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Billy Boy Arnold With Tony McPhee & The Groundhogs - - 1977 (2007)

Posted By: mfrwiz
Billy Boy Arnold With Tony McPhee & The Groundhogs -  - 1977 (2007)

Billy Boy Arnold With Tony McPhee & The Groundhogs - Dirty Mother - 1977 (2007)
Lossless (Flac Image File + Cue + Log + Audio Identifier Report): 377 Mb | EAC Secure Mode Rip | Mp3 (CBR 320 kbps): 140 Mb | Scans | WinRar Files (3% recovery)
Audio CD (Release Date 6/12/2007 - Number of Discs: 1 - Label: Music Avenue - Catalog Number: 250167
Blues, Chicago Blues, Electric Blues

Billy Boy Arnold Biography: Talk about a comeback. After too many years away from the studio, Chicago harpist Billy Boy Arnold returned to action in a big way with two fine albums for Alligator: 1993's Back Where I Belong and 1995's Eldorado Cadillac. Retaining his youthful demeanor despite more than four decades of blues experience, Arnold's wailing harp and sturdy vocals remained in top-flight shape following the lengthy recording layoff. Born in Chicago rather than in Mississippi (as many of his musical forefathers were), young Arnold gravitated right to the source in 1948.

Billy Boy Arnold With Tony McPhee & The Groundhogs -  - 1977 (2007)

He summoned up the courage to knock on the front door of his idol, harmonica great John Lee "Sonny Boy" Williamson, who resided nearby. Sonny Boy kindly gave the lad a couple of harp lessons, but their relationship was quickly severed when Williamson was tragically murdered. Still in his teens, Arnold cut his debut 78 for the extremely obscure Cool logo in 1952. "Hello Stranger" went nowhere but gave him his nickname when its label unexpectedly read "Billy Boy Arnold." Arnold made an auspicious connection when he joined forces with Bo Diddley and played on the shave-and-a-haircut beat specialist's two-sided 1955 debut smash "Bo Diddley"/"I'm a Man" for Checker. That led, in a roundabout way, to Billy Boy's signing with rival Vee-Jay Records (the harpist mistakenly believed Leonard Chess didn't like him). Arnold's "I Wish You Would," utilizing that familiar Bo Diddley beat, sold well and inspired a later famous cover by the Yardbirds. That renowned British blues-rock group also took a liking to another Arnold classic on Vee-Jay, "I Ain't Got You." Other Vee-Jay standouts by Arnold included "Prisoner's Plea" and "Rockinitis," but by 1958, his tenure at the label was over. Other than an excellent Samuel Charters-produced 1963 album for Prestige, More Blues on the South Side, Arnold's profile diminished over the years in his hometown (though European audiences enjoyed him regularly) and he first ended up driving a bus in his hometown of Chicago, then working as a parole officer for the state of Illinois. Fortunately, that changed: Back Where I Belong restored this Chicago harp master to prominence, and Eldorado Cadillac drove him into the winner's circle a second time. After a six year lull between recordings, 2001's Boogie 'n' Shuffle on Stony Plain found Arnold still in fine form, backed by Duke Robillard and his band on a set of rough and ready blues.~ Bill Dahl, All Music Guide

* Born: September 16, 1935, Chicago, IL
* Active: '50s, '60s
* Genres: Blues, Vocals
* Instrument: Harmonica
* Representative Albums: "I Wish You Would", "Going to Chicago", "Blowin' the Blues Away"
* Representative Songs: "I Wish You Would", "Don't Stay Out All Night", "I Ain't Got You"

The Groundhogs Biography: The Groundhogs were not British blues at their most creative; nor were they British blues at their most generic. They were emblematic of some of the genre's most visible strengths and weaknesses. They were prone to jam too long on basic riffs, they couldn't hold a candle to American blues singers in terms of vocal presence, and their songwriting wasn't so hot. On the other hand, they did sometimes stretch the form in unexpected ways, usually at the hands of their creative force, guitarist/songwriter/vocalist T.S. (Tony) McPhee. For a while they were also extremely popular in Britain, landing three albums in that country's Top Ten in the early '70s. The Groundhogs' roots actually stretch back to the mid-'60s, when McPhee helped form the group, named after a John Lee Hooker song (the band was also known briefly as John Lee's Groundhogs). In fact, the Groundhogs would back Hooker himself on some of the blues singer's mid-'60s British shows, and also back him on record on an obscure LP. They also recorded a few very obscure singles with a much more prominent R&B/soul influence than their later work.

Billy Boy Arnold With Tony McPhee & The Groundhogs -  - 1977 (2007)

In 1966, the Groundhogs evolved into Herbal Mixture, which (as if you couldn't guess from the name) had more of a psychedelic flavor than a blues one. Their sole single, "Machines," would actually appear on psychedelic rarity compilations decades later. The Groundhogs/Herbal Mixture singles, along with some unreleased material, has been compiled on a reissue CD on Distortions. After Herbal Mixture folded, McPhee had a stint with the John Dummer Blues Band before re-forming the Groundhogs in the late '60s at the instigation of United Artists A&R man Andrew Lauder. Initially a quartet (bassist Pete Cruickshank also remained from the original Groundhogs lineup), they'd stripped down to a trio by the time of their commercial breakthrough, Thank Christ for the Bomb, which made the U.K. Top Ten in 1970. The Groundhogs' power-trio setup, as well as McPhee's vaguely Jack Bruce-like vocals, bore a passing resemblance to the sound pioneered by Cream. They were blunter and less inventive than Cream, but often strained against the limitations of conventional 12-bar blues with twisting riffs and unexpected grinding chord changes. McPhee's lyrics, particularly on Thank Christ for the Bomb, were murky, sullen anti-establishment statements that were often difficult to decipher, both in meaning and actual content. They played it straighter on the less sophisticated follow-up, Split, which succumbed to some of the period's blues-hard-rock indulgences, putting riffs and flash over substance. McPhee was always at the very least an impressive guitarist, and a very versatile one, accomplished in electric, acoustic, and slide styles. Who Will Save the World? The Mighty Groundhogs! (1972), their last Top Ten entry, saw McPhee straying further from blues territory into somewhat progressive realms, even adding some Mellotron and harmonium (though the results were not wholly unsuccessful). The Groundhogs never became well-known in the U.S., where somewhat similar groups like Ten Years After were much bigger. Although McPhee and the band have meant little in commercial or critical terms in their native country since the early '70s, they've remained active as a touring and recording unit since then, playing to a small following in the U.K. and Europe. ~ Richie Unterberger, All Music Guide

* Formed: 1963
* Disbanded: 1976
* Genres: Rock
* Representative Albums: "Live at Leeds '71", "Thank Christ for the Bomb", "The Best of the Groundhogs"
* Representative Songs: "Cherry Red", "Garden", "Express Man"

Tony McPhee Biography: Tony McPhee was part of the first generation of young British blues disciples influenced by Cyril Davies and his band Blues Incorporated. A member of the same generation of young blues buffs as Mick Jagger, Keith Richards, and Brian Jones, he never ascended to the heights achieved by the future Rolling Stones, but has recorded a small, highly significant body of blues-rock. Originally a skiffle enthusiast, he received his first guitar as a Christmas present and formed his first band soon after, while still in school. He gravitated toward the blues during the early '60s, and soon discovered Cyril Davies.

Billy Boy Arnold With Tony McPhee & The Groundhogs -  - 1977 (2007)

After seeing a few performances by Davies with Blues Incorporated at the Marquee Club in London during 1962, he became hopelessly hooked on blues and R&B, and decided to try and make it as a blues singer/guitarist. McPhee's first group was the Dollarbills, a pop band featuring John Cruickshank on vocals, Pete Cruickshank on bass, and Dave Boorman on drums. He quickly steered toward blues, most notably the sound of John Lee Hooker, and with the addition of Bob Hall on piano, the group changed its name to the Groundhogs, in recognition of Hooker's "Ground Hog Blues." The Groundhogs were a very solid blues/R&B outfit, playing soulful American R&B and raw American blues at venues such as Newcastle's Club A-Go-Go, and they subsequently became the backing band to Champion Jack Dupree at a series of gigs at the 100 Club. Finally, in July of 1964, the Groundhogs reached their zenith when they were chosen to back John Lee Hooker himself during his current British tour. Hooker later selected the group to back him on his next tour, and also sent an acetate recording of the group to executives at his label, Vee-Jay Records. That acetate, the hard-rocking, piano-and-harmonica-driven band original "Shake It" backed with a very powerful and persuasive cover of Little Son Jackson's "Rock Me Baby," was released on the Interphon label, a Vee-Jay subsidiary. It failed to reach the charts, but it did mark the group's and McPhee's first American release. Meanwhile, back in England, the group recorded a studio album with Hooker, somewhat misleadingly entitled Live at the A-Go-Go Club, New York. The group's fortunes seemed to improve in 1965 when producer Mike Vernon recorded three tracks, "Big Train Blues," "Can't Sit Down," and "Blue Guitar," but none saw any major release or success, and only "Blue Guitar" ever received much U.S. exposure, appearing on the 1970s Sire Records collection Anthology of British Blues. By the end of 1965, the British blues boom had expended itself, and soul was becoming the new sound of choice. McPhee had already shown a predilection for soul music in his writing, especially "Hallelujah," which the group cut with its newly added brass section in 1965. The Groundhogs transformed themselves into a soul band, and were persuaded to record a song called "I'll Never Fall in Love Again." As a first soul outing it was a promising beginning, despite a beat that was too reminiscent of Otis Redding's "Can't Turn You Loose" – the dissonant guitar in the break was a refreshing change that would never have made it out the door at Stax Records. The song failed to get much airplay or achieve a chart position, and its B-side, the upbeat, haunting McPhee original "Over You Baby" disappeared as well. The Groundhogs split up soon after, and McPhee did session work for a time, as well as recording some blues sides on his own, under the auspices of producer Jimmy Page, that later turned up on various British blues anthologies released by Andrew Loog Oldham's Immediate Records label, backed up by Jo-Ann Kelly and fellow Groundhog Bob Hall. Unlike a lot of other blues enthusiasts from the early '60s, McPhee remained true to his roots, and was good enough to rate a berth as a sessionman on Champion Jack Dupree's 1966 Decca album From New Orleans to Chicago. In August of 1966, McPhee and bassist Pete Cruickshank teamed up with drummer Mike Meekham to form Herbal Mixture, a Yardbirds-like outfit mixing psychedelic and blues sounds at a very high amperage. They were one of the more soulful and muscular psychedelic outfits, reflecting their R&B (as opposed to pop) roots, and even their spaciest material has a bluesy feel. "A Love That's Died" relies on fuzztone guitar, and would have made good competition for anything by the Yardbirds had anyone been given a chance to hear it. Their cover of "Over You Baby" is, if anything, superior to the Groundhogs' original, and deserved a better hearing than it got. Herbal Mixture had some success playing the Marquee and Middle Earth clubs in London, and were good enough to get a gig opening for the newly formed Jeff Beck Group at the London Roundhouse. Their records, however, didn't sell, and at the end of 1967, following Meekham's departure, the band ceased to exist.McPhee continued playing blues in his spare time, however, and passed through the John Dummer Blues Band during early 1968. His music had left an impression on at least one record company executive – in 1968, Andrew Lauder of United Artists' British operation offered McPhee the chance to record a complete album if he could put together a band. He formed a new Groundhogs, carrying over bassist Pete Cruickshank, and the album Scratching the Surface was duly recorded and released that year. Ironically, this incarnation of the Groundhogs, put together for the one album session, ended up lasting far beyond its origins – five additional albums, including his best-known long-player, Me and the Devil, were recorded through 1972, and the group has remained a viable unit, continuing to perform in England and the European continent (where there's always work for British blues bands) with McPhee as its leader. ~ Bruce Eder, All Music Guide

* Born: March 22, 1944, Humberstone, Lincolnshire, Englan
* Active: '60s, '70s, '80s, '90s, 2000s
* Genres: Rock
* Instrument: Vocals, Songwriter, Guitar
* Representative Albums: "Two Sides of Tony (T.S.) McPhee", "Dupree 'N' McPhee: The 1967 Blue Horizon Session", "Me and
the Devil/I Asked for Water"

Product Description: Billy Boy Arnold: Alan Fish (bass guitar); Tony McPhee, Wilgar Campbell.Billy Boy Arnold.Personnel: Billy Boy Arnold; Tony McPhee (guitar); Wilgar Campbell (drums).Engineers: Pete Kerr; John Tuffy; Pete Pete Kerr.Liner Note Author: Alfie Falckenbach.Recording information: Pathway Studios, Islington, West London, England (10/06/1977/10/07/1977).This long-buried treasure, featuring a recording session from 1977 available on disc for the first time, reveals two like-minded hard-blues gods getting on like a house afire. Both Billy Boy Arnold and the backing unit here, Tony McPhee & the Groundhogs, were arguably as good as anybody at their instruments (Arnold on harmonica and McPhee on guitar), but were always eclipsed in popularity by bigger acts such as Sonny Boy Williamson for the former or Jimmy Page and Jimi Hendrix for the latter. A shame that success eluded both, as they can shred with the best of them, and DIRTY MOTHER represents one of the best meldings of Chicago and London electric blues. Arnold, McPhee, and the Hogs tear through 15 blues standards and Arnold originals with a rawness and energy that sounds more like 1964 than 1977. Very highly recommended for fans of hard electric blues.
Billy Boy Arnold With Tony McPhee & The Groundhogs -  - 1977 (2007)
Track Listing:

01 - Dirty Mother Fuyer - 6:56
02 - Don't Stay Out All Night - 3:14
03 - 1-2-99 - 4:17
04 - Riding The El - 2:48
05 - Just Got To Know - 3:52
06 - Christmas Time - 3:24
07 - I Wish You Would - 3:12
08 - Ah'w Baby - 3:32
09 - Sweet Miss Bea - 4:24
10 - Blue And Lonesome - 6:20
11 - Eldorado Cadillac - 2:03
12 - Mary Bernice - 4:25
13 - It's Great To Be Rich - 4:11
14 - Just A Dream - 3:17
15 - Catfish - 3:46

Length: 59 minutes, 34 seconds
Billy Boy Arnold With Tony McPhee & The Groundhogs -  - 1977 (2007)
Personnel:

Alan Fish - Guitar (Bass)
Billy Boy Arnold - Harmonica, Vocals
Wilgar Campbell - Drums
Alan Fish - Bass
Tony McPhee - Guitar
Pete Pete Kerr - Audio Engineer

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Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 4. March 2010, 12:28

Billy Boy Arnold / Dirty Mother…

Used drive : ASUS CB-5216A Adapter: 5 ID: 0

Read mode : Secure
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Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Programmi\FLAC\flac.exe
Additional command line options : -T "artist=%a" -T "album=%g" -T "date=%y" -T "genre=%m" %s


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
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1 | 0:00.00 | 6:55.45 | 0 | 31169
2 | 6:55.45 | 3:13.55 | 31170 | 45699
3 | 10:09.25 | 4:17.07 | 45700 | 64981
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11 | 41:58.10 | 2:03.30 | 188860 | 198114
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13 | 48:26.27 | 4:11.33 | 217977 | 236834
14 | 52:37.60 | 3:17.22 | 236835 | 251631
15 | 55:55.07 | 3:45.73 | 251632 | 268579


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Filename C:\Documents and Settings\Win Xp\Documenti\Downloads\Torrent\Completati\Billy Boy Arnold With Tony McPhee & The Groundhogs - Dirty Mother - 2007\jasghd565\Billy Boy Arnold - Dirty Mother….wav

Peak level 100.0 %
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