Vaso Delirium

Vaso Delirium is a friend of mine, she lives in Athens and she is an artist.

She said:
I'm a (mainly) traditional illustrator from Greece and am here to share my ideas with the world. I'm highly inspired by the natural world as well as fantastic zoology, mythology and fairytales. My dream house is a library or a lighthouse (heaven would be a mix of both!) and is placed in Ulthar. Always enjoy loosing myself in good comics and books with my sketchbook somewhere near to take notes or make doodles of my thoughts. I also enjoy leaving notes in my books and see them again every time i decide to re-read it. I respect every form of life, with a tiny bit more attraction to felines.

These are some of her paintings never posted on Urban Aspirines. 

                   

DANCE OF DEATH

 

                                      

DE SPELL SISTERS

                                

                                               

                                    

PETER MURPHY

                                         

BLIXA BARGELD

                                       

                                       

HANGOVER

Monika - Exit 2010

 

From her beginnings as one of Greece's most acclaimed indie artists to her work for the theater, Monika made a name for herself as a boundary-breaking artist.
                                                  

Born Monika Christodoulou, she began playing in her brother's rock band at age 17 and struck out on her own a few years later. Writing confessional songs inspired by the likes of Leonard Cohen, Ennio

Morricone, and the Arcade Fire, she put her music on MySpace; the word of mouth surrounding tracks such as "Over the Hill" ultimately led to the release of her debut album, Avatar, in 2008 via the indie label Archangel. Produced by Ottomo and featuring strings and trumpet arrangements by Calexico's Martin Wenk, Avatar was a critical and commercial success, achieving platinum sales in Greece and tipping Monika as one of the country's most promising new talents.
                                 

She worked with Ottomo again on 2010's Exit, a set of songs informed by opera, French chanson, and her homeland's traditional music. The following year, Monika expanded her horizons to the stage, penning original music for Angela Brouskou's 2011 show Mom -- Life Is Wildly Incredible. In 2012, Monika visited Daptone Records' headquarters while in New York, and met the Dap-Kings and

Menahan Street Band's Homer Steinweiss. After she played some of her demos for him and Thomas Brenneck, they planned to work together. Monika spent 2013 performing songs from Avatar and Exit as part of the multimedia concert series Primal and wrote the score for a version of Sophocles' Antigone that debuted at the Benaki Museum Atrium, then began work with Steinweiss and Brenneck on her third album in 2014. Featuring members of the Menahan Street Band, the Dap-Kings and Antibalas, Secret in the Dark found Monika exploring disco, art-pop, and more when it was released in October 2015 on Other Music Records.
                                    

Η Μόνικα Χριστοδούλου (26 Μαΐου 1985), γνωστή ως Μόνικα ή Monika, είναι Ελληνίδα

τραγουδίστρια-τραγουδοποιός. Τραγουδάει και παίζει πιάνο, κιθάρα, σαξόφωνο, ακορντεόν και τύμπανα.
                                   

Το πρώτο άλμπουμ της “Avatar” κυκλοφόρησε το 2008 και το δεύτερο “Exit” ακολούθησε το 2010. Και τα δύο άλμπουμ έγιναν πλατινένια. Έχει δώσει πολλές sold out συναυλίες σε σημαντικούς

χώρους όπως το μικρό θέατρο της Αρχαίας Επιδαύρου, το Θέατρο Βράχων, το Θέατρο Λυκαβηττού, καθώς και το ARK Festival της Αθήνας και της Θεσσαλονίκης για δύο συνεχόμενες χρονιές (2010 και 2011 – τη δεύτερη χρονιά ως headliner). Τα δύο άλμπουμ της γνώρισαν μεγάλη κριτική και εμπορική αποδοχή, με την πλειοψηφία των ελληνικών μέσων να την ανακηρύσσουν τη νέα ελπίδα της ελληνικής μουσικής σκηνής. Ανήκει στο δυναμικό της Panik Entertainment Group, στο label της Panik Oxygen.

Monika – Exit
Label: Archangel Music – 520032 250037 9
Format:    CD, Album
Country: Greece
Released: May 10, 2010
Genre: Rock
Style: Indie Rock, Alternative

TRACKS

                                                                                  

01. Ça Commence Bien   4:55
Backing Vocals – Stamatella Spinoula
Harmonica – Monika
Voice [French Voices] – Benoit Durandin, Giannis Giaxas, Katerina Chrisanthopoulou
02. Never   5:06
Backing Vocals – Martin Wenk
03. Yes I Do   3:28
Violin – Stamatella Spinoula
04. Away From My Land   4:41
Bouzouki, Mandolin – Monika
Clarinet – James Scanell
05. Not Enough   5:04
French Horn – Martin Wenk
Percussion, Programmed By [Loop Programming] – Nikos Angloupas
Soprano Vocals – Filli Georgiadou
Synthesizer [Moog] – Guy Sternberg
06. Take A Little Bit Of Me   4:16
Backing Vocals – Stamatella Spinoula
Electric Guitar – Nikos Angloupas
07. Our Love Or How We Lost It   7:28
Guitar [Classical] – Manos Paterakis
Trumpet – Martin Wenk
08. Show Me, Come On   4:37
Backing Vocals – Martin Wenk, Maro Mpaveli, Stamatella Spinoula
Clarinet – James Scanell
Percussion – Nikos Angloupas
Trumpet – Martin Wenk
09. Studio House   3:02   
Backing Vocals – Maro Mpaveli
Tenor Saxophone – Monika
10. Run To Ruin   3:56
Clarinet – James Scanell
Percussion – Nikos Angloupas
11. Stars Won't Shine    2:43
12. Exit   4:49
Alto Saxophone – James Scanell
Trumpet – Martin Wenk

Recorded in Berlin.

MP3 @ 320 Size: 124 MB
Flac  Size: 334 MB 

Chris Setel and Monika: Split Single 2006 on Urban Aspirines HERE

Gravy Train: Gravy Train 1970 + (A Ballad Of) A Peaceful Man 1971

A band so obscure even the All-Music Guide classified them under 'Electronica', despite the fact that Gravy Train have far less to do with Electronica than Mike Oldfield has to do with cock-rock. This time, though, the obscurity is actually quite explainable: Gravy Train is a band specially designed for being 'dug up' from among a hundred 'third-rate' ambitious ensembles of the early Seventies, although, to be sure, I don't actually regret digging it up. If anything, they're an excellent example for showcasing all that was right and all that was wrong with that epoch at the same time.
                             

Stupid to say, but perhaps the most wrong thing was that there was so MUCH to do at the time many bands got their heads and minds totally whizzed up. You could go 'underground' and become an esoteric super-complex prog act, or you could appeal to the lowest denominator and go glam, or you could rally up hoardes of "rough boys" and go into hard 'n' heavy, or whatever. Many bands were able to carve out their own identity pretty soon, but obviously many more were not, and some were actually misled in
their quest. Gravy Train, so it seems to me, belong to the latter group.

Gravy Train was a progressive rock group from Lancashire, England, formed by vocalist and guitarist Norman Barratt in 1969. Also featuring J.D. Hughes (keyboards, vocals, wind), Les Williams (bass, vocals) and Barry Davenport (drums), the band would record four studio albums. The first two were released on the Vertigo label, the remainder by Dawn Records. Gravy Train was formed in St. Helens in Lancashire, England in 1969. The original line-up had a considerable pool of talent from which to draw. Liverpool-born John Hughes had been a classically trained pianist. As a teenager, he played saxophone, self-taught, with various Merseybeat groups in the 1960s. O'Regan quotes him from an e-mail interview in March 2006 as saying: "Playing with a big soul band, Spaghetti House, I met bassist Les [Williams]. We formed a progressive rock band, where I played mainly flute and recruited Norm whom Les knew."

Singer/guitarist/songwriter Norman Barratt was born in Newton-le-Willows, halfway between Manchester and Liverpool, in 1949. After leaving school, he honed his guitar skills in local bands The Hunters (with whom he sometimes later still performed) and Newton's Theory, whilst holding down a day-job as a trainee accountant. After passing his accountancy exams, he turned professional, moving to London

in the late Sixties with Newton's Theory. Les had played in a St. Helens-based band called "The Incas", J.D. Hughes had been playing in Spaghetti House, and Barry had been part of a jazz outfit called "The John Rotherham Trio". Les and Barry moved to join J.D. in Spaghetti House. Barratt commented: "A mutual friend introduced me to the others who were looking, as I was, to form an original songs band, and not the usual covers band that we had all been used to up until that time". J.D. Hughes said: "We began rehearsing at St. Helens Cricket Club in the summer, I think, of 1969. I was still living at home in Liverpool, Les Williams and drummer Barry Davenport were from St. Helens and Norm from Earlestown, Lancs."
                                                    

Their debut album mixed elements of the Canterbury school, Sabbathesque heavy metal, Pink Floydish eccentricity and Jethro Tull militant folkishness together in one really intriguing pot. On the very first try, they had a steady base going for them - yet they never fulfilled the promise. Already

the second album, (A Ballad Of) A Peaceful Man, while definitely not bad by itself, displayed a total lack of progression: much of the previous record's stylistic and instrumental experimentation was totally abandoned in favour of a simpler, yet far less interesting commercialized approach to prog-rock. And the last two records are essentially just generic hard rock - listenable and occasionally even memorable, but its existence is not quite understandable in the light of the gazillion heavy bands that were baking albums in the mid-Seventies. In the end, their pathetic 'undecidedness' actually backfired on the band - the interesting sound of their first album was gone, and the commercial success never really came. Nowadays, Gravy Train are but a minuscule footnote in the history of Seventies' music, and their records are really hard to find.
                                      

Already the second album, (A Ballad Of) A Peaceful Man, while definitely not bad by itself, displayed a total lack of progression: much of the previous record's stylistic and instrumental experimentation was totally abandoned in favour of a simpler, yet far less interesting commercialized approach to prog-rock. And the last two records are essentially just generic hard rock - listenable and occasionally even memorable, but its existence is not quite understandable in the light of the gazillion heavy bands that were baking albums in the mid-Seventies. In the end, their pathetic 'undecidedness' actually backfired on the band - the interesting sound of their first album was gone, and the commercial success never really came. Nowadays, Gravy Train are but a minuscule footnote in the history of Seventies' music, and their records are really hard to find.

That said, if you do occasionally come across these records, try to get a peek at 'em. Unrealised as their potential was, these guys had a lot of it. Instrumental-wise, they were quite the pros, particularly the band leader, Norman Barrett, with his active knack for first-rate riffs, witty guitar tones and Hendrix-inspired soloing. The vocal melodies were occasionally fascinating as well. Good thing it doesn't come across as obnoxious (see Dave Coverdale for that one). It's pretty squirmy to have rednecky guys singing about the pleasures of country life and stuff, but it's absolutely ridiculous to hear that from a bunch of refined British guys who started out as one hundred percent art-rockers.
                          

Little is known about the subsequent lives of the band members. Barratt appeared in Mandalaband for their second and final album in 1978, then went on to form the Barratt Band, which recorded two albums in the early 1980s and two solo albums Rock for all Ages (with Dave Morris, 1984) and Barratt (1988). He died in 2011 from post-surgery complications. Les Williams has been working at Ocean Entertainments, an agency for bands and acts, since the 1980s. J.D Hughes is currently the founding member of The New Soul Messengers, in which he plays keyboards, saxophone, and vocals. George Lynon died in his sleep in 2002.

Albums

1970: Gravy Train (Vertigo 6360023)
1971: (A Ballad of) A Peaceful Man (Vertigo 6360051)
1973: Second Birth (Dawn DNLS 3046/USA release BELL 1121)
1974: Staircase to the Day (Dawn DNLH 1)

GRAVY TRAIN - GRAVY TRAIN 1970

                                              

Such originalitet, groovy sounds, never heard anything like that before. And the Hipgnosis cover.Wow. one of many classic from these years, not at All inferior to King Crimson and Who's Next!
A minor classic hopelessly lost among all the innumerable "biggies" of the year 1970, it's also absolutely different from everything Gravy Train would do later, and too bad about it: no matter how much the group's limited following gushes over (A Ballad Of) A Peaceful Man or Staircase To The Day, I can easily see how Gravy Train couldn't make it to fame's top based on those albums. Their debut shows Gravy Train as a brave and daring underground band, heavily influenced by and derivative of other prog/hard acts of the time, yet actually trying to push the boundaries forward. So anyway, Gravy Train is, in many respects, a marvelous album, and the one not to be afraid to blow your cash on if you can trace it anywhere.

Gravy Train – Gravy Train
Label: Repertoire Records – REPUK 1067, Vertigo – none
Format:    CD, Album, Limited Edition, Reissue, 2005
Country: UK
Released: 1970    
Genre: Rock
Style: Prog Rock, Hard Rock

TRACKS

                                             

01. The New One    5:15
02. Dedication To Sid    7:17
03. Coast Road    6:46
04. Enterprise    6:20
05. Think Of Life    5:10
06. Earl Of Pocket Nook    16:11

MP3 @ 320 Size: 110 MB
Flac  Size: 309 MB

GRAVY TRAIN - (A BALLAD OF) A PEACEFUL MAN 1971

                                                                   

This album is a Criminally forgotten Gem.
Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. On the whole, the ballads have dated a lot better

than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids. But that is not to denounce the sheer power of the band in full flood. The title track postulates an unholy collision of Uriah Heep and Atomic Rooster, and shows off Norman Barrett's vocals to maximum effect, while "Won't Talk About It" is almost stubbornly likable, and that despite prophesying every yowling power ballad of the '80s and beyond. Best of all, though, is the spookily atmospheric "Home Again," all throbbing percussion, primal flute, and timeless melancholy. On an album that flirts across a variety of moods, the moodiest track of all makes for a breathtaking finale.

Gravy Train – (A Ballad Of) A Peaceful Man
Label: Repertoire Records – REP 5060
Format:    CD, Album, Limited Edition, Reissue, 2006
Country:Germany
Released: 1971    
Genre: Rock
Style: Prog Rock, Hard Rock

TRACKS

                                                                 

01. Alone In Georgia    4:33
02. (A Ballad Of) A Peaceful Man    7:10
03. Jules Delight    6:58
04. Messenger    5:59
05. Can Anybody Hear Me?    3:00
06. Old Tin Box    4:47
07. Won't Talk About It    3:09
08. Home Again    3:30

Bonus Track
    
09. Alone In Georgia (Single Edit)    3:59

MP3 @ 320 Size: 288 MB
Flac  Size: 100 MB

Rory Gallagher: Irish Tour' 74 (7CD Box Set, 40th Anniversary Deluxe Edition 2014) + Irish Tour' 74 (Original Album)

 

By 1973 Rory Gallagher was also growing increasingly frustrated at not being able to capture the energy of his live shows in the studio. During one session, he threatened to “chuck the tapes in the

dustbin”. It was no ideal threat – he would go on to shelve whole albums in the future.
“He was a live performer,” said keyboard player Lou Martin. “He didn’t like the studio because he was playing to the walls and wasn’t getting any feedback from the audience. But he had to do the albums for the recordcompany.”
Onstage, it was another matter entirely, and Gallagher understandably jumped at the chance to record another live album. But this one would be different: it would be recorded in Ireland.
                                        

“We were one of the only bands to play Belfast,” says Lou Martin proudly. “Thin Lizzy wouldn’t do it because of the aggravation. But Rory insisted on it. I was from Belfast, Gerry was from Belfast and there was co-operation from ‘The Organisation’ to make sure the concerts went OK.”

“We were taken care of very well,” said drummer Rod de’Ath. “The hotels that we stayed at were carefully chosen, without going into too much detail.” (Neither man was willing to go into more detail about ‘The Organisation’, though we can presume that they’re not talking about the British government).
The resulting album, Irish Tour ’74, remains the highlight of Gallagher’s career. Recorded in Belfast, Dublin and Cork, it finally nailed his live performances on vinyl. While the sound quality is variable – partly due to the fact that they couldn’t get insurance for Ronnie Lane’s Mobile Studios in the more troubled areas – the album never loses its primal, raw urgency. It’s the sound of a band leaning out over the precipice – something Gallagher deliberately encouraged, making up the show as he went along.
                                

Gallagher never enjoyed going into the studio to make records. Playing to a live audience was essential,

he thought, to get the real energy needed for the kind of music he wanted to play. The members of his band felt the same way. Speaking about the Irish tour album keyboardist Lou Martin said "Albums were always done in a rush because we were on the road so much, and then we’d come back to London and it could be two weeks – like Blueprint was done in two weeks – and that is ridiculous,... but Irish Tour was an absolute highlight,... the band came to fruition in the Calling Card days, by that time we were well seasoned … everybody knew everybody else’s style of playing... The studio was not the best environment for recording.
                                      

He wasn’t at his most comfortable or happiest, I mean a lot of people really adapted to it really well like The Allman Brothers or Little Feat. With Rory, if he didn’t have somebody to look at then he couldn’t feed off the energy. That’s why Irish Tour is such a good bloody album because it was recorded live, he

got the crowd there with him singing along and sort of like urging him along… without the presence of an audience the recording process for Rory was a bit of a strain"
Gallagher's 1974 tour of Ireland coincided with one of the most tumultuous times in Belfast. Violence between the IRA and British Army was erupting throughout the city even at rock concerts. As a result, most rock acts refused to play in the city. The day before Gallagher's scheduled concert in Belfast ten bombs went off at various locations around the city. Everyone expected Gallagher to cancel as all the other big names had but he went on with the concert and was rewarded with one of his best shows.

What they said...

"Irish Tour captures some of his finest known live recordings and, while it's impossible to tell which songs were recorded where, across nine in-concert recordings (plus one after-hours jam session, Back on My Stompin' Ground), the energy crackling from stage to stalls and back again packs an intensity that few live albums – Gallagher's others among them – can match." (AllMusic)
                             

"Unlike many other of his contemporaries, he lived long enough to see his legacy and influence take

hold and flourish in the musical world. This display of one man’s ability to unite a people and a country in turmoil through his music is an essential listen for all rock fans, young and old, and is a crucial part of Irish musical history as well as the very legacy of blues rock." (Sputnik Music)
                                  

"From the moment the music starts, Rory Gallagher: Irish Tour '74 more than justifies itself. Gallagher

played like his guitar was plugged straight into the universal source, and it probably was. That Gallagher was on his home turf for this tour only increases the sense of some sort of direct connection with his sound. Every note played, every string struck and every song sung vibrates with all the passion and intensity of a spiritual experience, which this surely was." (Pop Matters)
                                                                          

FEATURING:

Rory Gallagher (Vocals/Guitars/Mandolin/Harmonica)
Gerry McAvoy (Bass Guitar)
Rod De’Ath (Drums)
Lou Martin (Keyboards)

Rory Gallagher – Irish Tour' 74
Label: Strange Music – 88875004882, Sony Music – 88875004882, Capo – 88875004882, Legacy – 88875004882, Eagle Records – 88875004882
Format:    7 x CD, Album, Box Set, Deluxe Edition
DVD, DVD-Video, NTSC
Country: Europe
Released: 2014
Genre: Rock,
Style: Blues, Rhythm & Blues

DISC ONE - CORK CITY HALL (3rd & 5rd JANUARY 1974)

                                                                   

01. Messin' With The Kid (Previously Unreleased)
Written-By – Mel London
02. Cradle Rock
Written-By – Rory Gallagher
03. I Wonder Who
Written-By – McKinley Morganfield
04. Tattoo'd Lady
Written-By – Rory Gallagher
05. Walk On Hot Coals
Written-By – Rory Gallagher
06. Laundromat (Previously Unreleased)
Written-By – Rory Gallagher
07. A Million Miles Away
Written-By – Rory Gallagher
08. Hands Off (Previously Unreleased)
Written-By – Rory Gallagher
09. Too Much Alcohol
Written-By – J.B. Hutto

MP3 @ 320 Size: 173 MB
Flac  Size: 512 MB

DISC TWO - CORK CITY HALL (3rd & 5rd JANUARY 1974)

                                                              

01. As The Crow Flies
ritten-By – Tony Joe White
02. Pistol Slapper Blues (Previously Unreleased)
Written-By – Blind Boy Fuller
03. Unmilitary Two-Step (Previously Unreleased)
Written-By – Rory Gallagher
04. Bankers Blues (Previously Unreleased)
Written-By – Big Bill Broonzy
05. Going To My Hometown (Previously Unreleased)
Written-By – Rory Gallagher
06. Who's That Coming
Written-By – Rory Gallagher
07. In Your Town (Previously Unreleased)
Written-By – Rory Gallagher

MP3 @ 320 Size: 115 MB
Flac  Size: 331 MB

DISC THREE - DUBLIN CARLTON CINEMA (2rd JANUARY 1974)

                                                 

  
01. Cradle Rock (Previously Unreleased)
Written-By – Rory Gallagher
02. Tattoo'd Lady (Previously Unreleased)
Written-By – Rory Gallagher
03. Hands Off (Previously Unreleased)
Written-By – Rory Gallagher
04. Walk On Hot Coals (Previously Unreleased)
Written-By – Rory Gallagher
05. Laundromat (Previously Unreleased)
Written-By – Rory Gallagher
06. Too Much Alcohol (Previously Unreleased)
Written-By – J.B. Hutto
07. A Million Miles Away (Previously Unreleased)
Written-By – Rory Gallagher

MP3 @ 320 Size: 130 MB
Flac  Size: 377 MB

DISC FOUR - DUBLIN CARLTON CINEMA (2rd JANUARY 1974)

                                

                             
01. As The Crow Flies (Previously Unreleased)
Written-By – Tony Joe White
02. Pistol Slapper Blues (Previously Unreleased)
Written-By – Blind Boy Fuller
03. Bankers Blues (Previously Unreleased)
Written-By – Big Bill Broonzy
04. Unmilitary Two-Step (Previously Unreleased)
Written-By – Rory Gallagher
05. Going To My Hometown (Previously Unreleased)
Written-By – Rory Gallagher
06. In Your Town (Previously Unreleased)
Written-By – Rory Gallagher
07. Bullfrog Blues (Previously Unreleased)
Written-By – Rory Gallagher

MP3 @ 320 Size: 123 MB
Flac  Size: 345 MB

DISC FIVE - BELFAST ULSTER HALL (28th & 29th DECEMBER 1973)     

                                              

  
01. Messin' With The Kid (Previously Unreleased)
Written-By – Mel London
02. Cradle Rock (Previously Unreleased)
Written-By – Rory Gallagher
03. I Wonder Who (Previously Unreleased)
Written-By – McKinley Morganfield
04. Tattoo'd Lady (Previously Unreleased)
Written-By – Rory Gallagher
05. Walk On Hot Coals (Previously Unreleased)
Written-By – Rory Gallagher
06. Hand Off (Previously Unreleased)
Written-By – Rory Gallagher
07. A Million Miles Away (Previously Unreleased)
Written-By – Rory Gallagher
08. Laundromat (Previously Unreleased)
Written-By – Rory Gallagher

MP3 @ 320 Size: 137 MB
Flac  Size: 397 MB

DISC SIX - BELFAST ULSTER HALL (28th & 29th DECEMBER 1973)

                                                      

01. As The Crow Flies (Previously Unreleased)
Written-By – Tony Joe White
02. Pistol Slapper Blues (Previously Unreleased)
Written-By – Blind Boy Fuller
03. Unmilitary Two-Step (Previously Unreleased)
Written-By – Rory Gallagher
04. Bankers Blues (Previously Unreleased)
Written-By – Big Bill Broonzy
05. Going To My Hometown (Previously Unreleased)
Written-By – Rory Gallagher
06. Who's That Coming (Previously Unreleased)
Written-By – Rory Gallagher
07. In Your Town (Previously Unreleased)
Written-By – Rory Gallagher
08. Bullfrog Blues (Previously Unreleased)
Written-By – Rory Gallagher

MP3 @ 320 Size: 136 MB
Flac  Size: 387 MB

DISC SEVEN - CITY HALL IN SESSION (4th JANUARY 1974)       

                                          

01. Maritime (The Edgar Lustgarten Cut)
Written-By – Rory Gallagher
02. I Want You / Raunchy Medley (Previously Unreleased)
Written-By [I Want You] – Bob Dylan
Written-By [Raunchy] – Bill Justis, Sid Manker
03. Treat Her Right
Written-By – Rory Gallagher
04. I Wonder Who (Previously Unreleased)
Written-By – McKinley Morganfield
05. Too Much Alcohol (Previously Unreleased)
Written-By – J.B. Hutto
06. Just A Little Bit
Written-By – Rosco Gordon
07. I Can't Be Satisfied (Previously Unreleased)
Written-By – McKinley Morganfield
08. Acoustic Medley (Previously Unreleased)
Written-By – Rory Gallagher
09. Back On My Stompin' Ground (After Hours)
Written-By – Rory Gallagher
10. Stompin' Ground (Alternate Version)
Written-By – Rory Gallagher

MP3 @ 320 Size: 118 MB
Flac  Size: 316 MB

Tracks CD1-1, CD1-6, CD1-8, CD2-2 to CD2-5, CD2-7, CD3-1 to CD3-7, CD4-1 to CD4-7, CD5-1 to CD5-8, CD6-1 to CD6-8, CD7-2, CD7-4, CD7-5, CD7-7, CD7-8 previously unreleased.

THE ORIGINAL ALBUM: RORY GALLAGHER - IRISH TOUR' 74

 
                     

Rory Gallagher – Irish Tour '74
Label: UMC – 5797707
Format:    CD, Album, Reissue, Remastered
Country: Europe
Released: Mar 16, 2018
Genre: Rock
Style: Blues Rock, Electric Blues, Classic Rock

TRACKS

                                         

01. Cradle Rock
02. I Wonder Who  (Written-By – Muddy Waters)
03. Tattoo'd Lady
04. Too Much Alcohol  (Written-By – J.B. Hutto)
05. As The Crow Flies  (Written-By – Tony Joe White)
06. A Million Miles Away
07. Walk On Hot Coals
08. Who's That Coming?
09. Back On My Stompin' Ground (After Hours)
10. Just A Little Bit

MP3 @ 320 Size: 185 MB
Flac  Size: 549 MB