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PAVLOV'S DOG - 1990 LOST IN AMERICA.
Thanks to everyone who heard and believed in the music. Music lives on. Keep listening. Keep believing, keep dreaming. Like a ripple, the music moves and travels and finds you. Drive to the music, Make love to the music, cry to the music. That's why we made it. Long after we're gone the music will still be there. Thanks to everyone who helped us bring the music to you & thanks to every face and every heart in every audience all over the world.(Concrete Blonde)
PAVLOV'S DOG - 1977 HAS ANYONE HERE SEEN SIGFRIED ? Remast.+ bonus 2017.
Being the third album in 1977 but due to poor sales of the first two albums, Columbia refused to release it, hastening the band’s split. The third album finally appeared as a bootleg in the 1980s, a limited edition pressed from stolen master tapes. It was released under the name The St. Louis Hounds, without Pavlov’s Dog’s name on the sleeve.
This album was released legally in 2017 by German label Rockville Music, titled HAS ANYONE HERE SEEN SIGFRIED, remastered and including additional 10 bonustracks of unreleased material from the 70ies.
RAY OWEN - MOON 1971 (ex JUICY LUCY)
Taken off his first and only seff-titled solo album, released in 1971. Ray Owen was the original vocalist in British outfit Juicy Lucy, and he appeared on their first self titled album in 1969. He left the band, his replacement being Paul Williams, and formed his own band, with Dick Stubbs and Les Nicol on guitars, Ian McLean on drums and Sid Gardner on bass.
Their first and only album, which is quite rare and collectible, was released on Polydor Records, and it featured a number of really good riff laden tracks, in addition to a stunning version of Hendrix's "Voodoo Child", which Owen would redo in the mid 90's when he reformed his own version of Juicy Lucy. His career after Ray Owen's Moon is much of a mystery, as no record can be found of any other bands he may have featured with afterwards.
Including the Fantastic VOODOO CHILD
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JIMI HENDRIX - 1970 LIVE IN MAUI .
The full story behind what might be the strangest chapter of Jimi Hendrix’s all-too-brief career is about to come to light when Sony Legacy/Experience Hendrix releases the documentary film “Music, Money, Madness…Jimi Hendrix in Maui” on November 20, accompanied by the album “Live in Maui,” released on two CDs and three LPs. The doc traces the origins of Hendrix’s involvement in a counterculture movie shot on the Hawaiian island, and the surprise concert he was coaxed into performing there on the side of a volcano as an attempt to rescue the ill-fated film.
As we hear in the two sets of music performed in Maui, Hendrix is relaxed, loose and having fun with his band. The elements were working against them and certainly played a role in mucking up the filming and recording of the show, but Hendrix doesn’t seem to care, as he and the band let it rip on a set of mostly classic songs followed by a break, then a set of mostly new material he’d been trying to nail down with Billy Cox, Mitch Mitchell and Eddie Kramer back at Electric Lady.
Jimi seems to be in a great mood, and we see him laughing and joking with the band and with the audience. Contrast this footage to the film shot on the Isle of Wight in the UK a month later when a visually exhausted and frustrated Hendrix performed in the middle of the night while battling equipment issues in front of more than 600,000 people, many of whom stormed the gates for entry. At Maui, the pressure is off – and it shows.
Guitar nerds will want to know that Jimi plays a Fender Stratocaster, per usual, in the first set but busts out a Gibson Flying V guitar for the newer songs in set two, which gave his tonal palate a sharper, edgier, gnarlier tone on the fresh material.
It’s astonishing to see this footage look so spectacular on the Blu-ray disc, both in the 90-minute documentary “Music, Money, Madness” and in the special features, where we see every piece of 16mm film shot during Hendrix’s performance. That isn’t to say the whole show is here, because it isn’t. For a number of reasons, the crew didn’t shoot everything, but what is here is unlike any other Hendrix concert footage available.
Cameramen are onstage with the band, and even in Jimi’s face, when he goes down on his knees, head back, guitar outstretched, in an iconic shot. He accepted that this hastily arranged show was out of his hands so he decided to good-naturedly play along and give the people what they want, and it is a joy to see and hear.
Both sets were shot in daylight which afforded awesome visuals of the stage action as well as the trippy weirdness taking place out in the crowd of about 200-300 mostly awed locals.
MIKE DOW.
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