Buffalo Springfield - 'Box Set' + 'The Missing Herd'

 

Buffalo Springfield was an American/Canadian rock band formed in Los Angeles by Neil Young, Bruce Palmer, Dewey Martin, Stephen Stills, and Richie Furay. One of the most beloved folk-rock bands of the '60s, Buffalo Springfield is better known these days primarily for their hit "For What It's Worth," but in their brief heyday they were one of the most important groups around. From the aforementioned protest anthem to the sunny, melodic "Bluebird" and the burning psychedelia of "Mr. Soul," they were at the vanguard of so many '60s pop styles it's "scary".
Their music combined characteristics of folk music and country music with influences from the British Invasion and psychedelic rock. Along with the Byrds, they laid the groundwork for folk-rock. Despite their short-lived time together of roughly 25 months, they released three albums and several singles from 1966 to 1968, leaving a lasting legacy.

The Buffalo Springfield Box Set is a 4CD set, that contains 88 tracks, including familiar recordings as well as 36 demos, remixes, and other previously unreleased material, all spanning Buffalo Springfield's brief but intensely creative existence between 1966 and 1968. CDs 1 through 3 are demos, studio outtakes, and live recordings assembled by Neil Young in early 2001. Neil sequenced everything chronologically to show how the band evolved and unraveled in the span of two years. More than half of these tracks have never been available commercially.

CD 4 is newly remastered versions of Buffalo Springfield's first two albums.

The box also includes a spiffy 84-page booklet that contains historical essays by Pete Long and Ken Viola; it also has, photos, memorabilia, vintage newspaper and magazine clippings, a complete discography, and a listing of the band's concert appearances. A PDF of the booklet is included in the freeload.

When the Buffalo Springfield Box Set came out, there was much discussion about what was left off.

"The Missing Herd" is a bootleg compiled and released as a companion piece to the Buffalo Springfield Box Set, filling in for the set's shortcomings, notably the lack of live cuts as well as the 9-min Bluebird, etc. CD1, also known as "Livestock", consists of some better-sounding live performances by Buffalo Springfield in circulation that have been sonically cleaned up. CD2, also known as "Rust Edition", largely consists of the unreleased studio tracks that did not make the box set. The Monterey Pop set is included on this disk, as well as an odd rehearsal involving the 5 original members in Steven Still's Basement in 1986. These 2 CDs effectively bring together most of the tracks available on bootleg in superior form and in one place. Everything, including the "Dallas" show, included here in its entirety, sounds better. "For What It's Worth" is a song that's evocative of the era's spirit and its tensions. For the freeload, tell us what are your favorite protest anthems.

Wynton Kelly Trio and Wes Montgomery - 'Smokin' At The Half Note'

This historic jazz record pairs the guitar of Wes Montgomery with Miles Davis' rhythm section, featuring Paul Chambers on bass, Jimmy Cobb on drums, and Wynton Kelly on piano.

This is timeless music that has inspired innumerable jazz guitarists and fans of the genre. Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." In addition, Pat has said that the solo on "If You Could See Me Now" is his favorite of all time.

This classic session was recorded at the New York nightclub, and Rudy Van Gelder's studio. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history. Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards. The freeload is the Verve Deluxe Master Edition, from 2005.

Tracks 1 through 5, are the original 'Smokin at the Half Note' LP, and sound better on this release than the preceding ones. They were all recorded by Rudy Van Gelder, with the first two cuts at the Half Note and cuts 3 through 5 at Rudy's studio. The bonus tracks 6 through 11 were recorded during the same week-long engagement at the Half Note.

For the freeload, tell us if you are or ever were a cigarette smoker.

Hound Dog Taylor And The House Rockers

 

“When I die they’ll say, ‘He couldn’t play shit, but he sure made it sound good!” — Hound Dog Taylor

Hound Dog Taylor was all about making the blues screech: $50 Japanese guitars with a wicked slide, cheap amps from Sears, an extra guitarist, a raucous drummer, and no bass. It sounds like a recipe for an earache, and to certain tastes, that might be true. But if you like the blues served so raw it’s still bleeding, here’s something you should own.

Hound Dog was heavily influenced by the powerful slide guitar playing of Elmore James, but Hound Dog upped the ante and played his own ragged boogie versions. He played loud, fast, and often very sloppy, Brewer Philips played a distorted "bass" on a 6-string guitar as well as rhythm guitar, (some guitar solos, too) and Ted Harvey provided an often manic backbeat. Together, they kicked out the jams in an unconventional, minimalist way.

Hound Dog Taylor's debut album was the debut album for Alligator Records in 1971. The label was started by his manager and producer Bruce Iglauer as a vehicle to get Hound Dog's sound out to a wider audience. So before I talk about Hound Dog's work here, equal kudos to Bruce Iglauer for helping the Dog's music get recorded and released in the first place.

From the first chords, Hound Dog's distinctive six-fingered (he was born with 6 fingers on each hand) slide guitar work pierces with a raw, electrifying tone that commands attention. His ability to weave gritty riffs and solos into a cohesive musical narrative testifies to his considerable talent. What sets the album apart is its intentional lack of finesse. Instead of polished production, the album relies on the sheer power and authenticity of its performances. This is the blues in its purest form, stripped of unnecessary frills and ornamentation, pulsating with the raw, earthy energy of its roots.

The band's interplay is another highlight of the album. Hound Dog and his band demonstrate a remarkable musical unity, their instruments coming together in a harmonic exchange with rhythmic precision. This synergy, paired with their individual talents, makes for an intense listening experience that transports us to the heart of a bustling Chicago blues club. "Hound Dog Taylor And The House Rockers" is a must-listen for any blues fan. It showcases Hound Dog Taylor, one of the genre's most recognizable talents, in full swing, effortlessly combining his musicianship with an unwavering enthusiasm for performance. This album is a testament to the raw, pulsating spirit of Chicago's blues scene during the 1970s.

For the freeload, tell us about ragged and raw music you like.

Stephen Stills - 'Manassas'

 

'Manassas' was released in 1972 on the Atlantic Records label. It's the missing ink between the classic folk/southern rock of the 60s and 70s, and the alt-folk, alt country/Americana of today, including Ryan Adams, Amos Lee, Lucinda, Gillian, Emmylou, Wilco, Calexico, Drive-by Truckers, Connor Oberst, Danny Lanois, Steve Earle, Alabama Shakes, Jayhawks, et. al.

This is a wide-ranging, cross-genre classic; it's got everything terrific that we ever heard from Stephen Stills: his most soulful voice, his guitar playing, his harmonies, his steel guitar, and his slide work.

'Manassas' was released in April 1972, a month before 'Exile on Main St.'. While the Rolling Stones’ love letter to American blues, rock and gospel is deservedly famous, 'Manassas' which operates in much of the same territory, has largely been forgotten.

The album was an immediate success, and peaked at No. 4 on the Billboard album charts at the end of April 1972, weeks after its release, then according to the "Manassas Conspiracy Theory" strangely disappeared from stores. Steven Stills claimed that Atlantic Records co-founder and CEO Ahmet Ertegun purposely suppressed the album because it was picking up serious steam and threatening a Crosby, Stills, Nash & Young reunion, which was a huge moneymaker. At the time, Steven Stills was in the middle of a serious cocaine habit, so I wouldn't be at all surprise if his views were "blow" induced paranoia, but who knows? When money is involved, nothing surprises me.

The players: Stephen Stills - vocals, guitar, bottleneck guitar, piano, organ, electric piano, clavinet, Moog synthesizer. Chris Hillman - vocals, guitar, mandolin Al Perkins - pedal steel guitar, guitar, vocals Paul Harris - organ, piano, electric piano, clavinet Dallas Taylor - drums Calvin "Fuzzy" Samuels - bass Joe Lala - congas, timbales/percussion, vocals Sydney George - harmonica (on "The Raven" and "The Wilderness") Jerry Aiello (on "The Raven" and "The Wilderness") - piano, organ, electric piano, clavinet. Roger Bush - acoustic bass (on "The Raven" and "The Wilderness") Byron Berline - fiddle Uncredited
Jerry Garcia played pedal steel guitar on “So Begins the Task,”
Bill Wyman co-wrote "The Love Gangster" and played bass on the song and on "Rock & Roll Crazies". Bill Wyman enjoyed the experience so much he later said he’d have left the Rolling Stones to join Manassas.

'Manassas' is a stone cold classic, and is most certainly one of the best albums of its era.

The freeload is 24 bit 48 kHz, and sounds really nice.

For the freeload what albums from 1972, do you listen to on a regular basis?

Rest In Peace, Lou Donaldson (1926 - 2024)

 
Lou Donaldson, died on November 9th, he was 98.

Known as "Sweet Poppa Lou", he blended the lyricism of swing-era saxophonist Johnny Hodges with the quick-fingered velocity of Charlie Parker. Lou cut his teeth playing as a sideman to bebop heavyweights like Milt Jackson, Thelonious Monk, and Art Blakey in the 1950s.

Lou recorded 50 albums he recorded between 1952 and 1999, many of them for the iconic Blue Note label, that would bring him greater renown.

Today we are celebrating the life of "Sweet Poppa Lou" with two freeloads.

'The Complete Blue Note Lou Donaldson Sessions 1957-60' is a 6CD set from Mosaic Records, which was released in 2002. The albums included in the box are:

• 'Wailing with Lou'
• 'Swing and Soul'
• 'Lou Takes Off'
• 'Blues Walk'
• 'LD + 3'
• 'The Time Is Right'
• 'Sunny Side Up'
• ' Light-Foot'
• 'Gravy Train'
• 'Midnight Sun'

The majority of this 6CD set covers the type of bebop, that is the core of Donaldson's musical persona. While much of this material has been available previously on CD, and there are a few tracks that could only be found previously on Japanese imports, the audio upgrade is noticeable and typical of Mosaic Records.

The Performers
Along with Lou Donaldson's alto saxophone are (variously):
Donald Byrd, Blue Mitchell, Bill Hardman, on trumpet. Herman Foster, Sonny Clark, Gene Harris, Horace Parlan, on piano. Peck Morrison, Jamil Nasser (George Joyner), Andrew Simpkins, Laymon Jackson, Sam Jones, George Tucker, Ben Tucker, on bass. Curtis Fuller on trombone. Art Taylor, Dave Bailey, Jimmy Wormsworth, Bill Dowdy, Al Harewood, on drums. Ray Barretto, Alec Dorsey on conga.

The set was mastered by Ron McMaster (great name, right?) using 24-bit analog-to-digital resolution.

The cover screams 1967. It was designed and photographed by Reid Miles.  The model is Peggy Moffitt.

'Alligator Bogaloo' was recorded in 1967 on the Blue Note label. This record was a ground-breaking combination of jazz, funk, and blues that would become the most commercially successful record of his career. It has an infectious, danceable sound along with that of other records he made during the same era that would experience a second life on numerous hip-hop albums years later, sampled by Kanye West, De La Soul and many others.

Along with Lou Donaldson's alto saxophone are:

Melvin Lastie on cornet
Lonnie Smith on Hammond organ
George Benson on guitar
Leo Morris (who would become, Idris Muhammad) on drums

The freeload is 24-Bit 176.4kHz vinyl rip of my pristine copy of 'Alligator Bogaloo', re-issue from 2019, and part of the Blue Note 80 Vinyl Reissue Series.

I'm raising a glass (or three) to Lou Donaldson. For both freeloads, tell us about your favorite drink (alcoholic or otherwise)

Neil Young - 'Decade' (24bit-96kHz Hi-Rez)

 

Let's take a trip down memory lane, to April 22, 2017, a.k.a. Record Store Day. In my local record store, I found the "RSD" vinyl releases I was looking for: Art Pepper's 'The Art Pepper Quartet' and Dexter Gordon's 'Walk The Blues'. As I was waiting to pay for the records, on the shelf behind the counter, I spotted a limited edition, remastered reissue of Uncle Neil's 'Decade' on 3 180-gram vinyl LPs. When it was my turn to pay, I asked for a copy of 'Decade', and paid for the records. As I was halfway out the door, I heard "HEY LADY!". Turning around, expecting to see Jerry Lewis standing there, it was the cashier who was waving me back into the store and said, "I forgot to tell you, inside the album is a card with a code to get a 24-96-bit digital version of 'Decade', for free. Just go to the website on the card, and enter the code". When I got home, I searched for the card inside the album, but it was nowhere to be found.

This past Friday, I woke up with Neil's 'Like a Hurricane' stuck in my head. Now, when I get a song stuck in my head, a.k.a. “Earworm”, the only way I can exorcise it from my brain is to play the song a few times. So later on Friday afternoon, I pulled out the "RSD" version of 'Decade'. As I was taking the record out of its sleeve, the card that I could not find and had completely forgotten about came tumbling out. After several hits of my current favorite sativa strain, “Jack One” a.k.a. "J1" and listening to 'Like a Hurricane', I was intrigued by the card and wondered if it would work seven years later. So I went to the website, entered the code, and much to my surprise, it worked.

So here's the 24bit-96kHz digital version. It sounds ridiculously sweet, and will make a very nice upgrade (you won't be sorry).

Here's the thing about Neil to me (and don't get me wrong, I love Neil): He's not the greatest singer, guitarist, or songwriter, yet there's a certain "Je ne sais quoi" about Neil that I can't put my finger on. The overall vibe and his point of view are the best descriptions I can come up with.

So for the freeload, tell us, in your opinion, what makes Uncle Neil so great.

Howlin' Wolf - 'The Complete Recordings 1951-1969'

 

Drawing by Gary Tennant

'The Complete Recordings 1951-1969' is a 7CD set, which was released by Charly Records in 1993, as part of their "RED BOX" series. Due to legal disputes that occurred in 1994 between Charly Records and MCA Records, the production of this set and others in the series ceased, rendering it a rare and difficult-to-find item.

You can read about the lawsuit here: MCA Records, Inc. v. Charly Records, Ltd

While this set is entitled “Complete”, it does not have 'The Super, Super Plus Band' album from 1967 and the 1968 Cadet album a.k.a. “Howlin' Wolf Didn't Like This Album”, which is no great loss, as both albums are not very good (your mileage may vary).

What is in this box are the Chess and Sun recordings, most of which have Hubert Sumlin on guitar. Plus tracks that have never been released elsewhere and probably never will. This Wolf's very best stuff, the real essential recordings without one bad track. This box also has a 28-page booklet that has a brief bio of Wolf, followed by a complete sessionography of his work.

For the freeload, what are some of your favorite recordings by Wolf?

Bob Dylan - 'From Newport To The Ancient Empty Streets in LA'

Here's a really nice "Boot", from good ol' Zimmy.

'The Dandelion label released From Newport To The Ancient Empty Streets in LA in 1998. It contains both the 1964 and 1965 Newport shows, as well as the Hollywood Bowl show from 1965.

The release compiles the majority of the two Newport gigs, and the contrast is remarkable: while the 1964 audience treats sublime, introspective songs like "To Ramona" and "All I Really Want to Do" with reverence and awe. The Newport 1965 crowd appears to be on the verge of chaos, and I'm not sure why. Maybe the cause was the intensity of the music, or inadequate sound system, or the shortness of the set? Whatever the reason, the heightened energy is perceptible, and it motivates Bob and his band to new heights. Conspicuous by absence from Newport 1964 is "It Ain't Me Babe" which for an unknown reason was omitted.

Bob's show at The Hollywood Bowl, from September 3, 1965, is in its entirety on this release.  This legendary show has guitarist Robbie Robertson, drummer Levon Helm, keyboardist Al Kooper, and bassist Harvey Brooks, backing Bob.  While lacking the primal force of his future electric tour with the Hawks, the performance is nevertheless excellent, capturing the complexity and potency of songs like "Tombstone Blues," "Maggie's Farm," and "Like a Rolling Stone" in full.

 This is one of my favorite Zimmy boots, and has soundboard-quality fidelity.

For the freeload, post your favorite verse (just one) from a Zimmy song

Cannonball Adderley - 'Somethin' Else'

 

In March 1958, Julian "Cannonball" Adderley stepped into the studios of the legendary Rudy Van Gelder and produced what many consider to be the finest record of his career, 'Somethin' Else'.  This album was recorded just before Adderley joined forces with Miles Davis for the 'Kind of Blue' sessions.

With its iconic Reid Miles designed cover, and with a photo by Frank Wolff, this is quintessential Blue Note.

As Billboard Magazine said in October 1958 in its review of the LP:

"Here’s one of the outstanding jazz sets released in the past few months and perhaps one of the best of the year.  It features some truly fine, sensitive trumpet work by Miles Davis, and at times, some of the best work yet waxed by Cannonball Adderley. Both ‘Autumn Leaves’ and ‘Love for Sale’ are handed superb treatments by Davis, and Adderley shines with his solo on ‘Dancing in the Dark.’ An album that will be important to all jazz fans."

Throughout the album, Cannonball and Miles seem to be engaged in their own private conversation, one that we are privileged to be allowed to hear.  The stand-out tracks for most listeners is "Autumn Leaves" and "Love For Sale", what’s so gratifying about both numbers, is that neither song sounds like a simple rehash or reworking.  If you want to know what makes Cannonball such a master, just listen to “Dancing In The Dark”; all it needs are strings, and you’d swear it was Charlie Parker.

It's an understatement to say that Miles Davis did not record as a sideman for just anyone.  Indeed, the number of occasions after 1950 when the trumpeter consented to uplift another musician's record can be counted on a single hand.  However, Cannonball Adderley was not simply another musician.  He was a sensation when he debuted in New York in 1955.  Cannonball's exceptional technique and innovative ideas were matched by his jubilant sound, which was always filled with joy and excitement.  After leading a very enjoyable and commercially successful quintet during 1955-57, he became a member of the Miles Davis Sextet, playing next to John Coltrane.  Cannonball would have phenomenal success with his own quintet in 1959, but he was already one of the greatest jazz musicians when he recorded his lone Blue Note album, 'Somethin' Else' in 1958.

The Players:
Cannonball Adderley on alto saxophone
Miles Davis on trumpet
Hank Jones on piano
Sam Jones on bass
Art Blakey on drums

The Album was produced by Alfred Lion, and engineered by Rudy Van Gelder  

The freeload (24bit/ 88.2khz) is the 2009 reissue by Analogue Productions; an SACD Hybrid, with wonderful sonics. 
This is the digital version you should have.

Julian Adderley's original nickname was "Cannibal" due to his voracious appetite.  Cannonball's friend who who gave him the nickname pronounced it as "can-i-bol", and over time, it morphed into "Cannonball."

For the freeload, give me a nickname.

American Folk Blues Festival 1962 and 1963

 

The American Folk Blues Festival was a succession of annual tours throughout Europe.  The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.

American Folk Blues Festival, 1962

The artists on the 1962 American Folk Blues Festival tour, were:
Helen Humes - vocals
Memphis Slim - piano and vocals
T-Bone Walker - guitar and vocals
Shakey Jake - guitar and vocals
John Lee Hooker - guitar and vocals
Sonny Terry - harmonica and vocals
Brownie McGhee - guitar and vocals
Willie Dixon - bass and vocals
Armand "Jump" Jackson - drums

'American Folk Blues Festival 1962' is a 3CD set from Frémeaux & Associés.  It was recorded on  October 20, 1962, at the Olympia Theater in Paris, France

American Folk Blues Festival, 1963

The artists on the 1963 American Folk Blues Festival tour, were:
Victoria Spivey - ukulele and vocals

Memphis Slim - piano and vocals

Otis Spann - piano and vocals

Sonny Boy Williamson - harmonica and vocals

Muddy Waters - guitar and vocals

Big Joe Williams - guitar and vocals

Lonnie Johnson - guitar and vocals

Matt "Guitar" Murphy - guitar

Willie Dixon - bass and vocals

Bill Stepney - drums

'American Folk Blues Festival 'sixty three' is a two CD set from the Evidence label. It was recorded at Die Glocke on October 13th 1963 in Bremen, Germany

For the freeload, tell us what was your introduction to the blues.

Led Zeppelin Live in 1973, 1975 and 1977

Here's three Led Zeppelin "Boots", all with superb audio, they sound like official releases, and could be released pretty much as is.  To my ears, the performances are better than anything on 'The Song Remains The Same'.

'Live At Southampton University Working Tapes'
Recorded at the Old Refectory, Southampton, England
on January 22nd, 1973

'Snow Jobs'
Recorded at the Pacific Coliseum in
 Vancouver, British Columbia, 

on 19 March 1975

'The Dragon Snake'
Recorded at The Summit, Houston, Texas
on May 21, 1977

What I like about all three "Boots" is that, this is what Led Zeppelin really sounded like on any given night (and they sound pretty damned good).  Of course, if these were official releases, Jimmy would have rerecorded three quarters of the guitar parts, and Robert would have rerecorded all the vocals, and we'd be left with something akin to a latter-day allegedly "live" Rolling Stones album.

I've also included the 1973, 1975 and 1977 Tour Programs in the freeloads.

For the freeloads, what's your top 5 favorite Led Zeppelin songs?