The Rolling Stones - King Biscuit Flower Hour [1987]

O King Biscuit Flower Hour foi um tradicional programa de rádio dos Estados Unidos encabeçado pelo D.I.R. Radio Network, um pool de emissoras que transmitia shows de vários astros do rock. Existiu de 1973 até 2007 e durante esse período, ia ao ar semanalmente nas noites de domingo e chegou a ser retransmitido por mais de 300 estações de rádio. O nome foi inspirado no “King Biscuit Time” um outro célebre programa de rádio que apresentava blues e era patrocinado pela fábrica de biscoitos King Biscuit Flour Co., associado à frase hippie “flower power”, que virou flower hour.

A primeira transmissão aconteceu em 18 de fevereiro de 1973 destacando Blood, Sweat & Tears, Mahavishnu Orchestra, e Bruce Springsteen. Do princípio, até meados dos anos 90, a voz aveludada do apresentador Bill Minkin foi uma combinação perfeita de moderno entusiasmo e informalidade. Ao contrário do que algumas pessoas imaginam, as transmissões não aconteciam ao vivo, normalmente os shows eram gravados pela unidade móvel, um caminhão com equipamento de gravação, para depois serem mixados, editados e transmitidos semanas após. Os primeiros registros eram enviados às rádios em fita de rolo (carretel de fita magnética) e a partir dos anos 80, o D.I.R. começou a mandar as gravações em LPs. Eram dois discos, sendo que um deles não tinha nada registrado em um dos lados, porque o King Biscuit Flower Hour durava uma hora e em cada lado do LP, cabiam mais ou menos, uns vinte minutos de gravação. O primeiro programa registrado em compact disc, foi uma retrospectiva de shows dos Rolling Stones transmitida em 27 de setembro de 1987. Junto com essas fitas, discos e CDs, acompanhava um folheto explicativo indicando aos disc jockeys, os comentários e a duração de cada segmento do programa.
Fonte: Wikededia

Em 1995, o King Biscuit Flower Hour virou um selo e lançou no mercado alguns CDs, mas nem todas as bandas e suas respectivas gravadoras liberavam os direitos para produção de um álbum e, a grande maioria desses shows, apareceu por aí através de selos ilegais, que faziam o registro da rádio transmissão. Muitos desses discos se tornaram clássicos da pirataria e são disputados a tapas pelos colecionadores, entre os quais este The Rolling Stones King Biscuit Flower Hour, que traz a histórica transmissão de 1987 mencionada no parágrafo acima. Este disco foi lançado por um selo alemão cuja capa era apenas a cópia de um papel batido a máquina (provavelmente uma cópia do folheto explicativo dirigido aos DJs). Em bom áudio, temos aqui o programa de rádio tal qual foi transmitido, com a apresentação de Bill Minkin, propagandas de marcas e recrutamento para o exército dos Estados Unidos. Tudo dividido em três blocos de shows diferentes: o primeiro em Chicago (1981), o segundo em Detroit (1978) e o terceiro em Bruxelas (1975).

The Rolling Stones - King Biscuit Flower Hour

The King Biscuit Flower Hour was a syndicated radio show presented by the D.I.R. Radio Network that featured concert performances by various rock ‘n’ roll artists. The program was broadcast weekly on Sunday nights from 1973 until 2007, although new programming ceased in 1993 and previous shows were repeated from that point. During its prime, the program was carried by more than 300 radio stations throughout the United States. The show’s name was derived from the influential blues radio show “King Biscuit Time”, which was sponsored by the King Biscuit Flour Co., and the hippie phrase “flower power”. The first show was broadcast on February 18, 1973 and featured Blood, Sweat & Tears, the Mahavishnu Orchestra, and Bruce Springsteen. The long-time host of the show until the mid ‘90s was Bill Minkin, whose velvet-smooth voice was the perfect blend of hipster enthusiasm and stoner casualness.

The concerts were usually recorded with a mobile recording truck, then mixed and edited for broadcast on the show within a few weeks. In the 1970s, the show was sent to participating radio stations on reel-to-reel tape. In 1980 D.I.R. began using the LP format, producing the show on a three-sided, two record set. The first show on compact disc was a live retrospective of The Rolling Stones broadcast on September 27, 1987. By the year 2000, King Biscuit was using CD-R media to distribute the show. These tapes, records or compact discs were accompanied by a cue sheet which gave the disc jockey a written guideline of the content and length of each segment of the program.
From: Wikipedia

This is ripped from the FIRST EVER KBFH produced D.I.R. CD. All KBFH releases before this were on reel-to-reel tape & then vinyl. As you may be aware the CD is split into 3 segements. Each segment includes commercial breaks. Eg Ford Motorcraft, Budweiser, U.S. Army recruitment. Each segment also of course includes the live performances, in excellent quality, as follows.

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NIGEL KENNEDY

O violinista britânico Nigel Kennedy (28 de dezembro de 1956, Brighton), é um músico de formação erudita e estudou no conceituado Yehudi Menuhin School, na Inglaterra, aonde foi aluno do próprio Yehudi Menuhin, e também na famosa Juilliard School, em New York, sob a tutela de Dorothy DeLay. Ou seja: passou pelas melhores escolas, estudando com os melhores professores da música clássica. Ficou famoso por suas interpretações de Vivaldi, e também por suas incursões em outros estilos musicais como o rock e o jazz. Atitude incentivada pelo amigo e também violinista, o francês Stephane Grappelli. "Ele me deu a esperança de sobreviver do violino, sem ter necessariamente de tocar numa orquestra. Descobri que fazer música pode ser algo divertido e, ainda, que posso ser pago por isso", afirmou Kennedy. Obviamente essas aventuras do violinista são vista com maus olhares pelos puristas e críticos especializados em música clássica. Mas para as pessoas de mente aberta são magníficos exemplos de que a música de um mestre violinista não precisa ser totalmente erudita, chata, cheia de teias de aranha, não carece de rótulos, nem estilos. Ela pode e deve ser moderna, vibrante e sintonizada com o seu tempo e o universo ao seu redor.

O problema é que, muitas vezes, as interpretações de musicistas clássicos para peças do pop, rock e jazz, acabam soando meio piegas e são um tanto quanto chatas. Felizmente este não é o caso de Nigel Kennedy, que no seu disco em homenagem a Jimi Hendrix, The Kennedy Experience, transforma os hits blues-rock psicodélicos do gênio da guitarra em maravilhosas obras de rock sinfônicos, algumas ficaram até mesmo irreconhecíveis, como “Little Wing”, que ao ouvinte menos atento poderia tranqüilamente passar por uma música clássica. Também estou postando aqui a apresentação do Nigel Kennedy Quintet, realizada no Royal Albert Hall de Londres, em 19 de julho deste ano, contando com a participação especial de Jeff Beck. Um trabalho voltado para o jazz, que demonstra bem como Kennedy passeia com maestria por diferentes estilos. A última música desse disco é uma versão um pouco diferente da “Third Stone From The Sun” encontrada no The Kennedy Experience. Interessante ouvir as duas para sentir as diferentes formas de interpretação do mesmo tema.

Abaixo segue a crítica de Arnaldo Cohen, publicada na revista Veja em 5 de setembro, 1999, por ocasião do lançamento de The Kennedy Experience:

"O violinista Nigel Kennedy é um drogado, bêbado, que vomita em quartos de hotéis, trata seus empregados como escravos e vive no meio de tanta sujeira que lesmas caminham pelas paredes de sua cozinha." Essas acusações, publicadas no mês passado pelo tablóide londrino Daily Mail, foram feitas por Emma Jones, uma ex-secretária de Kennedy. "Sou grato por qualquer contribuição que divulgue meu trabalho", respondeu o músico, bem-humorado. Na verdade, o episódio acabou ajudando a publicidade em torno do lançamento do último disco desse enfant terrible da música erudita, pelo selo Sony. Recém-chegado às prateleiras brasileiras, The Kennedy Experience representa mais uma diabrura musical do violinista britânico de 43 anos. Chocando os puristas, Kennedy pega carona no repertório e no universo mágico do célebre guitarrista americano Jimi Hendrix, morto em 1970.

"As pessoas podem dizer, se quiserem, que sou um violinista clássico. Mas eu me considero um artista que faz música e não somente parte dela", disse Kennedy, ao embarcar no projeto The Kennedy Experience. O nome é uma homenagem ao trio The Jimi Hendrix Experience, formado em 1966 por Hendrix, o baixista Noel Redding e o baterista Mitch Mitchell. Refinamento e ingenuidade caminham de mãos dadas nesse CD, que mais parece uma colcha de retalhos musical. Os excelentes instrumentistas, por meio de experiências sonoras nem sempre felizes, alternam momentos de alta tensão musical e rítmica com tramas harmônicas e melódicas que beiram o amadorismo. O caos do mundo hendrixiano foi magnificamente capturado na alucinante Purple Haze, um dos melhores momentos do CD. Esse não é um disco para quem gosta somente de música clássica, mas sobretudo para os interessados na discussão sobre o destino da música, seja ela clássica ou popular.

Numa sociedade com muita informação e, paradoxalmente, pouco autocrítica, o popular parece confundir-se com o clássico. Não é crime um grande cantor lírico usar esporadicamente o Sole Mio para engordar sua conta bancária. O problema só existe quando a qualidade artística desaba. É o caso de muitos instrumentistas e cantores de segunda, explorados por cafetões culturais e endeusados pela mídia. Quem são eles? A violinista cingapuriana Vanessa Mae é um exemplo clássico: pernas bonitas e técnica medíocre. Se perguntarmos a um adolescente quem é o melhor violinista do mundo, a resposta será certamente Vanessa Mae, e não o israelense Itzhak Perlman. Isso porque Vanessa já esteve no Domingão do Faustão. Itzhak, não.

Fontes: Arnaldocohen.com, Wikepedia.

NIGEL KENNEDY

Kennedy's birth father, John Kennedy, was a member of Sir Thomas Beecham's Royal Philharmonic Orchestra, and John's father was the Australian cellist Lauri Kennedy, who played with Fritz Kreisler, amongst many others.[1]He has about 30 close relatives in Australia, whom he visits whenever he tours Australia. A boy prodigy, as a 10-year-old Kennedy would pick out Fats Waller tunes on the piano after hearing his stepfather's jazz records. A pupil at the Yehudi Menuhin School under Yehudi Menuhin himself, Kennedy later studied at the Juilliard School in New York under Dorothy DeLay.

At the age of 16, Stéphane Grappelli invited Kennedy to appear with him at New York's Carnegie Hall, under the threat from his teachers at the Juilliard that it would ruin his classical career. He made his recording debut in 1984 with the Elgar Violin Concerto, but most know Kennedy through the version of Vivaldi's The Four Seasons which he recorded in 1989 with the English Chamber Orchestra. The release sold over 2 million copies and earned a place in the Guinness Book of Records as the then best-selling classical work ever. The album remained top of the UK classical charts for over a year with sales equivalent to one copy sold every 30 seconds of every day time. He has also performed and recorded most of the major violin concerti.

After numerous performances for The Prince's Trust, the Royal Variety Performance and private performances at St James Palace and Buckingham Palace, he released his biography Always Playing in 1991. He then took the controversial and highly publicised decision to withdraw completely from public performance, but made a triumphant return to the international concert platform to critical acclaim five years later. In 1997, Kennedy received an award for Outstanding Contribution to British Music at the BRIT Awards, and in 2001 received the 'Male Artist of the Year' award.

In 1999 Sony Classical released The Kennedy Experience, which featured improvisational recordings of Jimi Hendrix compositions. According to a BBC interview with Kennedy, the violinist stated that the recording is "an album of music inspired by Jimi Hendrix. It is an extended instrumental work in six movements, each movement a classical interpretation of a Hendrix song". On the recording, Kennedy is accompanied by seven other musicians, and the lineup includes two cellos, an oboe, two guitars, a Dobro, flute, and double bass. With cellist Lynn Harrell, he has recorded an album of duets.

In late 2005, Kennedy went to New York to record his first 'proper' jazz album for the jazz label Blue Note Records. Other musicians on the album were the Miles Davis alumnus Ron Carter on double bass, Jack DeJohnette on drums; and saxophonist Joe Lovano. Kennedy has since stated that "from now on, at least 50 per cent of my endeavour is going to be in the jazz field". He has also recorded The Doors Concerto (with Jaz Coleman), a violin based orchestral version of many Doors songs, including Strange Days, LA Woman, The End, and Riders On The Storm. He has recently been exploring Polish music with the Polish jazz band Kroke.

The Polish jazz band consists of musicians "who have been knocking around with Kennedy for five years. I ask how he selected them. As with most things in his life, what seems on the surface to be random turns out to be carefully considered. 'I met them all separately at jam sessions in the jazz club near where I live in Cracow,' he says. "I thought: that’s the drummer I want, that’s the bass player, and so on. They’ve all got their own projects. On 27 November 2000, Kennedy joined rock group The Who at the Royal Albert Hall to play the violin solo on the classic song "Baba O'Riley". The recording can be found on the album Live at the Royal Albert Hall, which was released three years later. Kennedy has played on several tracks by British singer/songwriter Kate Bush, who was a guest on Kennedy's episode of This Is Your Life. Kennedy recently performed Elgar's Violin Concerto at the 2008 BBC Proms, after a 21 year absence, on 19 July 2008. He also plays the viola, and has recorded Sir William Walton's Viola Concerto
From: Wikepedia.

The Kennedy Experience[*]

Nigel Kennedy whit Jeff Beck[*]

Ten Years After - The Reunion Tours [1998]

Este disco eu encontrei num blog chamado Collectors-Only cujo dono se diz morar no Vietnã, mas faz as resenhas em francês. De modo que, vai lá se saber de onde vem o bacuri! O certo é que o cara gosta muito de Ten Years After e Rolling Stones, então quem tiver a mesma afinidade vai gostar de conhecer o blog. The Reunion Tours, é provavelmente um bootleg caseiro, talvez confeccionado pelo nosso amigo do Collectors-Only, mas com uma seleção muito bem elaborada e com áudio de primeira qualidade, apesar da variação no volume. O disco traz músicas de shows realizados na Europa e Estados Unidos entre 1988 e 1990, quando o grupo fez uma série de apresentações revivendo a formação original. Atualmente a banda voltou às atividades, mas sem Alvin Lee e com Joe Gooch como substituto. Gooch não está se saindo mal, mas com todo respeito, Ten Yars After sem Alvin Lee, seria o mesmo que Rolling Stones sem Mick Jagger.

Ten Years After - The Reunion Tours


Only available on bootlegs, so if you’re collecting add it to your collection as a novelty item. It’s nothing more and it’s better than nothing. The quality is much better than Ten Years Later by a long shot. Ten Years After doing Ten Years After, the swan song of all swan songs. Introduction by Carter Allen, Boston Radio Show Host / Personality. Song List Includes: Rock and Roll Music To The World 4:35, I Woke Up This Morning 3:55, Hear Me Callin’5:15, Good Morning Little School Girl 7:00, I Can’t Keep From Crying Sometimes 17:35, Slow Blues In C 6:00, Choo Choo Mama 3:25 Going To Chicago 3:30, Love Like A Man 5:20 Victim Of Circumstance 5:15, I’m Going Home 11:35
From http://www.alvinlee.de/persbootleg2.htm

Qualité du CD : absolument incroyable ! ! ! ! Mieux que mieux. Je serais curieux de savoir d'où viennent les bandes ? ? C'est parfait. Mieux que l'officiel "Recorded Live" et aussi bien que le récent "Live at the Fillmore West". Un must. Et puis quelle pêche ! Content qu'ils étaient de rejouer ensemble ! Un (le ?) des meilleurs pirates à ma connaissance.
Commentaires de Patrick Bellier

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JOHNNY WINTER

Neste virtual mundo da internet a gente acaba fazendo amigos que nunca vimos e provavelmente nunca veremos. Entre eles está o Mike que me convidou para fazer parte de um blog fechado (desses só para convidados) aonde encontrei a série Johnny Winter Live Bootleg [2007-08], postado por um cara que atende pelo nick de Jobe, mais um desses amigos virtuais. Caramba!! Ouvir o velho Johnny cantando todos aqueles clássicos, me deixou saudoso e me fez lembrar que ele já está nas últimas, porém ainda consegue fazer algumas apresentações, mas somente sentado e que não vão muito além de 30 minutos. Puxa vida, como eu gostaria de poder assistir a uma delas! Estive bem perto disso quando foram anunciados alguns shows dele no Brasil em 2004, mas acabaram cancelados devido à precária condição de saúde do guitarrista. Seria a primeira vez desse lendário bluesman em solo tupiniquim, infelizmente não aconteceu e tudo indica que não acontecerá. Enfim, esse revival me deu vontade de fazer um post em homenagem ao meu grande ídolo, e nada mais legal do que uma homenagem em vida. No ano passado eu postei aqui o Blues Over San Diego de 1974, até então o único disco do Johnny neste blog, então para fazer valer o tributo, além do fantástico Live Bootleg Series, revirei o baú e saquei algumas preciosidades que deixarão os velhos fãs em polvorosa e aqueles que ainda não tiveram o prazer de conhecê-lo, entenderão finalmente porque John Dawson Winter III, o “Tornado do Texas” é, e sempre será, um dos maiores guitarristas de blues em todos os tempos.

Johnny Winter nasceu em 23 de fevereiro, de 1944, em Beaumont, no Texas, para se tornar um dos maiores guitarristas e cantor branco da história do blues. Filho primogênito de John e Edwina Winter, que foi a principal responsável por Johnny e seu irmão Edgar (ambos albinos) se iniciarem ainda crianças no mundo da música. A carreira musical de Johnny começou a ascender em 1968 quando formou um trio com o baixista Tommy Shannon (futuro integrante do mítico Double Trouble, de Stevie Ray Vaughan) e com o baterista Uncle John Turner (que também tocou com Vaughan, só que antes da fama em um grupo chamado Krackerjack). No ano seguinte, Johnny já era atração nos principais festivais de blues e rock, inclusive o lendário Woodstock. Com a fama, veio o dinheiro, com o dinheiro vieram as drogas e com as drogas, alguns problemas. Em 1973, depois de se livrar do vício, ele retorna a cena musical tendo como parceiro de banda o guitarrista e compositor Rick Derringer que escreveu a música “Still Alive and Well” em homenagem a Winter por superar sua dependência, esta canção também seria o título do disco lançado naquele ano, que ainda trás uma incrível interpretação de “Silver Traim” dos Rolling Stones. Em 1977 ele produziu o álbum Hard Again de Muddy Waters, disco obrigatório aos amantes do blues. A parceria resultaria em várias indicações ao Grammy, e Johhny gravou o álbum Nothing But Blues com os integrantes da banda de Muddy. Seu nome entrou para o "Hall da Fama do Blues" em 1988.

Johnny Winter Live Bootleg Series vol. 1

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Johnny Winter has been flattening audiences since he blew out of Texas like a white tornado in 1968. At the tail end of the blues revival when British blues rockers were co-opting America's only indigenous art form, Johnny staked his claim to the title of reigning blues guitar hero with blinding chops as hot as a jalapeno and authentic blues feel as deep, wide and muddy as the Rio Grande. Johnny's studio releases are an unparalleled record of the evolution of a blues master who has never stopped growing and perfecting his unique artistic vision of the music as a living, breathing entity meant to be expressed with spontaneity and unbounded enthusiasm in concert. To the everlasting gratitude of his fans, he has recorded a tremendous number of his shows, amassing an archive of forty plus years of musical treasures. They are now being carefully and painstakingly mastered and will be released over the next several years as the Live Bootleg Series on Friday Music.

Volume One covers a collection of Johnny's vintage performances featuring bassist Jon Paris and drummer Bobby T, his power trio at the time playing with fiery abandon and thundering drive. From his signature hair-raising scream of A LITTLE ROCK AND ROLL! that introduces Johnny B. Goode to his stomping bonus track cover of Bobby Womack's R&B classic It's All Over Now, this musical journey is one of blues and rock, heart and soul. If there is any doubt that he is the premier interpreter of the Rolling Stones, one need only to listen to his cataclysmic version of Jumpin' Jack Flash, to dispel any rumors. It's no wonder Keith and Mick gladly handed him their Silver Train to cover. Any Texan worth his salt and tequila includes Freddie King's Hide Away in his repertoire, but Johnny knows it from the inside out and makes the well- worn classic his own. Ever conscious of his true roots in country blues, he delivers a Southern fried Rollin' and Tumblin' for the ages, stamping it as bonafide with his slashing slide guitar. Further demonstrating his versatility, his original, brooding Stranger makes a case for this overlooked aspect of his talent. As Johnny is quick to point out when anyone calls his recent resurgence as a comeback, But I never went anywhere! These priceless, previously unreleased live recordings only further serve to fill in the gaps in a legacy that continues to be added to with every passing contemporary show and recording.
Review by Dave Rubin - Guitar Player Magazine

01. Johnny B Goode
02. Messin With The Kid
03. Help Me
04. Hideaway
05. Come On In My Kitchen
06. Rollin' and Tumblin'
07. Stranger
08. Jumpin Jack Flash
09. Boney Maroine
10. It's All Over Now

Johnny Winter Live Bootleg Series Vol. 2

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I always knew I d make it, Johnny Winter, cigarette dangling from his lips, told me after a gig one night in 2007 as his tour bus rolled on through the darkness of rural Virginia. I never doubted it. I always knew that playing music was what I was meant to do, and I never even thought about doing anything else. Live Bootleg Series Volume II the second installment in Friday Music s artist-approved releases displays the same unshakable confidence that made Johnny Winter one of the 20th century s most important and influential guitarists. It also illuminates the native Texan s lifelong love affair with the blues, not to mention his absolute mastery of the guitar. Johnny s own searing Black Cat Bone, a tune he first recorded for 1969 s The Progressive Blues Experiment, kicks things off, and it s followed by a true blues story: a tale of persecution, the Mose Allison-penned Parchman Farm, which Johnny transforms into a heavy, groove-laden rocker.

Up next is Rock Me Baby, a hit for B.B. King. To this day, Johnny fondly recalls the night in 1962 in his native Beaumont when B.B., playing a local blues club called The Raven, hesitantly allowed a young Johnny Winter after first checking to see if he had a union card to sit in with his band. (Johnny did, in fact, take the stage that night, and he earned a standing ovation for his efforts.) This riff-heavy reading of B.B. s classic is vintage Johnny, sporting his deep-throated growl and soaring, overdriven blues-rock guitar lines. An undeniable highlight of this collection is the jaw-dropping, 15-minute reading of Willie Brown s Mississippi Blues. Alongside a wailing harmonica, Johnny expertly builds the tune from the bottom up, each turnaround giving way to yet another verse that seems to up the ante even more. By the time the tune concludes its sixth minute and the entire band kicks in, the guitar lines have become simply torrid and there s still a lot more ahead. It sets the table beautifully for what comes next, Johnny s incendiary take on Robert Johnson s Crossroads, which rocks firmly in the spirit of Cream. Closing this collection is a simply unforgettable Red House, in which Winter dedicates the tune to Al Hendrix in memory of his late son Jimi.
Review by Sean McDevitt

01. Black Cat Bone
02. Parchman Farm
03. Rock Me Baby
04. Mississippi Blues
05. Crossroads
06. Red House (Bonus Live Recording)

Johnny Winter Live Bootleg Series vol. 3

[*]

Like any life-changing, chromosome-rearranging event, all guitar fans remember their first time seeing Johnny Winter perform live. For me, the year was 1973, at Madison Square Garden in New York City. Johnny was then embarking on his Still Alive and Well comeback tour. Appearing onstage all in white, his platinum-white hair flowing down to his elbows and playing a blinding white Gibson Firebird V, Johnny beamed with the unbridled energy of a force from some distant galaxy. His performance a combination of earth-shattering guitar playing, searing vocals and wildly energetic stage presence--was nothing short of brilliant. He rocked the Garden so hard that night, the entire building shook in rhythm with the music. During the barn-burning boogie track Rock & Roll, I literally believed that the Garden was going to blast apart at the seams. In the ensuing years, I have seen Johnny perform countless times in arenas, amphitheaters, 1200-seaters, sardine-canned packed clubs (such as NYC s legendary Lone Star Café), rehearsal studios, and even Johnny s own living room. Seeing and hearing Johnny Winter play live is an experience like no other, because, simply stated, no other guitar player has ever entwined raw power, pure emotion, conviction, and virtuosity more effectively than he has.

Live Bootleg Series: Vol. 3 opens with Mojo Boogie. Johnny leads off the tune with some unaccompanied virtuoso slide work, his guitar tuned to open D (one of his favorite tunings for slide), before the band kicks in for a blazing extended intro solo, with bassist Paris offering some double duty by coping Johnny s slide melodies note-for-note on harmonica. The second cut, Stranger Blues, is a killer Elmore James boogaloo that Johnny rips apart with more slide work in open D. This is the type of hard-rockin blues Johnny first introduced to the world back in 1969 with his seminal release, The Progressive Blues Experiment. On the third track, I Smell Trouble Johnny displays the kind of mind-blowing speed and virtuosity that he usually reserves for long workouts over slow blues, while Boot Hill is a hard-driving mid-tempo shuffle on which Johnny effortlessly combines slide guitar with some of the fastest single-note work he s ever recorded.

Next up is a very rare live take of Robert Johnson s Stones in My Pass Way, played in front of a small but appreciative audience. Johnny performs the song unaccompanied with a slide on a National steel guitar tuned to open G. I learned about open tunings from listening to Robert Johnson's King of the Delta Blues, Johnny told me back in 1989. I picked up the concept of using open tunings just by using my own ears, and when I discovered how the open tunings worked with the slide, it was quite a revelation. I m Gonna Murder My Baby, was written by one of Johnny s big guitar influences, Pat Hare. Says Johnny, I m Gonna Murder My Baby is the heaviest blues song ever written! This collection rounds out with a smoldering version of Johnny s most well known track, his slide guitar tour-de-force arrangement of Bob Dylan s Highway 61 Revisited. Johnny Winter is regarded as one of the greatest, most original and most influential slide guitarists ever, and this track offers ample testament to that fact. Today, Johnny Winter is still touring steadily all over the globe, playing and singing as only he can and bringing audiences to their feet wherever he goes. Until the next time you get to see him perform live, Live Bootleg Vol. 3 will keep you covered.
Review by Andy Aledort


1.Mojo Boogie
2.Stranger Blues
3.I Smell Trouble
4.Boot Hill
5.Stones In My Pass Way
6.I'm Gonna Murder My Baby
7.Highway 61 Revisited

Johnny Winter - No Time To Live [2001]

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Live At The Texas Opry House [1997]

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Live In Houston [1993]

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White Lightning [1996]

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Led Zeppelin – Shenandoah [1992]

Sobre a banda não há nada mais a dizer, mas o disco é o seguinte: trata-se de um bootleg apresentando uma seleção de shows e uma studio session, supostamente realizadas entre 1968 e 1975. Digo supostamente porque esse disco tem outras edições com outras capas, as mesmas músicas, mas as datas não conferem. A edição mais popular alega que as duas primeiras faixas (“I Can't Quit You Babe” e “I Gotta Move”), seriam de 20 de setembro, de 1968, gravadas no Tivoli Gardens em Estocolmo, na Suécia. Isso é muito duvidoso, porque apesar deles terem passado pela Escandinávia naquele ano, o grupo se apresentou como New Yardbirds e a turnê teria durado de 7 a 17 de setembro. Já uma segunda fonte, aponta que essas duas músicas são do show realizado em 16 de março, de 1969, em Copenhague, na Dinamarca, o que é mais provável. Existem outras discrepâncias de datas entre as duas fontes, como vocês podem conferir no texto abaixo. Mas isso não é o mais importante, o que vale aqui, é que o áudio é de boa qualidade permitindo ao ouvinte sentir toda a energia e vibração de uma das maiores bandas rock pesado de todos os tempos em gravações ao vivo e trabalhando no estúdio.





Relação das músicas, com as datas e locais, segundo a capa do disco:

01. I Can't Quit You Babe (Tivoli Gardens, Stockholm - 09/20/68)
02. I Gotta Move (Tivoli Gardens, Stockholm - 09/20/68)
03. As Long As I Have You (Fillmore West, San Francisco, CA - 01/09/69)
04. Dazed And Confused (British Supershow, Staines, Middlesex - 03/25/69)
05. Sittin' And Thinkin' (Fillmore West, San Francisco, CA - 04/27/69)
06. The Girl I Love (BBC, London, England - 06/23/69)
07. Something Else (BBC, London, England - 06/23/69)
08. You Shook Me (Playhouse Theater, London, England - 06/27/69)
09. Stairway To Heaven (Headley Grange Studio, Hampshire - 01/71)
10. Untitled Instrumental (Headley Grange Studio, Hampshire - 01/71)
11. No Quarter (Headley Grange Studio, Hampshire - 01/71)
12. Woodstock (Dazed And Confused) (Earl's Court, London, England - 05/24/75)

Datas corrigidas por uma segunda edição denominada Shenandoah, Missing In Action.

1-2 ---- 1969-03-16 Copenhagen
3 ------ 1969-04-24 Fillmore West
4 ------ 1969-03-25 Staines Supershow
5 ------ 1969-04-27 Fillmore West
6-7 --- 1969-06-16 London
8 ------ 1969-06-27 London
9-11 --- 01-71 Headley Grange outtakes
12 ----- 05-24-75 Earl's Court

Led Zeppelin - Shenandoah

Various Dates
Aulica (SAIE) Label
Soundboard Recording

A very nice compilation of various sources. Even though it states it has recordings from 09/20/1968, I doubt it to be true.

Track Listing:
01. I Can't Quit You Babe (Tivoli Gardens, Stockholm - 09/20/68)
02. I Gotta Move (Tivoli Gardens, Stockholm - 09/20/68)
03. As Long As I Have You (Fillmore West, San Francisco, CA - 01/09/69)
04. Dazed And Confused (British Supershow, Staines, Middlesex - 03/25/69)
05. Sittin' And Thinkin' (Fillmore West, San Francisco, CA - 04/27/69)
06. The Girl I Love (BBC, London, England - 06/23/69)
07. Something Else (BBC, London, England - 06/23/69)
08. You Shook Me (Playhouse Theater, London, England - 06/27/69)
09. Stairway To Heaven (Headley Grange Studio, Hampshire - 01/71)
10. Untitled Instrumental (Headley Grange Studio, Hampshire - 01/71)
11. No Quarter (Headley Grange Studio, Hampshire - 01/71)
12. Woodstock (Dazed And Confused) (Earl's Court, London, England - 05/24/75)

Shenandoah (Missing In Action) Track List
(from Bootleg database)
T1-2 ---- 1969-03-16 Copenhagen
T3 ------ 1969-04-24 Fillmore West
T4 ------ 1969-03-25 Staines Supershow
T5 ------ 1969-04-27 Fillmore West
T6-7 ---- 1969-06-16 London
T8 ------ 1969-06-27 London
T9-11 --- 01-71 Headley Grange outtakes
T12 ----- 05-24-75 Earl's Court

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Guthrie Govan - Erotic Cakes [2006]

Saca só o naipe desse sujeito. Parece que voltou de Woodstock a pé e parou no caminho para tocar guitarra e relaxar. Só que esse elemento aí com cara de hippie 60’s, toca muito, mas muito, pra caralho mesmo! Além de ser influenciado por todos aqueles caras dos anos 60 e 70, Guthrie Govan se deixou levar pelos virtuosos do final do século, caras como Eddie Van Halen, Joe Satriani, Steve Vai, Yngwie Malmsteen... Esse segundo detalhe, normalmente não me cai bem, porque não sou muito chegado a esse estilo de guitarra “malabares”, cheio de escalas bachianas, mais tapping e o escambau. Artistas como Richie Kotzen, Paul Gilbert, Blues Saraceno e companhia me cansam os ouvidos depois da segunda música. Mas Govan tem um diferencial, porque ele mescla bem a técnica moderna com a velha escola a la Hendrix, Zappa, Beck... E ainda por cima coloca um tempero jazzístico originário da influência de Joe Pass, do qual ele é fã declarado. Toda essa mescla de estilos e técnicas está muito bem balanceada em Erotic Cakes, primeiro trabalho solo desse guitarrista inglês, lançado pelo selo Cornford Records, que ainda conta com a participação de Richie Kotzen e Bumblefoot.

Guthrie Govan é natural de Chelmsford, Essex, Inglaterra, nasceu em 27 de Dezembro de 1971 e começou a tocar guitarra com apenas três anos de idade, tendo seu pai como grande incentivador, mas aprendendo inicialmente de ouvido, sem ajuda de professores. Sua primeira apresentação ocorreu aos nove anos, quando ele e seu irmão tocaram num programa de TV chamado 'Ace Reports'. Além da música, ele tinha um apreço pela gramática e chegou a cursar língua Inglesa na universidade de Oxford, porém, abandonou depois de um ano a fim de se dedicar exclusivamente a uma carreira musical. Como viver de música não é uma coisa fácil nem na Inglaterra, para segurar as pontas, ele arrumou um emprego em uma rede de fast food. Em 1991, depois de ouvir algumas demos e se impressionar com a técnica de Govan, Mike Varney, da Shrapnel Records, ofereceu-lhe um contrato de gravação, mas ele acabou recusando por achar que ainda não era o momento apropriado. Dois anos depois, ele inscreveu a música “Wonderful Slippery Thing” (presente no Erotic Cakes), em um concurso da Guitarist Magazine's arrematando o prêmio de "Guitarrista do Ano". Com isso, algumas portas se abriram e ofereceram a ele um trabalho para transcrever uma peça de Shawn Lane na revista Guitar Techniques, Govan se tornou um colaborador fixo da publicação pondo um fim naquele maldito trabalho na fast food. Desde o final dos anos 90 que ele vem trabalhando ativamente como professor de guitarra, lecionou no Guitar Institute de Acton, na Thames Valley University, e na Academy of Contemporary Music; atualmente ele ensina no Brighton Institute of Modern Music. Como professor, ele ficou conhecido por sua capacidade de ensinar um amplo leque de estilos. O que você pode conferir nesse interessante link do You Tube: Who is the Best? Ainda no campo docente, Govan publicou dois livros chamados Creative Guitar: o primeiro “Cutting Edge Techniques” e o segundo “Advanced Techniques”. Como se pode notar pelos nomes dos livros, eles tratam de inovadoras técnicas para o ensino da guitarra.


Em 2001 ele se juntou ao grupo de rock progressivo Asia, uma banda que reuniu verdadeiros ícones do estilo, mas nunca me desceu bem. Permaneceu com eles até 2006, quando formou com os ex companheiros do Asia John Payne (baixo e vocal) e o Jay Schellen (bateria) o GPS, lançando naquele mesmo ano o disco Window To The Soul (bem chatinho por sinal). Govan também aparece em Your Music Is Killing Me (2007), disco de estréia do The Young Punx um grupo inglês de música eletrônica de pista, ou seja, melhor nem ouvir a não ser que você goste do estilo clubber. Como tocar nunca é demais para um musicista dedicado, ele se apresenta regularmente no Bassment Club de Chelmsford, em Essex na velha Inglaterra. Se por acaso você estiver de bobeira por lá, numa noite dessas, vale a pena conferir Guthrie Govan de perto com sua banda de jazz fusion The Fellowship.

Bem amigos, aí está Guthrie Govan um cara que demorou para lançar seu primeiro disco, mas que toca guitarra com muita maestria, vai da palhetada alternada e chicken pickin’ à la Steve Morse, até tapping de oito dedos e solos de guitarra limpa. Eu não diria que ele é o mais “fodão” do momento porque, como já disse aqui, o estilo virtuoso exagerado me cansa um pouco, não gosto do Asia e também não curti o GPS. Mas sem dúvida nenhuma é um músico interessante que vale a pena conferir, principalmente neste Erotic Cakes.

Pois é né pessoal! Eu falei bem do cara, rasguei a seda nele, mas desci a lenha nos lançamentos, fazendo parecer que a única coisa boa dele até momento seria Erotic Cakes, mas não é bem assim e para deixar uma impressão melhor, posto como bonus uma apresentação com The Fellowship no Bassment Club, jazz fusion de primeiríssima linha!
Fonte: Wikipedia

A propósito: as duas gravações postadas aqui eu encontrei no blog Jazz-Rock-Fusion-Guitar

Guthrie Govan - Erotic Cakes


Guthrie Govan is recognised by his peers as possibly the scariest guitarist alive. Combining an unparalleled technical ability with a mastery of almost all styles, Guthrie is equally at home comping in a trad jazz combo as he is performing death-defying ‘shred’ guitar. Coupled with some seriously funky grooves and an encyclopaedic knowledge of popular music styles, a wonderfully developed slide style and improvisational abilities to match anyone, he may just be the most complete guitarist out there. Govan (born December 27, 1971 in Chelmsford, Essex, England) is a guitarist known for his work with the bands Asia (2001-2006), GPS, The Young Punx and The Fellowship as well as Erotic Cakes (a vehicle for his own music). He is a noted guitar teacher through his work with the U.K. magazine Guitar Techniques, Guildford’s Academy of Contemporary Music and currently the Brighton Institute of Modern Music. He is also a former winner of Guitarist Magazine's "Guitarist of the Year" competition.

Govan began playing guitar aged three, encouraged by his father but initially learning mainly by ear. At the age of nine he and his brother Seth played guitar on a Thames Television programme called 'Ace Reports'. He then attended King Edward VI Grammar School (Chelmsford) where he was exposed, via older classmates, to ‘shred’ guitarists of the time. After leaving school, Govan read English at the University of Oxford, though he left after a year to pursue a career in music. Around this time (by Govan’s own estimation, 1991) he sent demos of his work to Mike Varney of Shrapnel Records. Varney was impressed and offered him a record deal; ultimately however, Govan declined. Regarding his reasons he has explained: ‘it was as though all I really wanted to know was that I was good enough… I found I was getting a bit wary of the shred movement’.

In 1993 he won Guitarist magazine’s ‘Guitarist of the Year’ competition with his instrumental piece ‘Wonderful Slippery Thing’ (a version of which would eventually appear on his debut solo album); the demo of the track earned him a place amongst several other entrants in the live final, which he then won. Subsequently, he submitted a sample transcription (of a Shawn Lane piece) to Guitar Techniques magazine; this earned him a job as a contributor to the magazine, ending a spell working in fast food. Govan has since worked with ‘Guitar Techniques’, both on transcriptions of songs and on articles providing tuition to readers in particular techniques or styles. His work with the magazine enabled his belated solo album Erotic Cakes to reach a wider audience, not least because the magazine transcribed 'Wonderful Slippery Thing'.

Since the late 1990s, Govan has taught at the Guitar Institute in Acton, Thames Valley University, and the Academy of Contemporary Music; he currently teaches at Brighton Institute of Modern Music. In this context, he is known for his ability to teach a wide range of styles. Govan has published two books on books on guitar playing: Creative Guitar Volume 1: Cutting Edge Techniques and Creative Guitar Volume 2: Advanced Techniques. As the names imply these books aim to teach innovative guitar techniques.

Govan’s debut solo album, Erotic Cakes, was released through Cornford Records in August 2006. In the album's sleeve notes, Govan states the album is named after an episode of The Simpsons; he also explains that when playing live, the band is billed as ‘Erotic Cakes’ rather than simply Guthrie Govan. In addition to bass by Govan’s brother Seth and drumming by Pete Riley, the album features guitar solos by Richie Kotzen and Bumblefoot on ‘Ner Ner’ and ‘Rhode Island Shred’ respectively. Seth Govan and Pete Riley also complete the Erotic Cakes live band. Several of the tracks on the album existed in various incarnations previously. Notably, versions of ‘Waves’ and ‘Rhode Island Shred’ appeared on the compilation Guitar on the Edge, Vol 1. no.4 (Legato Records, 1993); his inclusion on the compilation was organised by Mike Varney's brother, Mark. Furthermore a version of his ‘Guitarist of the Year’ winning piece, ‘Wonderful Slippery Thing’ appears on the album. While this is his first album, Govan had been collaborating with drummer Pete Riley on the music since the mid-1990s

The Erotic Cakes band line up, with the addition of saxophonist Zak Barrett, also forms jazz-fusion band The Fellowship. The band plays at the Bassment club in Chelmsford, Essex every Thursday night and has done so for several years. Govan’s earliest influences were Jimi Hendrix and Cream-era Eric Clapton; as such he describes himself as coming from a ‘blues rock background’. While he is ‘wary’ of 1980s technique driven guitar music (‘shred’) he cites the imagination of Steve Vai (as well as Frank Zappa, whom Vai played with) and the passion of Yngwie Malmsteen as influences. Jazz and fusion elements are an important part of his style: he cites Joe Pass as a pivotal influence in this respect.

Govan is known for his virtuoso command of the electric guitar, due to both his technical ability and proficiency in various styles. Govan’s ‘Myspace’ profile lists quotes from various guitarists to this effect; elsewhere, fellow virtuoso Joe Satriani has called Govan an ‘amazing’ guitarist.
From: Wikipedia

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Joe Satriani:
Totally freakin awesome!!! this CD put a grin on my face a mile wide.

Richie Kotzen:
Guthrie Govan can do anything he wants as a guitarist. He has total command over the instrument; I love to watch Guthrie live as he always plays something new that the rest of us would never have thought of. He is truly a gifted musician and I am honored to be a part of Guthrie's 1st album.
(Guest solo from Richie on "Ner Ner")

Greg Howe:
Guthrie is a brilliant guitarist whose super high level of proficiency does not seem to be limited to any one particular genre or style.

Dweezil Zappa:
Every time I hear Guthrie play I feel like I have to fasten my seatbelt. He is an alien. His technique and execution is staggering. Ultimately what is most impressive about him is his musicality. He has total freedom on guitar... BASTARD!

Bumblefoot, a.k.a. Ron Thal:
I've known Guthrie since the days before email, when we'd write each other trading riffs. In the past years, we'd have long jams at NAMM conventions in California, and gigged together in the UK. And for all these years, I, and the rest of the world-wide guitar community have harassed him incessantly to please please release a full-length CD. Well, he's done it, and it's inspiring and mind-blowing and beautiful, as expected. Guthrie is the most-talented guitarist I've ever known,a great friend, and I'm honored to havecontributed to his album. Thank you Guthrie, for the wonderful music and all you are.
(Guest solo from Ron on "Rhode Island Shred")

Guitar Techniques Magazine:
"Totally freakin’ awesome.” says Joe Satriani. “This album put a smile on my face a mile wide!” GG’s debut has been around ten years in the making and is one of the most eagerly awaited debut releases. So was it worth the wait? Here’s what Whitesnake’s Doug Aldrich says: “I’m floored! Amazing songs and sick playing from the whole band! Waves is on my daily playlist!” And it’s true, from the moment that first track nudges the speakers into action you know the boy has exceeded even our greatest expectations. Weep at Eric, his tribute to Eric Roche, grin at his million-miles-an-hour country fest Rhode Island Shred and simply marvel at the magic of Fives and Ner Ner. Guthrie has produced a textbook CD for everyone interested in weapons grade rock guitar playing. As guest soloist Ritchie Kotzen puts it, “Guthrie is a truly gifted musician and I am honoured to be a part of his first album.” We have just one thing to say - go and buy it!

Bonus Post

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