Friday, September 22, 2017


01  locomotive braeth - jethro tull
02  tube train blues - bunning sunflower blues band
03  when the train comes back - chicken shack
04  train kept a rollin' - haymarket square
05  the train - five americans
06  onee train - honeycombs
07  yukon railroad - nitty gritty diry band
08  the train - transatlanic train
09  train( 44 blues) - don stevenson
10  your train is leaving - redeye
11  last of the steam powered trains - kinks
12  train for tomorrow - electric prunes
13  first train to california - cryan' shames
14  engine engine no. 9 - roger miller
15  big railroad blues - grateful dead
16  right now train = dewey martin & medicine ball
17  last train to clarksville - lester flatt & earl sruggs 
18  train to nowhere - savoy brown
19  last train to london - electric light orchestra
20  prettiest train - fred neil
21  last train to the stars - jack bruce & robin trower
22  traintime - cream
23  hear my train a comin' - jimi hendrix
24  two trains running - blues project

Monday, August 28, 2017


Don;t Spook The Horse
                                                   Horseback > Cortez The Killer

Wednesday, August 23, 2017


Hello Folks ! Thought I would drop a line or two to let every one know I am still alive. Things are kind of rotten for us  and the move to St Louie is kind of stalled for right now. But alive is good and it looks like I may be able to post a few things on the blog So hope you bear with me    

Tuesday, July 18, 2017


01  mr.groove - one way
02 double dutch bus - frankie smith
03  you're the one for me - d-train
04  funk'in for jamaica = tom brown
05  flashlight - parliment
06  five minutes of funk - whodini
07 atomic dog = george clinton
08  be thankful for what you got -arthur lee & love
09  cutie pie - one way
10  it takes two - ron base
11  sugar freak - rick james
12  friends - whodini
13  you dropped the bomb - gap band
14  let it whip = dazz band
15  brick housr - commordores
16  car wash - rose royce
17 i'd rather be with you - bootsy collins
18  the cisco kid - war
19  jungle love - morris day & the tyme
20  she's a bad mama jama - carl calrton
21  juicy lucie   mtune
22 I want to take you higher - sly & the family stone
23  all night long - mary jane girls
24 i wanna get next to you - rose royce


Friday, June 30, 2017


01  Desperado edit  - Los Lobos Tito Tarantula
02  Titoli - Bradipos IV
03  A Gun For Ringo - Bambi Molesters
04  Sixty Seconds to What - Brent Cooper
05  A Fistful of Pasta - The Charles Napiers
06  The Vice Of Killing - Langhorns
07  Once Upon A time In The West - In The West
08  Farewell To Cheyenne - Di Dollari
09  Playa Pistoli - Pollo Del Mar
10  Navajo Joe - Pollo Del Mar
11   El Dorado - Reefriders
12  Los Diablos - Plantronics
13  The Great Silence - Kim Humphreys
14  Theme From For A Few Dollars More  - Babe Ruth
15  As a Judgement -  Bernard Yin
16  For a Fistful of Dollsrs - Dave Wronski
17  The Ectsacy of Gold - Balls of Fire
18  The Big Gundown - Irversible Slacks
19  Mexas - Space Hobos
20  For a Few Dollars More- Cosmonauts
21  Guns Don't Argue  - Penetrators
22  The Loud, The Loose, and The Ugly - Davie Allen
23  A Fistful of Dollars - Babe Ruth
24 The Good, The Bad, and The Ugly - Atlantics

Thursday, June 22, 2017


 The egos involved in keeping one of the world’s first supergroups powered was astronomical. One guy was a cantankerous madman, another continuously tried to wrestle control of the group and another was called “God” by his fans. Did anyone really expect the band to last more than a couple of years?

From the start, those egos clashed. Eric Clapton came to the group as its main attraction. Star-making gigs with the Yardbirds and John Mayall’s Bluesbreakers sealed his reputation as one of his generation’s premier guitarists. Surprisingly, he wasn’t the problem. Bassist Jack Bruce (a member of, among others, British blues-rockers Blues Incorporated, Manfred Mann, and the Bluesbreakers) and drummer Ginger Baker (who played with the Graham Bond Organisation) were constantly fighting.

Recording of Cream’s first two albums – 1966’s Fresh Cream and the following year’s Disraeli Gears – went relatively smoothly, yielding hits like “I Feel Free” and “Sunshine of Your Love.” But by the time they got around to recording 1968’s Wheels of Fire, which was released in July, things had taken a more abusive turn, with each member trying to overpower the others by sheer instrumental volume.

The studio half of Wheels of Fire – a double LP that includes a live disc – was recorded during three separate sessions. The concert songs were culled from two performances in San Francisco in March. Relationships had deteriorated so much by that point that Bruce and Baker would frequently argue, on- and off-stage. At one show, Clapton was so fed up with their battles that he walked off. Rumor has it that neither of his bandmates noticed.

So finally, on July 10, 1968, after mulling the idea for almost a year, Clapton announced that Cream were breaking up. But the band actually stuck around for most of the rest of the year, playing a farewell tour (which culminated in a final gig at the Royal Albert Hall in London on Nov. 26) and recording three songs for one last album, Goodbye, which was released in 1969 and filled out with a handful of live cuts from the farewell tour.

The band’s final show was aired on the BBC in January 1969. But by then, they were pretty much just going through the motions to fulfill whatever contractual obligations were left. At their peak, which is scattered among their first three great albums, Cream laid the foundations for bands to go harder, faster and louder. It turned into a bit of a mess during the last months, with egos colliding and amps cranked. But it really couldn’t have ended any other way.

 The Last Goodbye [Mid Valley, 1CD]
Live at the Sports Arena, San Diego, CA; October 20, 1968. Excellent soundboard.

 Track 01. White Room 6:40
Track 02. Politician 6:52
Track 03. I’m So Glad 7:23  
Track 04. Sitting On Top Of The World 5:46
Track 05. Sunshine of Your Love 5:21
Track 06. Crossroads 4:06
Track 07. Train Time -  9:43
Track 08. Toad - 13:53
                                                     Track 09. Spoonful - 14:54

                                                       Eric Clapton - guitar, vocals
                                                       Jack Bruce - bass, vocals
                                                           Ginger Baker - drums

Wednesday, June 21, 2017

CHEER 1990

Hard-rock and heavy-metal were born in 1968 thanks to the efforts of a trio who relocated to San Francisco. In that year Blue Cheer released two albums with a terrifying sound that staked it all on deafening amplification of the guitar riffs of Leigh Stephens and the bass riffs Dickie Peterson. The group belonged to the psychedelic platoon ("blue cheer" was a name for LSD) and played out its acid trip with a vengeance. Their atomic version of Summertime Blues (1968) by Eddie Cochran, followed by the anthem Out Of Focus (1968), made them famous.

Wednesday, May 31, 2017


Howdy! Austin 1973 [Kaktus Records 10K06R02, 1CD]
Live at Armadillo World Headquarters, Austin, TX; October 26, 1973. Very good to excellent soundboard; with a bit of hiss.

It’s just tragic that Frank Zappa died at the relatively young age of 52 in 1993. And it’s one of rock’s could-have-beens had Zappa lived on - who knows what types of music he would create. As it is, it’s already impossible to pigeonhole Zappa’s show - there’s a bit of everything; everything sort of gels and the only thing anyone can say is that the man’s a true national treasure.

The Real Frank Zappa Book has many memorable quotes and here’s one:

I want to know three things when I go on stage: i) that my equipment is working, ii) that the band members absolutely know the material, so I don’t have to worry about them, and iii) that the rhythm section can hear what I’m playing and that it has some “concept” of it so it can help build the improvisation.

And this is what Arthur Barrow, who was Zappa’s bassist in the late ’70s and early ’80s, wrote:

Rehearsals were grueling and wonderful. We rehearsed at least 8 hours a day, 5 days a week, for about 6 weeks or so before a tour. Rehearsals usually got started around mid-afternoon, with the Clonemeister leading for the first half of the day, then Frank would arrive and take over for the remainder of the day…

On the first day of rehearsals for the last tour I did, Frank brought in a list of about 200 songs that he wanted us to learn. I knew right away that it would be impossible for us to learn that many songs in the amount of time we had. I also knew from past experience that when Frank called for us to play a tune from the list and it sounded bad, he would often remove it from the list. If the tune in question happened to be one that the band liked and wanted to continue to work on, the band would be begging him to please give a little more time to work on it some more and get it right. I think he used it as a threat to try to motivate the band.

And now… on with the show.

Track 01. Cosmik Debris (11.1MB)
Track 02. Inca Roads (18.2MB)
Track 03. Pygmy Twylyte (6.0MB)
Track 04. Idiot Bastard Son (3.9MB)
Track 05. Cheepnis (7.6MB)
Track 06. Big Swifty (15.4MB)
Track 07. Dickie’s Such An Asshole (14.3MB)
Track 08. Farther O’blivion (12.6MB)
Track 09. The Muddshark Dance Be Bop (13.4MB)
Track 10. Son Of Mr Green Genes/King Kong/Chunga’s Revenge (24.5MB)

Frank Zappa - guitar, vocals
Napoleon Murphy Brock - tenor saxophone, vocals
Tom Fowler - bass
George Duke - keyboards
Ruth Underwood - percussion
Bruce Fowler - trombone
Ralph Humphrey - drums
Chester Thompson - drums

Friday, May 5, 2017


A  batch of tunes that were played by the Dead or fanily related bands

 DayTripper - GD
Blossom Music Center,
Cuyahoga Falls, OH

Come Together - GD
Red Rocks Amphitheater,
Morrison, CO

Eleanor Rigby Jam - JGB
Lisner Auditorium, G.W.U.,
Washington, DC 1980-02-12 *

Tomorrow Never Knows - GD
McNichols Sports Arena,
Denver, CO

Blackbird - Ratdog
The Dome, Rochester, NY

Get Back - PLQ
Beacon Theatre,
New York, NY

Why Don't We Do It In The Road - GD
The Spectrum,
Philadelphia, PA

Hey Jude - GD
Copps Coliseum,
Hamilton, ON **

Strawberry Fields Forever - PLQ
Alpine Valley Music Theatre,
East Troy, WI

Rain - GD
USAir Arena,
Landover, MD

* Late Show
** Complete version

Revolution - GD
Civic Arena, Pittsburgh, PA

She Said She Said -GD
Red Rocks Amphitheater,
Morrison, CO

Dear Prudence - Reconstruction
Keystone, Berkeley, CA

I Am The Walrus - PLQ
Red Rocks Amphitheater,
Morrison, Co

I Want To Tell You - JGB
The Stone, San Francisco, CA
1987-03-08 *

Lucy In The Sky With Diamonds - GD
The Spectrum, Philadelphia, PA

All Too Much - GD
The Omni,
Atlanta, GA

While My Guitar Gently Weeps - PLQ
Beacon Theater,
New York, NY

* 1 of 2 JGB times played; other in 1976

** Only time played

GD - Grateful Dead
JGB - Jerry Garcia Band
PLQ -  Phil Lesh & Friends

Sunday, April 2, 2017


                               A revisit to set of the Dead;s most psychedelic time 
                                   and a reboot of a post from December 2- 2013

Here's a twist from the rotation of shows (somewhat) I have put together a composite of "live" tracks from various other shows to give us an AOXOMOXOA show. From the bands most psychedelic time frame when experimentation in the their music and their life style was at it's zenith. It is no wonder that many of the songs on this LP were really not played a lot over the years as only St Stephen and China Cat became staples in the bands rotation. Enjoy the Grateful Dead at their psychedelic best! This was one of my favorite GD LP's . A really fun listen!


  • St. Stephen (Garcia/Lesh/Hunter) 1-23-70 Honolulu

  • Dupree's Diamond Blues (Garcia/Hunter) 1-24-69 San Francisco

  • Rosemary (Garcia/Hunter) 12-7-68 Louisville

  • Doin' That Rag (Garcia/Hunter) 1-24-69 San Francisco

  • Mountains Of The Moon (Garcia/Hunter) 4-26-69 Chicago

  • China Cat Sunflower (Garcia/Hunter) 2-13-68 San Francisco

  • What's Become Of The Baby (Garcia/Hunter) 4-26-69 Chicago

  • Cosmic Charlie (Garcia/Hunter) 1-16-70 Portland

Aoxomoxoa is the third studio album by the Grateful Dead. It was originally titled Earthquake Country. Many Deadheads consider this era of the Dead to be the experimental apex of the band's history. It is also the first album with Tom Constanten as an official member of the band.

The title of the album is a palindrome created by cover artist Rick Griffin and lyricist Robert Hunter. According to the audio version of the Rock Scully memoir, Living with the Dead (read by the author and former Dead co-manager himself), the title is pronounced "ox-oh-mox-oh-ah". The words "Grateful Dead" on the front of the album, written in large, flowing capital letters, are an ambigram that can also be read "we ate the acid". The artwork around the bottom edge of the album cover depicts several phallic representations.

The word "AOXOMOXOA," is a double palindrome, meaning not only does it read the same forward and backward, but also each letter in the word is also reversible, and when flipped horizontally also reads the same either way. As the story goes, "AOXOMOXOA," was an idea given to Rick Griffin by Grateful Dead lyricist Robert Hunter, when Griffin phoned him up and asked him for a possible title for the new Grateful Dead album cover Griffin was working on. Hunter suggested that he put a lot of the palindromes that Griffin had been playing with (words like 'mom,' etc.,) together to form a larger word.

Dead Heads have speculated as to the possible meaning of the word, with thoughts like the "AO" means "Alpha and Omega," the sacred seed syllable "OM" is in the center, "X" is a mysterious number to be solved for, and so on. Others have speculated that this is an Aztec or Mayan word. Beyond the word is the actual imagery created by Rick Griffin.

Griffin's incredible sun (an egg surrounded by sperm wriggling to get in), burning in a clear blue sky, endlessly radiating light and warmth above, warming the earth below, where the most dark womb of the earth receives that light and (also endlessly) brings forth life. Here is the mystery of life and death drawn out in psychedelic imagery worthy of Carlos Castaneda and the mysterious world of Don Juan. This poster has an immediate and a lasting impact on our consciousness. For me, it is unique in the world of psychedelic posters and is the single most important graphic from that era.

And if these incredible graphics don't speak for themselves, Griffin thought to literally spell it out for us in the very type on the poster itself, the name: Grateful Dead. If you cover the lower two-thirds portion of the name "Grateful Dead," the very top third spells out for all of us the very truth of that time, the very essence of the psychedelic experience. It clearly says "We Ate The Acid," and that says it all. We ate the acid and it changed our life and set the tone for a generation.

In 1991 Rolling Stone selected Aoxomoxoa as having the eighth best album cover of all time. A five-year-old Courtney Love appears on the album's back cover.

The group had already initiated recording sessions for the album when Ampex manufactured and released the first Multitrack recording machine offering 16 tracks of recording and playback (model number MM-1000). This doubled the number of tracks the band had available when they recorded Anthem of the Sun the previous year. As a direct consequence, the band spent eight months off-and-on in the studio not only recording the album but getting used to—and experimenting with—the new technology. Garcia commented that "it was our first adventure with sixteen-track and we tended to put too much on everything...A lot of the music was just lost in the mix, a lot of what was really there."As a result, Garcia and Lesh went back in the studio in 1971 to remix the album, removing whole sections of songs. The result, with the same catalog number, WS1790, but with much of the original's experimental character removed, can be identified by the legend on the back cover that reads, "Remixed September, 1971". The original mix was later planned for CD release, but the original master tapes could not be located. The master tapes were finally located for The Warner Bros. Studio Albums vinyl box set, marking the first time the 1969 mix has been available since the 1971 remix replaced it.

In Grateful Dead history, Aoxomoxoa had a number of firsts connected with it. It is the first album the band recorded in or near their hometown of San Francisco (at Pacific Recording Studio in nearby San Mateo, and at the similarly named Pacific High Recording Studio in San Francisco proper). It is the first studio release to include pianist Tom Constanten as a permanent member. It was also the first to have lyricist Robert Hunter as a full-time contributor to the band, thus initiating the Jerry Garcia/Robert Hunter songwriting partnership that endured for the rest of the band's existence. It was also the first time the band would put emphasis on acoustic songs, such as "Mountains of the Moon" and "Dupree's Diamond Blues." Lesh played acoustic bass for the first time, commenting that "the fun part of that was trying to play in tune with no frets to guide my fingers, just like a violin."

The lengthy sessions for the album would put the band deeper into debt with Warner Bros. Records—specifically, a total cost of $180,000 for Aoxomoxoa, it was their most ambitious and costly venture to that date. It would be the last time the band would ever run up such high studio bills.


  • Tom Constanten - keyboards

  • Jerry Garcia - guitar, vocals

  • Mickey Hart - percussion

  • Bill Kreutzmann - percussion

  • Phil Lesh - basses, vocals

  • Ron McKernan - Pig Pen

  • Bob Weir - guitars, vocals