The World - Lucky Planet (Neil Innes, UK 1970)

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Shortly after the Bonzo Dog Band broke up in 1970, Neil Innes formed the short-lived band the World, also including ex-Bonzos bassist Dennis Cowan and future King Crimson/top session drummer Ian Wallace. Their sole album, Lucky Planet, was also issued in 1970, and stands up neither to the Bonzo Dog Band nor to the best of the music Innes would make in his solo career. While Innes is one of the best rock parodists, Lucky Planet -- like, in some ways, the Bonzos' own final 1960s album, Keynsham -- leans too much toward straight rock, and not often toward comedy. 

There's still much subtle humor in what's often a pastiche of late-'60s Beatlesque rock, but while subtlety is one of Innes' great virtues, perhaps the wit in these tunes is a bit too subtle to generate the kind of laughs you might expect. On casual hearing, in fact, they sound a little like run-of-the-mill 1970 British rock tunes, though close patient listening reveals "Angelina" to have an unusually heavy streak of self-pity; "9-5 Pollution Blues" as a droll take on white-boy blues-rock, complete with blatant Cream-like riffs; and the very Byrdsy "Lead Us" as a spoof on the youth culture's hunger for heroes. "Godzilla's Return" is so much an of-its-time prog rockish mélange that it treads the line between a satire and the real article. When reissued, the album has been billed to Neil Innes & the World, including a bonus track in a second version of "Come Out into the Open."

- Neil Innes - lead vocals, piano, guitar, producer
- Roger McKew - lead guitar
- Dennis Cowan - bass, guitar, vocals
- Ian Wallace - drums, vocals

01. NOT THE FIRST TIME (INNES/COWAN) 4.00 
02. SAIL AWAY (INNES) 3.28 
03. 9-5 POLLUTION BLUES (INNES) 4.20 
04. LEAD US (INNES) 5.05 
05. THINGS I COULD HAVE SAID (INNES) 4.06 
06. COME INTO THE OPEN II (INNES) 3.08 
07. GODZILLA'S RETURN (INNES) 10.25 
08. ANGELINA 2.51 [Bonus] 

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The Allman Brothers Band - Wipe Out The Windows (US 1976)

Size: 149 MB
Bitrate: 256
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Source: Japan 24-Bit Remaster

Wipe the Windows, Check the Oil, Dollar Gas is a 1976 double live album by The Allman Brothers Band.

It collected a variety of performances from the mid-1970s line-up of the band. Songs from their popular 1973 Brothers and Sisters album were heavily featured, but each of their other studio albums was represented by a selection as well.

Released after the group had already dissolved in acrimony, the album did not attract much praise or even attention at the time. The band did not like the selections, the sound mixing on the album was poor, the packaging was substandard, and the record also inevitably suffered by comparison to their classic 1971 At Fillmore East, generally considered one of the best live albums of all time.

Nevertheless, some of the 1973 performances, such as of "Southbound", are strong, and the energetic 1975 run-through of "Can't Lose What You Never Had" showed why it had gotten much of the progressive rock radio airplay off that year's Win, Lose or Draw. The New Year's Eve 1972 nightclub performance of "Ain't Wastin' Time No More", a number originally recorded shortly after the band lost Duane Allman and now being played shortly after the band lost Berry Oakley, illustrated the group's mixture of lament and resolve.

The album's title is derived from the song "Too Much Monkey Business" by Chuck Berry. Album cover art was done by Jim Evans.

This live album was released by Capricorn Records largely as a way of raising money in a hurry, but it fares surprisingly well musically. The 1973-1974 Allman Brothers Band featured here is the one that most fans actually saw, since most listeners didn't discover them or get to their concerts until after the deaths of Duane Allman and Berry Oakley. Wipe the Windows isn't a landmark release like the Fillmore tapes -- a collection of rock's greatest guitar albums could be complete without it. 

But no Allman Brothers Band fan should pass up Wipe the Windows, which is a most solid live album, and, in particular, a better representation of the songs off of Brothers and Sisters and Win, Lose or Draw than the original studio versions. "Southbound," "Ramblin' Man," "Jessica," and, to a lesser degree, "Wasted Words" come off exceptionally well. This second-generation band, with Dickey Betts as the sole lead guitar and Gregg Allman and Chuck Leavell sharing the keyboards, also performs a preconceived version of "In Memory of Elizabeth Reed" -- they could never spark more fire than the version from the Fillmore, so they transform it into a moodier piece with more space for the keyboards to open up. Compiled from shows in New Orleans, San Francisco, Bakersfield, Oakland, and Watkins Glen (New York). [Wikipedia + AMG]

01."Introduction" by Bill Graham – 1:05 
02."Wasted Words" (G. Allman) – 5:10 
03."Southbound" (Betts) – 6:03 
04."Ramblin' Man" (Betts) – 7:09 
05."In Memory of Elizabeth Reed" (Betts) – 17:19 
06."Ain't Wastin' Time No More" (G. Allman) – 5:41 
07."Come and Go Blues" (G. Allman) – 5:05 
08."Can't Lose What You Never Had" (Morganfield) – 6:43 
09."Don't Want You No More" (Davis, Hardin) – 2:48 
10."It's Not My Cross to Bear" (G. Allman) – 5:23 
11."Jessica" (Betts) – 9:05 

Sides one and two recorded at Winterland, San Francisco, California, September 26, 1973.
Track 1 of side three recorded at The Warehouse, New Orleans, Louisiana, December 31, 1972.
Track 2 of side three recorded at the Summer Jam at Watkins Glen, New York, July 28, 1973.
Track 3 of side three and 1 and 2 of side four recorded at the Bakersfield Civic Auditorium, Bakersfield, California, October 22, 1975.
Track 3 of side four recorded at the Oakland Coliseum, Oakland, California, October 24, 1975.

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B.B. King - Blues is King, Live in Chicago (US 1967)

Size: 105 MB
Bitrate: 256
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Source: Japan SHM-CD Remaster

By 1967, King had refined his singing and guitar style (which were always intertwined) to a fine point. Blues Is King music CDs What was just beginning to emerge during this period was King the showman, the singer with a story to tell his audience; sometimes a sad story, sometimes an angry one, occasionally even a downright mean one. Blues Is King songs Nowhere was this more apparent than in live performance. Blues Is King album Here he's captured in concert in Chicago, home of the blues and the ideal place to testify to the congregation. Blues Is King CD music From "Tired of Your Jive" to "I Know What You're Puttin' Down" to the unequivocal "Baby Get Lost," B.B. lets his audience in on the ups and downs of romance in no uncertain terms, both through his impassioned vocals and characteristically stinging guitar. Blues Is King music CDs The effect is both cathartic and awe-inspiring. Recorded live in Chicago on November 5, 1966. Originally released on Bluesway (6001) in September 1967. Includes original release liner notes by Stanley Dance. Personnel: B.B. King (vocals, guitar); Kenneth Sands (trumpet); Bobby Forte (tenor saxophone); Duke Jethro (organ); Louis Satterfield (bass); Sonny Freeman (drums). 

01. Introduction (Live (International Club)   
02. Waitin' On You 2:29   
03. Introduction (Live (International Club)   
04. Gambler's Blues 5:12    
05. Tired Of Your Jive 3:32    
06. Night Life 4:48   
07. Buzz Me 4:14    
08. Don't Answer The Door 4:10    
09. Blind Love 3:33    
10. I Know What You're Puttin' Down 3:36    
11. Baby, Get Lost 3:59    
12. Gonna Keep On Loving You 3:46
+ 2 Bonus Tracks 

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Lightnin' Hopkins - The Blues (US 1965) (1951 Recordings)

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Bluesman Sam "Lightnin’ Hopkins was a direct link to the rural blues tradition and a key figure in the transition from country to city blues. He recorded for a host of labels and was one of the most prolific blues artists of the twentieth century. In the 1920s, 1930s, and early 1940s Hopkins traveled through Texas playing at beer joints, picnics, and parties. He recorded as a popular artist after World War II and was rediscovered by folklorists in 1959, prompting a resurgence in his popularity and leading him to worldwide fame as a blues guitarist and singer.

Richard C. Walls in Musician wrote that Hopkins possessed "a bruised whiskey voice" that had "a clipped but expressive sound" and also noted that Hopkins’s delivery was "a singular and affecting mix of private pain and public celebration." The performer rarely emoted on record, Walls remarked, but when he did, it was "hair-raising." "More often he [drew] the listener in, [confiding] or [stating] a plain truth," observed Walls, "letting his virtuosic guitar playing elaborate on the feeling."
As a country blues guitarist, Hopkins was "powerful" and "idiosyncratic," according to Rolling Stone reviewer David Fricke. His playing possessed "a dark rhythmic drive" that "in a solo setting, physically charged the rugged poetic beauty of his ‘po’ Lightnin’ laments and the gnarly poignancy of his singing." In a group setting, Hopkins produced some virile blues recordings, though some back-up musicians could not keep up with his improvisational approach.

Taught by a Master
Sam Hopkins was born into the blues life on March 16, 1912, in Centerville, Texas, a small farm town north of Houston. Hopkins’s musician father, Abe, was killed over a card game when Sam was only three, and Sam’s grandfather had hung himself to escape the indignities of slavery. After his father died, Sam’s mother, Francis Sims Hopkins, moved him and his four brothers and one sister to Leona, Texas. When Sam was eight, he made his first guitar out of a cigar box and chicken wire. His brother Joel taught him the basic chords, but it was at the feet of Texas bluesman Blind Lemon Jefferson that Hopkins began his real blues education.

Hopkins met Jefferson around 1920 at a Baptist Church Association meeting in Buffalo, Texas. Jefferson was singing and playing for the crowd; Hopkins, who was only eight, got behind the stage and joined in. At first Jefferson was angered, but when he noticed that Hopkins was just a boy, he softened and showed Hopkins a few licks. It wasn’t too much later that

Hopkins left home to hobo through Texas playing in the streets, at picnics, parties, and dances—often just for tips. Even at the age of eight he knew he wasn’t willing to live the hard life most Texas blacks faced in those days. "Chop that cotton for six bits a day, plow that mule for six bits a day—that wasn’t in storage for me," he told Les Blank in the film documentary The Sun’s Gonna Shine.

Hopkins eventually reconnected with Jefferson and for a time served as his guide. Then in the late 1920s Hopkins formed what was to be a long-running duo with his cousin, blues singer Alger "Texas" Alexander. The two played the Houston bar circuit and toured eastern Texas. During this era Hopkins was chronically short of money. At one point he was sentenced to a chain gang for committing adultery with a white woman. He probably also served time in the Houston County Prison Farm in the late 1930s.

When Hopkins married, he and his first wife hired themselves out to Tom Moore, a farmer whose callousness Hopkins immortalized in the song, "Tom Moore’s Blues." "You know," he sang, "I got a telegram this morning/It say your wife is dead/I showed it to Mr. Moore he says/‘Go ahead nigger, you know you gotta plow a ridge’/That white man said ‘It’s been rainin’/Yes sir I’m way behind/I may let you bury that woman/On your dinner time."

In 1943 Hopkins married his third wife, Antoinette Charles, and moved to a large farm north of Dallas, where he worked for a time as a sharecropper. Around 1946, he was given a new guitar by a family friend, "Uncle" Lucian Hopkins. That inspired Sam to move back to Houston where he teamed up with his old partner Tex Alexander to play the local beer joints.

"Thunder and Lightnin’"
As luck would have it, at that time Lola Anne Cullen of Aladdin Records was in Houston scouting for blues artists. She discovered Hopkins and paired him with Wilson "Thunder" Smith, creating the team "Thunder and Lightnin’." Lightnin’s pairing with "Thunder" was short lived, but his relationship with Aladdin proved fruitful. "Katie Mae Blues," his first single, was a hit around Houston and its success led to 41 more sides for Aladdin.

'After a few years, Hopkins left Aladdin and contracted with Houston’s Gold Star Records. Hopkins insisted that record company owner Bill Quinn pay him $100 cash per song at the recording sessions; he was convinced that he would be ripped off otherwise. Looking back, however, historians have commented that this arrangement caused Hopkins to lose large sums in royalties.

Through the early 1950s, Hopkins recorded for small labels and hit Billboard magazine’s rhythm and blues Top Ten with songs like "T Model Blues" and "Coffee Blues." His uptempo numbers of this era helped to pioneer rock and roll, but rock’s teenage audience had little interest in Hopkins himself. To make matters worse, his original black audience also abandoned him for a more teen-oriented sound. Given his declining popularity, record companies lost interest in Hopkins, and he stopped recording as a popular artist in 1956.

Regained Fame
Scarcely three years after his exit from the popular marketplace, Hopkins was "discovered" by Houston folklorist Mack McCormick and introduced to a college educated audience, which saw the blues as "folk music." That same year folklorist Samuel Charters devoted a chapter of his book The Country Blues to Hopkins and recorded a whole album of Hopkins’s material for release on Folkways.

When labels realized that Hopkins’s sparse acoustic guitar and understated prose appealed to white audiences, they rushed to record him. In 1962 he won Down Beat magazine’s International Jazz Critics’ Poll in the New Star, Male Singer category. In the years that followed he "became a hero to academia, the young, the educated, and the liberals," according to Greg Drust and Stephen Peeples, who wrote the notes to Mojo Hand: a Lightnin’ Hopkins Anthology. "Beyond his stature as a bluesman," Drust and Peeples continued, "Lightnin’ also functioned as a teacher, philosopher, and shaman of sorts."

Remained True to Roots
Through the 1960s and 1970s, Hopkins continued to record. He became one of the post-World War 11 blues’ most prolific talents. He toured the United States and Europe and completed hundreds of sessions for scores of major and independent labels. But while his fame grew, his attitude toward his career remained much the same as it had when he was roaming around Texas. "He hated to fly, and refused to have a telephone," Les Blank wrote in Living Blues. "He turned down tour offers of $2,000 a week yet played in small rough Houston bars for $17 a night." In 1967 Hopkins was featured in Les Blank’s short subject documentary, The Sun’s Gonna Shine. The following year he was featured in another Les Blank documentary, The Blues According to Lightnin’ Hopkins, which won a Gold Hugo Award at the Chicago Film Festival as the best documentary of 1970.

In 1970 Hopkins was in an auto accident that put his neck in a brace and initiated a steady decline in his health. Nevertheless, he maintained a compulsive work rate during the 1970s, touring the United States, Canada, and Europe. He died of cancer of the esophagus on January 30, 1982. Remembering Hopkins, filmmaker Blank told Drust, "He was a clown and oracle, wit and scoundrel. Like Shakespeare, he had an understanding of all people and all their feelings. He [was] an eloquent spokesman for the human soul which dwells in us all."

All tracks is 1951 recordings

01.Hello Central
02.Coffee Blues
03.Long Way From Texas
04.Mad As I Can Be
05.New Short-Haired Woman
06.Gotta Move
07.Everybody's Down On Me
08.Freight Train
09.Prayin' Ground Blues
10.Don't Think I'm Crazy
11.Dirty House Blues
12.Everything Happens To Me
+ 5 Bonus Tracks

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Various Artist - The Story of The Beat Club 1 (1969)

Size: 717 MB
Bitrate: 320
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Found in DC++ World
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Golden age (Late 60's Rock Styles):
By the end of 1962, what would become the British rock scene had started with beat groups like The Beatles, Gerry & The Pacemakers and The Searchers from Liverpool and Freddie and the Dreamers, Herman's Hermits and The Hollies from Manchester. They drew on a wide range of American influences including soul, rhythm and blues and surf music, initially reinterpreting standard American tunes and playing for dancers. Bands like The Animals from Newcastle and Them from Belfast, and particularly those from London like The Rolling Stones and The Yardbirds, were much more directly influenced by rhythm and blues and later blues music. Soon these groups were composing their own material, combining US forms of music and infusing it with a high energy beat. Beat bands tended towards "bouncy, irresistible melodies", while early British rhythm and blues acts tended towards less sexually innocent, more aggressive songs, often adopting an anti-establishment stance. There was, however, particularly in the early stages, considerable musical crossover between the two tendencies. By 1963, led by the Beatles, beat groups had begun to achieve national success in Britain, soon to be followed into the charts by the more rhythm and blues focused acts.

In 1964 the Beatles achieved a breakthrough to mainstream popularity in the United States. "I Want to Hold Your Hand" was the band's first number 1 hit on the Billboard Hot 100, spending 7 weeks at the top and a total of 15 weeks on the chart. Their first appearance on The Ed Sullivan Show on 9 February, drawing an estimated 73 million viewers (at the time a record for an American television program) often is considered a milestone in American pop culture. The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands. During the next two years British acts dominated their own and the US charts with Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan all having one or more number 1 singles. Other major acts that were part of the invasion included The Kinks and The Dave Clark Five.

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success. In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and '60s. It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis. The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters

Garage rock:
Garage rock was a form of amateurish rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in a suburban family garage. Garage rock songs revolved around the traumas of high school life, with songs about "lying girls" being particularly common. The lyrics and delivery were more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming. They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas. The Pacific Northwest states of Washington and Oregon had perhaps the most defined regional sound.

The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by The Wailers and "Louie Louie" by The Kingsmen (1963) are mainstream examples of the genre in its formative stages. By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise), the Trashmen (Minneapolis) and the Rivieras (South Bend, Indiana). Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100. In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a sub-genre of garage rock.

The British Invasion of 1964–66 greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form. Thousands of garage bands were extant in the US and Canada during the era and hundreds produced regional hits. Examples include: "The Witch" by Tacoma's The Sonics (1965), "Where You Gonna Go" by Detroit's Unrelated Segments (1967), "Girl I Got News for You" by Miami's Birdwatchers (1966) and "1–2–5" by Montreal's The Haunted. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966. By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft. New styles had evolved to replace garage rock (including blues rock, progressive rock and country rock). In Detroit garage rock stayed alive until the early '70s, with bands like the MC5 and The Stooges, who employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.

Pop rock:
The term pop has been used since the early 20th century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. In the aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock music, to describe a form that was more commercial, ephemeral and accessible. In contrast rock music was seen as focusing on extended works, particularly albums, was often associated with particular sub-cultures (like the counter-culture), placed an emphasis on artistic values and "authenticity", stressed live performance and instrumental or vocal virtuosity and was often seen as encapsulating progressive developments rather than simply reflecting existing trends.

Nevertheless much pop and rock music has been very similar in sound, instrumentation and even lyrical content. The terms "pop-rock" and "power pop" have been used to describe more commercially successful music that uses elements from, or the form of, rock music.[ Pop-rock has been defined as an "upbeat variety of rock music represented by artists such as Elton John, Paul McCartney, The Everly Brothers, Rod Stewart, Chicago, and Peter Frampton." In contrast, self-published music reviewer George Starostin defines it as a subgenre of pop music that uses catchy pop songs that are mostly guitar-based. Starostin argues that most of what is traditionally called "power pop" falls into the pop rock subgenre and that the lyrical content of pop rock is "normally secondary to the music." The term power pop was coined by Pete Townshend of The Who in 1966, but not much used until it was applied to bands like Badfinger in the 1970s, who proved some of the most commercially successful of the period. Throughout its history there have been rock acts that have used elements of pop, and pop artists who have used rock music as a basis for their work, or striven for rock "authenticity".

Blues rock:
Although the first impact of the British Invasion on American popular music was through beat and R&B based acts, the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American blues, including the Rolling Stones and the Yardbirds. British blues musicians of the late 1950s and early '60s had been inspired by the acoustic playing of figures such as Lead Belly, who was a major influence on the Skiffle craze, and Robert Johnson. Increasingly they adopted a loud amplified sound, often centered around the electric guitar, based on the Chicago blues, particularly after the tour of Britain by Muddy Waters in 1958, which prompted Cyril Davies and guitarist Alexis Korner to form the band Blues Incorporated. The band involved and inspired many of the figures of the subsequent British blues boom, including members of the Rolling Stones and Cream, combining blues standards and forms with rock instrumentation and emphasis.

The other key focus for British blues was around John Mayall who formed the Bluesbreakers, whose members included Eric Clapton (after his departure from The Yardbirds) and later Peter Green. Particularly significant was the release of Blues Breakers with Eric Clapton (Beano) album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States. Eric Clapton went on to form supergroups Cream, Blind Faith and Derek and the Dominos, followed by an extensive solo career that helped bring blues rock into the mainstream. Green, along with the Bluesbreaker's rhythm section Mick Fleetwood and John McVie, formed Peter Green's Fleetwood Mac, who enjoyed some of the greatest commercial success in the genre. In the late '60s Jeff Beck, also an alumnus of the Yardbirds, moved blues rock in the direction of heavy rock with his band, The Jeff Beck Group. The last Yardbirds guitarist was Jimmy Page, who went on to form The New Yardbirds which rapidly became Led Zeppelin. Many of the songs on their first three albums, and occasionally later in their careers, were expansions on traditional blues songs.

In America, blues rock had been pioneered in the early 1960s by guitarist Lonnie Mack, but the genre began to take off in the mid-'60s as acts developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band and Jimi Hendrix with his power trios, The Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade. Blues rock bands from the southern states, like Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top, incorporated country elements into their style to produce distinctive Southern rock.

Early blues rock bands often emulated jazz, playing long, involved improvisations, which would later be a major element of progressive rock. From about 1967 bands like Cream and The Jimi Hendrix Experience had begun to move away from purely blues-based music into psychedelia. By the 1970s, blues rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and Deep Purple, and the lines between blues rock and hard rock "were barely visible", as bands began recording rock-style albums. The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers, but, particularly on the British scene (except perhaps for the advent of groups such as Status Quo and Foghat who moved towards a form of high energy and repetitive boogie rock), bands became focused on heavy metal innovation, and blues rock began to slip out of the mainstream.

Folk rock:
By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilising traditional music and new compositions in a traditional style, usually on acoustic instruments. In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics. In the early sixties figures such as Joan Baez and Bob Dylan had come to the fore in this movement as singer-songwriters. Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.

Early attempts to combine elements of folk and rock included the Animals "House of the Rising Sun" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation and the Beatles "I'm a Loser" (1964), arguably the first Beatles song to be influenced directly by Dylan. The folk rock movement is usually thought to have taken off with The Byrds' recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965. With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre. Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his "Like a Rolling Stone" becoming a US hit single. Folk rock particularly took off in California, where it led acts like The Mamas & the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, where it spawned performers including The Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic "The Sounds of Silence" (1965) being remixed with rock instruments to be the first of many hits.

These acts directly influenced British performers like Donovan and Fairport Convention. In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments. This electric folk was taken up by bands including Pentangle, Steeleye Span and The Albion Band, which turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer's Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.

Folk rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock. However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song and concepts of "authenticity".

Psychedelic rock:
Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues". The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year. The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period, with "I Feel Fine" using guitar feedback; in late 1965 the Rubber Soul album included the use of a sitar on "Norwegian Wood" and they employed backmasking on their 1966 single B-side "Rain" and other tracks that appeared on their Revolver album later that year.

Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965. The psychedelic life style had already developed in San Francisco and particularly prominent products of the scene were The Grateful Dead, Country Joe and the Fish, The Great Society and Jefferson Airplane. The Byrds rapidly progressed from purely folk rock in 1966 with their single "Eight Miles High", widely taken to be a reference to drug use. In Britain arguably the most influential band in the genre were The Yardbirds, who, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding up-tempo improvised "rave ups", Gregorian chant and world music influences to songs including "Still I'm Sad" (1965) and "Over Under Sideways Down" (1966). From 1966 the UK underground scene based in North London, supported new acts including Pink Floyd, Traffic and Soft Machine. The same year saw Donovan's folk-influenced hit album Sunshine Superman, considered one of the first psychedelic pop records, as well as the débuts of blues rock bands Cream and The Jimi Hendrix Experience, whose extended guitar-heavy jams became a key feature of psychedelia.

Psychedelic rock reached its apogee in the last years of the decade. 1967 saw the Beatles release their definitive psychedelic statement in Sgt. Pepper's Lonely Hearts Club Band, including the controversial track "Lucy in the Sky with Diamonds" and the Rolling Stones responded later that year with Their Satanic Majesties Request. Pink Floyd produced what is usually seen as their best psychedelic work The Piper at the Gates of Dawn. In America the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the latter helping to make major American stars of Jimi Hendrix and The Who, whose single "I Can See for Miles" delved into psychedelic territory. Key recordings included Jefferson Airplane's Surrealistic Pillow and The Doors' Strange Days. These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. Brian Wilson of the Beach Boys, Brian Jones of the Rolling Stones, Peter Green of Fleetwood Mac and Syd Barrett of Pink Floyd were early "acid casualties", the Jimi Hendrix Experience and Cream broke up before the end of the decade and many surviving acts moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive rock, or riff laden heavy rock.

Progressive rock:
Progressive rock, a term sometimes used interchangeably with art rock, was an attempt to move beyond established musical formulas by experimenting with different instruments, song types, and forms. From the mid-1960s The Left Banke, The Beatles, The Rolling Stones and The Beach Boys, had pioneered the inclusion of harpsichords, wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach inspired introduction. The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesisers. Classical orchestration, keyboards and synthesisers were a frequent edition to the established rock format of guitars, bass and drums in subsequent progressive rock

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction. The Pretty Things' SF Sorrow (1968), The Who's Tommy (1969) and The Kinks' Arthur (Or the Decline and Fall of the British Empire) (1969) introduced the format of rock operas and opened the door to concept albums, often telling an epic story or tackling a grand overarching theme. King Crimson's 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts.

The vibrant Canterbury scene saw acts following Soft Machine from psychedelia, through jazz influences, toward more expansive hard rock, including Caravan, Hatfield and the North, Gong, and National Health. Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with Dark Side of the Moon (1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time. There was an emphasis on instrumental virtuosity, with Yes showcasing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman, while Emerson, Lake & Palmer were a supergroup who produced some of the genre's most technically demanding work. Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music. Renaissance, formed in 1969 by ex-Yardbirds Jim McCarty and Keith Relf, evolved into a high-concept band featuring the three-octave voice of Annie Haslam. Most British bands depended on a relatively small cult following, but a handful, including Pink Floyd, Genesis and Jethro Tull, managed to produce top ten singles at home and break the American market.

The American brand of prog rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat and Tears, to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and Styx. These, beside British bands Supertramp and ELO, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, issuing in the era of pomp or arena rock, which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical rock festivals as major live venues in the 1990s.

The instrumental strand of the genre resulted in albums like Mike Oldfield's Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre. Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can and Faust to circumvent the language barrier. Their synthesiser-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock. With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown. Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours. Some bands which emerged in the aftermath of punk, such as Siouxsie and the Banshees, Ultravox and Simple Minds, showed the influence of prog, as well as their more usually recognized punk influences.

Jazz rock:
In the late 1960s jazz rock emerged as a distinct sub-genre out of the blues rock, psychedelic and progressive rock scenes, mixing the power of rock with the musical complexity and improvisational elements of jazz. Many early US rock and roll musicians had begun in jazz and carried some of these elements into the new music. In Britain the sub-genre of blues rock, and many of its leading figures, like Ginger Baker and Jack Bruce of Cream, had emerged from the British jazz scene. Often highlighted as the first true jazz-rock recording is the only album by the relatively obscure New York-based The Free Spirits with Out of Sight and Sound (1966). The first group of bands to self-consciously use the label were R&B oriented white rock bands that made use of jazzy horn sections, like Electric Flag, Blood, Sweat and Tears and Chicago, to become some of the most commercially successful acts of the later 1960s and early 1970s.

British acts to emerge in the same period from the blues scene, to make use of the tonal and improvisational aspects of jazz, included Nucleus and the Graham Bond and John Mayall spin-off Colosseum. From the psychedelic rock and the Canterbury scenes came Soft Machine, who, it has been suggested, produced one of the artistically successfully fusions of the two genres. Perhaps the most critically acclaimed fusion came from the jazz side of the equation, with Miles Davis, particularly influenced by the work of Hendrix, incorporating rock instrumentation into his sound for the album Bitches Brew (1970). It was a major influence on subsequent rock-influenced jazz artists, including Herbie Hancock, Chick Corea and Weather Report. The genre began to fade in the late 1970s, as a mellower form of fusion began to take its audience, but acts like Steely Dan, Frank Zappa and Joni Mitchell recorded significant jazz-influenced albums in this period, and it has continued to be a major influence on rock music.

Soft rock, hard rock and early heavy metal:
From the late 1960s it became common to divide mainstream rock music into soft and hard rock. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. Major artists included Carole King, Cat Stevens and James Taylor. It reached its commercial peak in the mid- to late '70s with acts like Billy Joel, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade. In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity. It often emphasised the electric guitar, both as a rhythm instrument using simple repetitive riffs and as a solo lead instrument, and was more likely to be used with distortion and other effects. Key acts included British Invasion bands like The Who and The Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and The Jeff Beck Group. Hard rock-influenced bands that enjoyed international success in the later 1970s included Queen, Thin Lizzy, Aerosmith and AC/DC.

From the late 1960s the term heavy metal began to be used to describe some hard rock played with even more volume and intensity, first as an adjective and by the early 1970s as a noun. The term was first used in music in Steppenwolf's "Born to Be Wild" (1967) and began to be associated with pioneer bands like Boston's Blue Cheer and Michigan's Grand Funk Railroad. By 1970 three key British bands had developed the characteristic sounds and styles which would help shape the sub-genre. Led Zeppelin added elements of fantasy to their riff laden blues-rock, Deep Purple brought in symphonic and medieval interests from their progressive rock phrase and Black Sabbath introduced facets of the gothic and modal harmony, helping to produce a "darker" sound. These elements were taken up by a "second generation" of heavy metal bands into the late 1970s, including: Judas Priest, UFO, Motörhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue Öyster Cult from the US; Rush from Canada and Scorpions from Germany, all marking the expansion in popularity of the sub-genre. Despite a lack of airplay and very little presence on the singles charts, late-1970s heavy metal built a considerable following, particularly among adolescent working-class males in North America and Europe.[Wikipedia]

Set 1
Beat-Club 39 - 25.01.1969
01. 1910 Fruitgum Co - Goody, Goody Gumdrops
02. The Move - Blackberry Way
03. Ohio Express - Chewy, Chewy
04. Status Quo - Technicolor Dreams
05. The Beach Boys - Do It Again
06. The Gun - Race With The Devil
07. Raymond Froggatt - Roly
08. Barry St. John - Cry Like A Baby
09. Donovan - Atlantis
10. The Tremeloes - My Little Lady

Beat-Club 40 - 22.02.1969
11. Harmony Grass - Move In A Little Closer Baby
12. Bonzo Dog Doo Dah Band - Canyons Of Your Mind
13. Leapy Lee - Here Comes The Rain
14. Julie Driscoll, Brian Auger & The Trinity - Road To Cairo
15. Amen Corner (If Paradise Is) Half As Nice
16. Canned Heat - Going Up The Country
17. Love Sculpture - Sabre Dance
18. Root & Jenny Jackson - Lean On Me
19. Billie Davis - Make The Feeling Go Away
20. The Tremeloes - I Shall Be Released
21. Barry Ryan - Love Is Love

Beat-Club 41 - 29.03.1969
22. Simon Dupree & The Big Sound - Broken Hearted Pirates
23. The Searchers - Umbrella Man
24. Sly & The Family Stone - Everyday People
25. Julie Driscoll. Brian Auger & The Trinity - Indian Ropeman
26. The Rascals - Heaven
27. Marv Johnson - I'll Pick A Rose For My Rose
28. Melanie - Animal Crackers
29. The Hollies - Sorry Suzanne
30. Peter Sarstedt - Where Do You Go To My Lovely
31. Creedence Clearwater Revival - Proud Mary
32. The Beach Boys - California Girls
33. The Foundations - In The Bad, Bad Old Days (Before You Loved Me)

Set 2
Beat-Club 42 - 26.04.1969
01 U.K. Jones - Let Me Tell 'Ya
02 Les Reed - Don't Tinger With Your Finger On The Trigger
03 Grisby Dyke - The Adventures Of Miss Rosemary Lapage
04 Paul Williams Set - My Sly Sadie
05 David McWilliams - The Stranger
06 Melanie - Bobo's Party
07 Trifle - All Together Now
08 Manfred Mann - Ragamuffin Man
09 Clodagh Rodgers - Come Back And Shake Me
10 Dave Dee, Dozy, Beaky, Mick & Tich - Don Juan
11 The Kinks - Plastic Man

Beat-Club 43 - 07.06.1969
12 Steppenwolf - Rock Me
13 Paul Revere & The Raiders - Let Me
14 Status Quo - Are You Growing Tired Of My Love
15 Jimmy James & The Vagabonds - Close The Door
16 Colosseum - Walking In The Park
17 Fleetwood Mac - Man Of The World
18 Spooky Tooth - That Was Only Yesterday
19 Steppenwolf - Born To Be Wild
20 The Beach Boys - Break Away
21 Joe South - Games People Play
22 Chris Andrews - Pretty Belinda
23 Mary Hopkin - Goodbye
24 The Dave Clark Five - Mulberry Tree

Beat-Club 44 - 28.06.1969
25 Caravan - Place Of My Town
26 Brian Poole & The Seychelles - Send Her To Me
27 The Flirtations - What's Food About Goodbye My Love?
28 Keef Hartley Band - Waiting Around
29 Marsha Hunt - Wak On Gilded Splinters
30 Procol Harum - A Salty Dog
31 Richie Havens - Lady Madonna
32 The Searchers - Shoot 'Em Up Baby
33 Family Dogg - A Way Of Live
34 Three Dog Night - One
35 Amen Corner - Hello Susie
36 Dave Dee, Dozy, Beaky, Mick & Tich - Snake In The Grass
37 Ohio Express - Mercy

Set 3
Beat-Club 45 - 02.08.1969
01 The Dave Clark Five - Live In The Sky
02 Steppenwolf - Sookie Sookie
03 Paul Revere & The Raiders - Out On That Road
04 The Marmalade - Baby Make It Soon
05 Rainbow People - Living In A Dreamworld
06 Robin Gibb - Saved By The Bell
07 Zager & Evans - In The Year 2525
08 Clodagh Rodgers - Goodnight Midnight
09 The Beach Boys - Surfin USA
10 Thunderclap Newman - Something In The Air

Beat-Club 46 - 30.08.1969
11 Deep Purple - Halleluja 
12 Three Dog Night - Try A Little Tenderness
13 Procol Harum - Long Gone Geek
14 Tim Rose - Hey Joe
15 Interstate Roadshow - Grindy grind
16 Windmill - Big Bertha
17 Jimmy Ruffin - I've Passed This Way Before
18 Steamhammer - Junior's Wailing
19 Steamhammer - When All Your Friends Are Gone
20 The Move - Curly
21 Humble Pie - Alabama 69
22 Humble Pie - Natural Born Boogie

Beat-Club 47 - 27.09.1969
23 Fat Mattress - Naturally 
24 The Who - Tommy Overture/Pinball Wizard
25 The Who - Tommy Can You Hear Me/Smash The Mirror
26 The Who - Sally Simpson/I'm Free
27 The Who - Tommy's Holiday Camp/We're Not Gonna Take It
28 Fat Mattress - Mr. Moonshine
29 Fat Mattress - Magic Forest

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New Riders Of The Purple Sage - Winterland Arena 1971 KSAN-FM Broadcast (Bootleg)

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New Riders of the Purple Sage is an American country rock band. The group emerged from the psychedelic rock scene in San Francisco, California in 1969, and its original lineup included several members of the Grateful Dead. Their best known song is "Panama Red." The band is sometimes referred to as the New Riders, or as NRPS.

For most of the early '70s, the New Riders of the Purple Sage™ (yes, the name is trademark-protected) were the successful offshoots of the Grateful Dead. Although they never remotely approached the success or longevity of the Dead, they attracted a considerable audience through their association with Jerry Garcia, Phil Lesh, and Mickey Hart, whose fans couldn't be satisfied with only the Dead's releases -- the New Riders never reached much beyond that audience, but the Deadheads loved them as substitutes (along with Garcia's periodic solo projects) for the real article. Their initial sound was a kind of country-acid rock, somewhat twangier than the Dead's usual work and without the Dead's successful forays into experimental jams, but they later acquitted themselves as straight country-rockers.

Essentially, the New Riders of the Purple Sage (their name derives from an old country outfit, Foy Willing and the Riders of the Purple Sage, who in turn took the name from an old Western novel) were initially formed as a vehicle for Garcia, Lesh, and Hart to indulge their tastes for country music beyond the albums Workingman's Dead and American Beauty. Their original lineup at early performances consisted of Garcia on pedal steel, Lesh on bass, John Dawson (born 1945) on rhythm guitars and vocals, sometime Dead contributor-member David Nelson on lead guitars, mandolin, and vocals, and Mickey Hart on drums. the New Riders quickly evolved into more of a free-standing unit, with Dave Torbert succeeding Lesh, and ex-Jefferson Airplane member Spencer Dryden on the drums, succeeding Hart. They also developed an identity of their own through Dawson's songwriting, which had an appealing command of melody and beat. 

The group was a little shaky as a country-rock outfit, without the strengths of soulfulness or strong in-house songwriting of, say, Poco or the Burrito Brothers, but their association with Garcia and the Dead (Lesh co-produced one album) gave them a significant leg up in terms of publicity and finding an audience. High school and college kids who'd scarcely heard of Gram Parsons or Jim Messina but owned more than one Dead album, were likely in those days to own, or have a friend who owned, at least one New Riders album. That translated into many thousands of sales of the self-titled first album, which proved an apt and pleasing companion to Workingman's Dead and American Beauty with its mix of country and psychedelic sounds. By the second album, Buddy Cage had come in on pedal steel, replacing Garcia, and their sound had firmed up, helped by the fact that Dawson and Torbert were good songwriters.

Powerglide, their second album, proved that they had what it took to stand separate from the Dead, even though Garcia and Bill Kreutzmann played on a handful of cuts. The group continued to attract a following through the early and mid-'70s, mixing country-rock and folk sounds (Buffy St. Marie was a guest vocalist on the 1974 hit album The Adventures of Panama Red) and attracting the mellower component of recreational drug users. By the end of the decade, following a label change from Columbia to MCA, it seemed as though they were running out of steam and originality, however, and the growth in popularity of punk, disco, and power pop made them seem like an anachronism, along with most other country-rock outfits of the era. Ex-Byrd Skip Battin joined in 1975, replacing Torbert; Dryden gave up playing in 1978 to assume management of the band, and by 1981, Nelson was gone.

the New Riders essentially disbanded in 1982, although the name was later picked up by a new lineup built around Gary Vogensen (guitar) and Rusty Gautier (bass). Nelson subsequently played with the Jerry Garcia Acoustic Band and assumed the de facto role of group archivist, supervising the release of unissued tapes by the band through the Relix label.

Origins: Early 1960s–1969:
The roots of the New Riders can be traced back to the early 1960s folk/bohemian/beatnik scene in San Francisco, where future Grateful Dead guitarist Jerry Garcia often played gigs with like-minded guitarist David Nelson. The young John Dawson, also known as "Marmaduke," from a well-to-do family centered in Chicago, Illinois, and later Los Altos Hills, California, also played some concerts with Garcia, Nelson, and their compatriots while visiting relatives on summer vacation. Enamored with the sounds of Bakersfield-style country music, Dawson would turn his older friends on to the work of Merle Haggard and Buck Owens while providing a vital link between the East Coast, Timothy Leary-dominated psychedelic scene (via boarding at the Millbrook School) and the West. Nelson then moved on to Los Angeles with future Grateful Dead/New Riders lyricist Robert Hunter and tape archivist Willy Legate, while Garcia formed the Grateful Dead, then known as the Warlocks, with an acquaintance, blues singer Ron "Pigpen" McKernan.

By the time Nelson returned to the Bay Area in 1966, the Merry Pranksters-led Acid Tests were in full swing, with the Dead serving as house band. Throughout 1967 and 1968, Nelson worked as a journeyman musician in the San Francisco area, playing everything from electric psychedelic rock (he was briefly lead guitarist of Big Brother and the Holding Company after Janis Joplin and Sam Andrew departed) to contemporary bluegrass with groups such as the Mescaline Rompers.

After attending Occidental College in the Los Angeles area, Dawson returned to the Bay Area, where he decided to find his fortunes as a solo folksinger. After an early 1969 mescaline experience he began to compose songs on a regular basis. Some, such as "Glendale Train", were traditional country pastiches, while a number of others ("Last Lonely Eagle" and "Dirty Business") found him working in the milieu of a countrified Dead. Others, including the shuffle "Henry", were a combination of the two — traditional music combined with then-contemporary lyrics.

Dawson's vision was timely, as 1969 marked the emergence of country rock via the Dillard & Clark Band, the Clarence White-era Byrds, The Band, Gram Parsons' Flying Burrito Brothers, and Bob Dylan. Around this time, Garcia was similarly inspired to take up the pedal steel guitar, and Dawson and Garcia began playing coffeehouse concerts together when the Grateful Dead were not touring. The Dawson and Garcia repertoire included Bakersfield country standards, traditional bluegrass, Dawson originals, a few Dylan covers ("Lay Lady Lay", "You Ain't Goin' Nowhere", "Mighty Quinn"), and Joni Mitchell's song "Big Yellow Taxi". By the summer of 1969 it was decided that a full band would be formed and David Nelson was recruited from Big Brother to play electric lead guitar.

In addition to Nelson, Dawson (on acoustic guitar), and Garcia (continuing to play pedal steel), the original line-up of the band that came to be known as the New Riders of the Purple Sage (a nod to the Zane Grey classic and the western swing combo from the 1940s led by Foy Willing) consisted of Robert Hunter on electric bass and Grateful Dead drummer Mickey Hart. Hunter was soon replaced by Bob Matthews, before Phil Lesh of the Grateful Dead was named bassist. The most well-known version of the New Riders, referred to as the "core" by many[who?], was Dawson, Nelson, Dave Torbert on bass, Spencer Dryden on drums, and Buddy Cage, who joined the band after about a year and a half and replaced Jerry Garcia on pedal steel.

Vintage NRPS: 1969–1982:
After a few warmup gigs throughout the Bay Area in 1969, the New Riders (for all intents and purposes Dawson and Nelson) began to tour in May 1970 as opening act with the Grateful Dead. This relationship continued on a regular basis until December 1971. Throughout much of 1970, the Dead would open with an acoustic set that often included Dawson and Nelson before segueing into the New Riders and then the electric Dead.

By the time the New Riders recorded their first album in late 1970, change was in the air. Dave Torbert then replaced Lesh. After Hart went on sabbatical from music in early 1971, Spencer Dryden (from Jefferson Airplane) began a ten-year relationship with the group as their drummer, and eventually manager. The first album, eponymously titled, was released on Columbia Records in late 1971 and was a moderate success. Featuring all Dawson songs, the record was driven by Garcia's pedal-steel playing.

With the New Riders desiring to become more of a self-sufficient group and Garcia needing to focus on his other responsibilities, the musician parted ways with the group in November 1971. Buddy Cage, a seasoned pedal steel player who had contributed to the latter-day recordings by Ian and Sylvia and the Great Speckled Bird, replaced Garcia. The band's second album, Powerglide, was the first to feature this lineup. The Powerglide album art included a caricature of the band members, drawn by Lore Shoberg.

The band peaked in popularity in 1973 with The Adventures of Panama Red and the accompanying single, "Panama Red", an FM radio staple. The Adventures of Panama Red was the group's lone gold album.

In the mid-1970s Radio Caroline adopted the song "On My Way Back Home" from the Gypsy Cowboy album as the station's theme tune. The song was well-suited to the station's album-oriented format of the time, and included the lyric "Flying to the sun, sweet Caroline".

The New Riders of the Purple Sage continued touring and releasing albums throughout the mid to late 1970s and early 1980s. In 1974, Torbert left NRPS, and he and Matthew Kelly co-founded the band Kingfish. Skip Battin, formerly of the Byrds, took over on bass guitar, followed in 1976 by Stephen A. Love of Rick Nelson's Stone Canyon Band and the Roger McGuinn Band. Spencer Dryden left the drummer's chair to manage the group in 1978. His musical replacement was Patrick Shanahan. Allen Kemp joined in 1976, originally on bass, but later on guitar and vocals, contributing to the song writing for the 1981 album, Feelin' All Right. Then, in 1982, both Nelson and Cage departed from the band.[Wikipedia]

New Riders Of The Purple Sage 12/31/71
Winterland Arena, San Francisco, CA
Opened for Grateful Dead, Yogi Phlegm also performed
KSAN-FM Broadcast

*John Dawson
*Buddy Cage
*David Nelson
*Dave Torbert
*Spencer Dryden

01.Six Days On The Road
02.I Don't Know You
03.Rainbow
04.Dim Lights, Thick Smoke
05.Sailin'
06.Henry
07.Portland Woman
08.Truck Drivin' Man
09.Garden Of Eden
10.Hello Mary Lou
11.Runnin' Back To You
12.I Don't Need No Doctor
13.Last Lonely Eagle
14.Louisiana lady

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