Barrabas – Barrabas (1972)


RCA Victor APL1-0219 (US release)

Mono mix (stereo labels)
Genre: Rock, Latin, Funk / Soul

A1  Wild Safari  4:57
A2  Try And Try  6:21
A3  Only For Men  3:34
A4  Never In This World  3:31
B1  Woman  5:07
B2  Cheer Up  3:51
B3  Rock And Roll Everybody  3:34
B4  Chicco  3:48

Record Company – RCA Corporation
Recorded At – Estudios RCA, Madrid
Pressed By – RCA Records Pressing Plant, Indianapolis

Acoustic Guitar, Bass, Vocals – Miguel
Drums, Vocals – Fernando
Engineer – J. Cobos*, M. Barrios, N. Dogan
Lead Guitar, Vocals – Ricky*
Lead Vocals, Bass Guitar – Iñaki
Liner Notes – Tom Paisley
Organ, Piano – Juan
Producer – Fernando Arbex
Saxophone, Percussion, Flute, Drums – Ernesto

Notes – Dynaflex pressing

Recorded at the RCA Studios, Spain

Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply; Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair, manually auditioned, and individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.

Not their best, leaning more towards the rock and less of the funky discotheque stuff they would eventually be known for. Back cover compares the lead singer to Rod “The Mod” Stewart. I’m not so sure about that claim. Actually they kind of remind me of early Traffic here, but with even dopier lyrics. “Only For Men” could have been a TV advertisement for the 1972 equivalent of AXE Body Spray, but the more you listen to it, the more it sounds like a creepy “Men’s Rights Advocate” anthem.  The two big smash cuts here were the first tracks on either side, “Wild Safari” and “Woman.  I was assured by a friend about the former, “Wild Safari was THE track blasting out everywhere in Can Piacafort, Majorca during my holiday there in the summer of 1972.” The record definitely has its appeal, and it may grow groovier as you listen to it more.  It’s easy to see how the locked-in rhythm section was already in place very early and how that made this group a fave of beat farmers everywhere.  It’s a stoney party record with Spaniards singing in awkward English, so what’s not to like?  I may not think it’s their best album, but you’re welcome to disagree.  It’s definitely a more consistent listen than their second album, Power, which finds them meandering into different styles, including an attempt to be some sort of Spanish T-Rex, this debut is just not as good as later efforts like ¡Soltad a Barrabás! and Heart of the City.  In any case I plan to post some of their other records soon, by which I mean at some point before I die.

Don’t be put off by the taped-together, busted jacket of this copy – this was a radio station duplicate copy that was probably never played before I got hold of it, although the Dynaflex vinyl is inconsistent as it is wont to be.  Also note that the label says stereo but the mix is very much in mono.  I’m not sure if this is a mistake at the pressing plant or a genuine AM Radio mix of the whole album?  There is definitely a stereo mix of Wild Safari, but I’m not sure about the rest.  Maybe some helpful reader can chime in.  Oh yes, and this record was released with at least two alternate covers.  The French one (which also boasted a different title, Afro-Soul) is particularly groovy, I think.  Oh yeah, and today’s my birthday, woo hoo and three cheers for me.

Spanish cover

Spanish cover

French cover variant

French cover variant

A word:  times are tough all over, and I’m reinventing myself for the third or fourth time in life to adjust to our New Reality.  I am trying to save some money so that I can relocate to a place where there are actual jobs for people with my kinds of skills.  I’m stuck in a rut, y’all, and it’s been hell getting out. If you enjoy reading these posts and hearing the music, consider making a donation using one of the buttons on the sidebar of the blog.  Any amounts given help me pay server costs and continue to have make posts about good (or good-ish) music.  Any amounts are welcome.  Thanks!

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Betty Wright – I Love The Way You Love (1972) (24 bit)


 Betty Wright

1972 Alston Records (SD 33-388)

 I Love The Way You Love 3:20
I’ll Love You Forever Heart And Soul 3:40
I Found That Guy 3:35
All Your Kissin’ Sho’ Don’t Make True Lovin’ 2:35
If You Love Me Like You Say You Love Me 3:10
Clean Up Woman 2:40
I’m Gettin’ Tired Baby 2:40
Pure Love 2:20
Ain’t No Sunshine 3:20
Don’t Let It End This Way 2:50
Let’s Not Rush Down The Road Of Love 2:54

  Backing Vocals – The Reid Singers
   Bass – David Brown, Edmund Collins, Ron Bogdon, Snoopy Dean
   Design – Drago
    Drums – Ivan ‘Nick’ Marshall, Jimmie Lee Harrell, John ‘Duck’ Sandlin, Robert Fergeson, Robert Johnson
Guitar – James Knight , Jess ‘Beaver’ Carr, Snoopy Dean, Willie ‘Little Beaver’ Hale

   Horns – Memphis Horns
   Piano, Organ – Arnold ‘Hoss’ Albury, Benny Latimore, Bobby Birdwatcher
   Piano, Organ – Clarence Reid

Rhythm arrangements by Little Beaver and Clarence Reid
Strings and horns arranged by Mike Lewis

Produced and engineered by Willie Clarke
Additional production by Clarence Reid
Liner Notes – Willie “Moon Man” Bacote
Photography By – Bruce Mac Callum
Back cover design by Drago

Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge,
Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192
Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair;
individual clicks and pops taken out with Adobe Audition 3.0 – dithered
and resampled using iZotope RX Advanced (for 16-bit). Tags done with
Foobar 2000 and Tag and Rename.


* My copy of this LP is not pristine..  But it probably still sounds
better than any recent CD versions, and it has that nice warm vinyl
thing.  The overall sound of this record, mix-wise, is kinda weird
anyway (see below).

03 - Label A

This is a start-to-finish gland slam of an album for Betty Wright. Although she was only 18 or 19 years old when this album was released, it
was *not* her first record – that would be “My First Time Around” released when she was only 14.  I don’t know what accounts for the long
break, I think she was finishing high school or something.   Anyway she definitely doesn’t sound like a teenager, but a woman wise in the ups and downs of life and love.  It kind of
blew my mind when I found this out.  I mean I knew she had started out young, but I didn’t realize she was literally just a kid.

So, the music.  This is mostly straight-up funky southern soul, with a lot of Miami-area musicians.  Alston Records would become TK Records in a few
years.  The record jacket has no session information on it, probably because they would have had to pay the type-setter more than they had in
their budget.  You can tell from listening to it that it sounds like it was recorded at a bunch of different sessions, and a glance at the
credits with the insane number of bassists and drummers confirms that.
There are some weird cameo appearances here – one of the drummers is Johnny Sandlin, later of Capricorn Records in Georgia, and one of the keyboardists is Benny Latimore later, um,  of the band Latimore.   This LP seems to have been patched together from material recorded between 1970 and 1972.  “Pure Love,” ,”Clean Up Woman,” “I Love The Way You Love,” and “I Found That Guy” (a remake of The Jackson 5’s “I Found That Girl” ) were all released between 1970 and the release of this LP in 72.    And for a patchwork quilt, the material all hangs together really well.  The arrangements by guitarist Little Beaver and Clarence Reid are fantastic. The fidelity is weird in places, even when the actual mixes are all consistently good.
Little Beaver (real name Willie Hale) and Reid wrote most of the material between the two of them.  Producer Willie Clark gets writing credits on everything that isn’t a cover song here, which makes me kind of suspicious that maybe he just added some cowbell and insisted on a credit.  Just kidding, there is no cowbell on this album!

If you are collecting cover versions of Bill Withers’ “Ain’t No Sunshine” like I am (there are dozens!), this is one is a good addition to your collection.  Holy crap listen to that bass guitar line!  How did they get that tone?  They kind of sweeten up the “I know, I know, I know…” part, and it works.  Variety is the spice of life.  “If You Love Me Like You Say You Love
Me” is the one big stylistic shift as Betty takes on Northern Soul and serves it up righteously.  But really this whole record is a reminder of why I am in the end a Southern Soul lover at heart.  Also, although “Let’s Not Rush Down The Road Of Love” is an original composition, you might recognize what the band is playing during the intro part where Betty speaks over it – it’s a note-for-note
stolen arrangement from Isaac Haye’s “Walk On By.”  It’s no “Ike’s Rap” but its pretty neat.

You know, since this post started out with me talking about how damn young Betty was here, I can’t resist saying something contemporary, against my better judgement.  Lately there has been a lot of flap in the news about a certain Disney pop star who can’t keep her tongue in her mouth.  I dunno, I think she had been a mouseketeer or something,  I’m not interested in the slut-shaming nonsense that seems to have been provoked from mostly white, mostly American people.  I am not interested in whether she is setting an example for young girls.  But I am interested in pointing out this – I do not find Miley Cyrus the least bit sexy.  What do I find sexy and inspiring?  Talent.  That’s why Ms. Cyrus and the dozens more just like her will never hold a candle to Betty White’s flame.


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Clifton Chenier – Clifton Chenier and His Red Hot Louisiana Band (1978)

Clifton Chenier and His Red Hot Louisiana Band
1978 Arhoolie Records – 1078

A1         Grand Prix     3:05
A2         Hungry Man Blues     4:30
A3         Parti De Paris     2:20
A4         Take Off Your Dress     4:40
A5         Party Down (At The Blue Angel Club)     4:30
B1         Falksy Girl     4:20
B2         Easy, Easy Baby     3:05
B3         Tante Na Na     3:50
B4         Do Right Sometime     3:35
B5         Highway Blues     3:20

    Bass – Joseph Bruchet
Drums – Robert Peter
Guitar – Paul Senegal
Piano, Organ – Stanley “Buckwheat” Dural
Saxophone – John Hart
Washboard  – Cleveland Chenier
Vocals, Accordion – Clifton Chenier

  Producer – Chris Strachwitz
Photography By – Edmund Shea
Cover – Wayne Pope

Recorded April 25, 1977 at Sea-Saint Studios, New Orleans, La. except A4 which was recorded October 27, 1975 in Bogalusa, La.

Like many before me, my early interest as a teenager in jazz, funk and blues led me to the music of New Orleans.  That interest piqued further when I found a collection of sides recorded for Atlantic by Professor Longhair in the 1950s at a public library , and then went out and bought everything I could get my hands on.  Before long my ear wandered up the countryside to the bayous and swamps where music sounded a little different than in the city, namely to cajun and zydeco records. Not speaking any French, let alone Acadian or Creole, I couldn’t understand a word of much of it, yet I still felt like I connected to the music. Before the term ‘zydeco’ came into common musical parlance outside its region of origin, Clifton Chenier was said to have played “the blues accordion.” That description makes sense. Chenier, who had been recording since the early 60s, had a style capable of filling the space usually filled by a harmonica in a blues band and blending it with the piano or organ riffs you would expect from a keyed instrument.  Reeds and keys together in one place.   But his musical ladle also dipped into a stew containing fiddle tunes from around Louisiana’s “Cajun belt,” along with rhythm and blues, boogie-woogie, and early rock and roll music. His band briefly featured his brother Morris Chenier on fiddle in the 60s, but his lineups more typically counted on saxophone, electric guitar, bass, organ and piano to back him up. And he was always accompanied by his brother Cleveland on the washboard, who is credited with being the first washboard player to wear his instrument draped over the torso in a customized breastplate-type thing. Cleveland would tap out his rhythms using up to a half-dozen bottle openers in each hand.
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This particular album has quite a few tunes that are fairly straight forward blues, and “Hungry Man” may strike many as being eerily close to a certain McKinley Morganfield song. It is also from the period when a young Stanley Dural (aka Buckwheat Zydeco) was playing keyboards with Chenier. It might be Dural (who previously played in a funk band) whose influence we hear on the one tune that deviates a bit from the rest on this album. “Party Down (At The Blue Angel Club)” is positively funky with a taste of wah guitar and some delicious sax riffs. Between the ballads and the burners there is one tune that cries out for fiddle, the waltz-time “Tante Na Na,” but Chenier’s accordion carries the day with grace and grace notes.  The song is kind of a staple in a lot of dance band repertoires and I’d be interested in knowing its origins if there is anyone out there who knows. (All the tracks are attributed to Chenier, which seems like a bit of legal fiction by the folks at Arhoolie).  The next track (Do Right Sometime) disposes with everything but the drums, washboard and the sax which just plays rhythm, but the chord changes somehow still sound fleshed out.
This is also a cool record because it catches Chenier’s band at an interesting time, riding a wave of mounting interest in the genre that he played a huge in creating. By the late 70s he could be found playing both the Montreux and New Orleans Jazz Festivals. But zydeco would become even more famous in the next decade, and Chenier himself would become the first zydeco musician to win a Grammy award.

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 Listen to this record a few times in a row and you might just end up like this guy

Joe Turner Meets Jimmy Witherspoon – Patcha, Patcha All Night Long (1985)


Joe Turner Meets Jimmy WItherspoon
“Patcha, Patcha, All Night Long”
1985 Pablo Records 2310-913
A1 Patcha, Patcha 7:30
A2 Blues Lament 12:07
B1 You Got Me Runnin’ 3:33
 B2 Kansas City On My Mind 7:56
B3 J.T.’s Blues 5:38
 B4 I Want A Little Girl 5:46

Bass – Rudy Brown,
Drums – Al Duncan,
Guitar – Gary Bell,
Keyboards – Bobby Blevins, 
Saxophone – Lee Allen
, Saxophone [Alto] – Red Holloway,
Saxophone [Baritone] – Jerry Jummonville,
Trumpet – Ike Williams

Producer – Norman Granz


Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair light settings; individual clicks and pops taken out with Adobe Audition 3.0 – resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags done with Foobar 2000 and Tag and Rename.

There’s really no particular reason why I’m posting this particular album other than that I was going through my crates of records, stumbled on this one, and realized I couldn’t remember what it sounded like. So I took it out, put it on the turntable, and now here it is.

This could be called a ‘jump blues’ album but it’s basically jam session and, like the Kansas City tradition where Joe Turner hails from, what you call it isn’t really all that important. It’s the groove and the swing and all these guys got plenty of it. Nat Hentoff provides nice liner notes, although he doesn’t praise Red Holloway nearly enough, and doesn’t even mention stalwart blues drummer Al Duncan. He also skirts around the fact that he had nothing to do with the session, wasn’t there, and doesn’t seem to have anything to say about the particular day in the studio when these two luminaries were brought together. Label head Norman Granz (of Jazz At The Philharmonic and Verve Records) apparently had Big Joe doing all kinds of ‘duet’ albums like this during his stint with Pablo, but this is the only one I have. In reality, they only sing *together* on the first side, where they trade off verses. The second is split evenly between the two of them.

 Hentoff, oddly enough, mentions being surprised by a rather disturbing line that Witherspoon sings in the impromptu “Blues Lament”, but only because he hadn’t heard it before, not because it was, well, really, REALLY not cool: “I’m going to take you to the dentist tomorrow morning, because I’m knockin’ out all your teeth tonight.” Dude… just not cool at all.

 Spoon sounds really at ease doing Jimmy Reed’s “You Got Me Runnin’.” Although both these guys were in the twilights of their careers at this point, I have to say that Witherspoon sounds in better form. He nails this, and the chestnut standard “I Want A Little Girl,” which has become an unofficial anthem for pedophiles the world over. Big Joe is a lot of fun though. Kansas City On My Mind is a great slow-burner, but the kicker for me is “J.T.’s Blues”. I’ll also give $20 to anyone who can transcribe the lyrics to the first verse. I actually find myself cracking up laughing trying to figure out what the hell he’s saying.

 Just for the hell if it, I’ve included a partial list of all the people who’ve recorded “I Want A Little Girl.”
(Billy Moll / Murray Mancher)

McKinney’s Cotton Pickers (vocal: George Thomas) – 1930

Count Basie & His Orch. – 1956
Big Joe Turner – 1956
Ray Charles – 1958
Benny Goodman’s Big Band – 1958
Billy Eckstine (with Count Basie & His Orch.) – 1959
Vic Damone – 1962
Oscar Peterson Trio Plus One – 1964
Jimmy Rushing – 1971
Eddie “Cleanhead” Vinson – 1981
Roy Eldridge – 1986
Joe Williams – 1987
Jimmy Witherspoon – 1988
Bert Firman & his Rhythmic Eight – 1930
Louis Armstrong – 1946
Kay Starr (“Boy”) – 1955
Sammy Price – 1957
Nat “King” Cole w Count Basie’s Orch (but not CB!) ’58

Also recorded by:
Pee Wee Russell; Jimmy Smith; Ike Quebec; Ben Webster;
Jack McDuff; Lou Donaldson; T-Bone Walker; Earl Hines;
Clark Terry…….and others.

 Not an essential piece of either of their discographies, but still a fun record to have around.


in 320

 in FLAC 16/44.1 khz

 in FLAC 24-bit / 96 khz

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VA – Rubber Soul Clap, Volume 1 (2010)



Various Artists – Rubber Soul Clap, Volume 1
Private pressing 2010
Flabbergasted Vibes Special Products (FBV-01)

This fun little compilation was something I had put together as a holiday gift for a friend last year, with promises to put together a second volume that is still unfinished. The idea should be pretty obvious – exploring the long arm of influence of the fabulous foursome into the furthest reaches of funkiness. They shall be named in the interest of this blog surviving a little longer, nor shall any song titles be listed here other than in the back cover art above. Some of the selections are well-known, even over-played, others much less so. Lots of cool stuff here, but I think The Crusaders probably steal the show. I hope you enjoy it, and – who knows? – maybe Volume 2 will see the light of day before year’s end…

in 320 em pee three


for complete liner notes and rare photos send a SASE to my PO Box in the Kayman Islands and a cashier’s check for $200.

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Led Zeppelin – Destroyer (1977)


Led Zeppelin
April 2, 1977. Cleveland, Ohio

Yesterday (June 28) marked nineteen years since my brother was killed. I spent most of the evening listening to music to that reminds me him, which included some of the mighty Zeppelin. But I neither need to nor will make any excuses for digging the Led Zeppelin and it was not a nostalgia trip. Although certain hipsters and revisionist neo-punks still maintain they are too cool for Zeppelin, most people who actually like rock and roll will acknowledge the band’s place as one of the best in the genre. This was one of the first Zeppelin boots to come to my attention and has been issued a whole mess of times by different labels. By most reckonings the best versions are the ones released by the label Empress Valley, a version not attributed to any label in 2007, and this one released on the Eelgrass label in 2008 which is apparently just a slightly-louded version of the label-less pressing. The sound quality is pretty stunning, coming straight from the mixing console onto quality analog tape.

The 1977 tour was the first time the band had done a full tour of the US since 1973, due mostly to Robert Plant having a nasty car accident in 1975 that put him out of commission for quite a while and reportedly had him singing from a wheelchair during the recording of the “Presence” album. One of the treats of their return was the inclusion of a set of acoustic-based songs which rarely if ever made it to the stage previously. In fact I would probably rave about this boot just because it has “Ten Years Gone,” one of my absolute favorite songs by these guys. Jimmy Page’s genius in the recording studio – as well as his good taste in stealing material by both American and English folk and blues musicians – has always been one of the things that kept me coming back to this band, as was John Paul Jones modest virtuosity as a “musician’s musician” who seemed capable of playing any instrument that landed in his hands. So this necessarily-stripped-down live reading of the tune lacks some of the force of the studio track on Physical Graffiti. But, really only *some* of the force – the tune holds up live remarkably well and keeps the vibe strong. The Tolkien-riddled “Battle of Evermore” fares less successfully in no small part because the inimitable Sandy Denny isn’t there to sing harmonies.

The mighty Led Zeppelin had plenty of VIBE, and (in case you were wondering) that is why they actually belong here amongst all the other stuff on this blog. When they were having a good night on stage, it must have been a tremendous collective experience (enough to even impress William Burroughs, who attended one show and wrote about it in such terms). Since the band was famously unhappy with their only official live-performance document The Song Remains the Same (exhausted end-of-tour sloppy performance and extremely drug-addled musicians…), many folks have speculated that the band would have been better served by a release taken from a few nights of this tour, including this show. In fact the band’s reputation as a live act was really only finally set straight by the double DVD released in 2003 that testified to them being more than an over-hyped “arena rock” phenom.


My brother and I had less and less in common musically as we grew older, but we always had a bond in the Led Zeppelin. He went off and became a fan of “hair metal” — while idiosyncratically becoming the drummer for a thrash-metal band, which by definition are very much anti-hair-metal. He used to give me lots of shit, like older brothers usually do generally speaking, about my increasingly eclectic musical tastes during our adolescence. Whether it was catching me playing air-guitar to Purple Rain, or shaking his head in dismay as I zoned out in my incense-filled room blasting the 13th Floor Elevators or Moby Grape (“it smells like a Persian whorehouse in here…”), there was no doubt that we were becoming very different people. I had my vindication when I caught him playing my copy of “Sign o’ The Times” and he finally had to admit that Prince was pretty fucking cool. Like most siblings we probably couldn’t see (or, at least, I didn’t at the time) how much we were cut from the same cloth. I was probably about seven years old when he started collecting the Zeppelin albums — on vinyl through the Columbia Record Club via mail-order, baby!! So, if I felt like it, I could blame him for the years of reckless mixtures of drugs, sex, and the occult that inevitably “resulted” from my exposure to such Devil Music at an early age. But that would be silly; all that stuff was my own doing. One of my more pleasant memories, if a bit foggy, of the last year or so we had together, was the two of us (well, with his girlfriend in the passenger seat, unfortunately) driving on a road-trip to New York City in his pimped-out 1976 Trans Am. By pimped-out I mean that he had put in a decent sound system with a hefty amplifier and EQ, as well as a radar detector to elude the cops while speeding on the highways. I remember fondly the long ride up Interstate 75 blasting The Who and Zeppelin’s “Physical Graffiti” (one of the best all-time road-trip records.). Unfortunately I also remember with shame when he caught me buying opium from some schmuck in Greenwich Village. It turned out to be fake, bunk opium too, and so doubly not worthy of the embarrassment of getting caught. My brother worried about me a lot, and most likely saved my life in an incident where he took it upon himself to knock on some doors and put on his best metal-head menace to eke out information from my so-called hippie “friends” about where I might have disappeared to when I went missing for a few months when I was 15. I had actually told nobody but rumors travel fast in small towns, and he valiantly crossed state lines with his slightly-crazy bandmate who always carried a knife in his boot in his general preparedness for the apocalypse and had taken to calling himself Akhnaton after the Egyptian pharaoh. They tracked me down to a national forest before I was able to hitchhike across the country and meet my uncertain fate as a full-fledged drop out. I didn’t exactly pull myself together after that either. Less than a year later he was visiting me in the psych ward where I had been committed (half-voluntarily, half-coerced/forced there). He was the only visitor I had while I was there. It was less than two months after I got out of that place that he was killed in a car accident at around 3 am coming back home from a show with his metal band. I was the last person in my family to see him alive. Almost naturally, I thought it should have been me in that car, that there was some sort of mix-up. Not just guilt but also envy — the bastard got out of the game, and left me behind.

Although this show, in an incomplete version had circulated as a vinyl boot for quite some time before he died (on the famous Swingin’ Pig label), I do not know if he ever heard it or not. My guess would be he probably had not. So I like to imagine sometimes that I am playing it for him for the first time. It’s weird how when someone slips away from us, they become frozen in time – I will always think of him as 21 years old. In my dreams when he pays me a visit, that is usually his age. I’ve even had the odd science-fiction and conspiracy dreams where he returns to us, and we learn that his death was faked, a hoax. But he is still twenty-one years old, a fact that well all find rather peculiar but are afraid to comment on. Then it somehow becomes clear that this is not in fact my brother, but a clone or an android made from some recorded memory deposited in the Overmind, and that THIS is the hoax, and the dream fades, and I wake up.

So, wherever the hell you are, I’d like dedicate this post to you, with love, and hope you play it loud, commemorating Kali the Destroyer and the beauty of rock music in all its sublime hedonism, rough-hewn poetry, and eternal youth.

1. “The Song Remains The Same” (partial) – (3:40)
2. “The Rover”(Intro)/”Sick Again” – (6:44)
3. “Nobody’s Fault but Mine” – (6:29)
4. “In My Time of Dying/’You Shook Me” – (11:38)
5. “Since I’ve Been Loving You” – (8:23)
6. “No Quarter” – (19:46)
7. “Ten Years Gone” – (9:14)
8. “The Battle of Evermore” – (6:22)
9. “Going to California” – (5:48)
10. “Black Country Woman”
11. “Bron-Yr-Aur (Stomp)” – (5:11)
12. “White Summer”/”Black Mountain Side”
13. “Kashmir” – (8:32)
14. “Out on the Tiles”/”Over the Top”/”Moby Dick”
15. Guitar Solo – (9:45)
16. “Achilles Last Stand” – (9:40)
17. “Stairway to Heaven” – (10:10)
18. “Rock and Roll” – (3:26)
19. “Trampled Under Foot”

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