog*
4. Alabama Song (Whisky Bar)*
5. Back Door Man
6. Five To One
7. We Have A Special Treat
8. Celebration Of The Lizard
9. Alright Let’s Boogie
10. Build Me A Woman
11. When The Music’s Over*
12. More, More, More

Disc 6
January 18, 1970 (Fourth Show) continued
1. Soul Kitchen*
2. For Fear Of Getting Too Patriotic
3. Petition The Lord With Prayer
4. Light My Fire
5. Only When The Moon Comes Out
6. Close To You
7. The Encore Begins
8. Rock Me*
9. What To Do Next?
10. Going To N.Y. Blues*
11. Tuning/Breather
12. Maggie M’Gill*
13. Tuning/Breather
14. Gloria*/End Of Show

*Previously unreleased

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Cassete Deck

Cassete Deck