domenica 11 novembre 2018

Il Dizionario del Rock - Miti di ieri e di oggi

Il Dizionario del Rock - Miti di ieri e di oggi
Il Dizionario del Rock - Miti di ieri e di oggi is a curated by Riccardo Bertoncelli and Massimo Cotto in 1991. The idea was to produce a real encyclopedia of rock alongside each issue with a CD publication with a bootleg concert by a specific band.
The encyclopedia is made up of 3 bound volumes plus the cover of the 4th volume.
Due to the closure of the publishing house in 1994 (it will reopen in 2004) the encyclopedia was not completed (72 files had to be - every 18 volumes were completed)

A characteristic of these CDs is the different order of the live songs compared to the tracklist used in the other publications of that same concert. In any case, the collection provides excellent live concerts of the selected bands. In some cases, the quality of the selected recordings is very high often as regards the audio quality. These bootlegs offer an excellent image of the various bands, in some cases, better than the official material of the time. This is the reason why many of its bootlegs have been released officially in different moments.

Very often, as with unofficial publications (not only for this record label) the associated dates are incorrect. Here we tried to report the correct recording date and the correct location for each bootleg/concert all inserted in the information file attached to each album with, where possibile, a different and complete audio source – official or not. Using only MEGA links you will be free to select and decide what to download: if only the bootleg or also the different source we have shared.


Un ragazzo in jeans, tshirt bianca, giubbotto di pelle nera, scarpe di camoscio, basette lunghe e ciuffo ribelle, appoggiato ad un jukebox: l'America degli anni Cinquanta, che aveva l'innocenza di un'armonia doo-wop, l'energia contagiosa di una canzone di Elvis ed il sorriso un po' triste di James Dean.  Un gruppo di adolescenti pallidi, addobbati in nero, con scarponi militari e orpelli di metallo, davanti ad un negozio di dischi: l'aggregazione urbana e suburbana di una qualunque città dell'Occidente. 

Uno stadio di periferia: frotte di studenti con sacco a pelo e famiglie rumorose in pellegrinaggio verso una festa musicale, politica e gastronimica. Estate: un piccolo appartamento nella Lower East Side, la zona ispanica di Manhattan, la finestra aperta sulla strada per lasciare entrare il suono delle radio che fanno vibrare il quartiere al ritmo delle onde chicane. Sono infinite le immagini che può evocare la parola 'rock', quattro lettere che sono entrare a far parte del nostro patrimonio culturale e che consentono l'accesso a mondi e razze diverse. Fuoco d'artificio della nostra adolescenza e stella della maturità, il rock continua ad essere, a quarant'anni dalla nascita, la colonna sonora della nostra esistenza, orologio che scandisce le ore della giornata, insostituibile compagno di viaggio verso nuove mete.

Musica che non sa stare ferma. che tiene in debita considerazione il passato ma che non riesce a non fremere per il domani. Ed è soprattutto questa la sua forza, il saper annusare i venti del cambiamento e anticipare nuove idee, fermenti e tendenze grazie agli insegnamenti di chi è venuto prima. Nelle prossime pagine incontreremo a braccetto eroi e canaglie, geni e mistificatori, maestri e allievi, pionieri ed imitatori. Little Richard e Prince, Buddy Holly ed Elvis Costello, Beatles e Stones, Chuck Berry e Bruce Springsteen. Soul, blues, folk, blues, punk, new wave, reggae, disco, rap, funk, hard. Hendrix e Dylan, REM e Who, Pink Floyd e U2, Clapton e Cooder, Zeppelin e Zappa, Fats Domino e Tracy Chapman, Simon and Garfunkel e Everly Brothers, Waits e John Lee Hooker, Talking Heads e Doors.  Sarà la grande storia degli ultimi quarant'anni con capitoli per ogni gusto. Leggerla o meglio rileggerla sarà come percorrere un altro tratto di strada verso quella Terra Promessa che il rock ha sempre cercato senza mai raggiungere.

I SUPPORTI MUSICALI per i quali sono stati scelti i nomi più significativi della storia del rock dagli anni cinquanta ad oggi, in collaborazione con le principali case discografiche. Di alcune proponiamo concerti dal vivo inediti che oltre ad offrire una selezione di brani rappresentativi di quello o quell'altro gruppo sono documenti storici di eccezionale valore. A questi concerti ed altre compilation monografiche si alternano antologie che testimoniano momenti particolari della storia del rock, stili, generi e sottogeneri degli ultimi quarant'anni.
 Qualcuno mancherà, inevitabilmente, ma non dipende da noi: non sempre è possibile stabilire accordi con chi possiede i diritti discografici dei musicisti. Quello che è certo è che questi 73 CD o musicassette contengono il meglio di quarant'anni di rock*

*from Il Dizionario del Rock - Miti di ieri e di oggi first number

Sources used:

Please notice that this bootleg database is just for informative purpose. We don't promote nor sell any bootlegs.

If you want to contribute to this site by providing informations about bootlegs or have notice some incorrect informations on this site (or if you have HQ scans of the albums and pictures of the silver CDs) please feel free to send an email to the site administrator.


Download the entire collection here!!dm4hWRZJ!r1vk_FYJLac1JmEcGgK5bg


Il Dizionario Del Rock – N.° 2

1 –Jimi Hendrix Purple Haze 3:27
2 –Jimi Hendrix The Wind Cries Mary 3:14
3 –Jefferson Airplane Somebody To Love 2:59
4 –Steve Miller Band Mercury Blues 4:00
5 –Mamas & Papas California Dreamin' 2:36
6 –Mamas & Papas Spanish Harlem 3:23
7 –Simon & Garfunkel Feelin' Groovy 2:05
8 –Simon & Garfunkel The Sound Of Silence 3:15
9 –Country Joe & The Fish I Feel Like I'm Fixin' To Die Rag 4:06
10 –Canned Heat Bull Frog Blues 2:56
11 –Otis Redding Shake 2:49
12 –Otis Redding Respect 2:56
13 –The Grateful Dead Cold Rain & Snow 3:19
14 –Paul Butterfield Driftin' Blues 4:46
15 –The Byrds He Was A Friend Of Mine 2:32
16 –Johnny Rivers Memphis, Tennessee 2:34
17 –Buffalo Springfield For What It's Worth 2:47
18 –Booker T & The MG's Hip Hug Her 2:37
19 –The Electric Flag Drinkin' Wine 2:30

Recorded from June 16 to June 18, 1967, at the Monterey

Tracks 1,2,5,6 recorded on June 18 1967 at the Monterey
Tracks 3,4,9-19 recorded on June 17 1967 at the Monterey
Tracks 7,8 recorded on June 16 1967 at the Monterey

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 © Official released material:
Tracks 1-19 have been released officially on: Various ‎– The Monterey International Pop Festival

The Monterey International Pop Music Festival
The Monterey International Pop Music Festival was a three-day concert event held June 16 to June 18, 1967, at the Monterey County Fairgrounds in Monterey, California.[1] The festival is remembered for the first major American appearances by the Jimi Hendrix Experience, the Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding to a mass American audience.

The Monterey Pop Festival embodied the theme of California as a focal point for the counterculture and is generally regarded as one of the beginnings of the "Summer of Love" in 1967;[2] the first rock festival had been held just one week earlier at Mount Tamalpais in Marin County, the KFRC Fantasy Fair and Magic Mountain Music Festival.Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. Rolling Stone publisher Jann Wenner said, "Monterey was the nexus – it sprang from what the Beatles began, and from it sprang what followed."

Fifty years ago, the idea of the rock festival was hatched with a simple but bold ambition: to get the same respect as jazz.
Lou Adler, the Los Angeles record producer and ageless hipster, recalls a meeting in the spring of 1967 where he, Paul McCartney and the Mamas and the Papas — the group that rode “California Dreamin’” to stardom on Mr. Adler’s label, Dunhill — discussed what became the Monterey International Pop Festival.

“The conversation drifted toward the fact that rock ’n’ roll was not considered an art form in the way that jazz was,” said Mr. Adler, who at 83 still sports shades and a whitened Daddy-O beard. “With the possibility of doing something at Monterey, at the same place as the jazz festival, it just seemed like a validation to us.”

Monterey Pop, held June 16 to 18, 1967, at the fairgrounds in Monterey, Calif., down the coast from San Francisco, was pivotal in rock’s evolution as a force in the entertainment business and the culture at large. It served as the blueprint for the explosion of rock festivals that culminated in Woodstock, and with its crowds of face-painted hippies and slogan of “music, love and flowers,” Monterey defined the look, spirit and sound of the Summer of Love.

ImageLou Adler, one of the organizers of the Monterey International Pop Festival in 1967, is working on a new version of the event to celebrate its 50th anniversary.
Lou Adler, one of the organizers of the Monterey International Pop Festival in 1967, is working on a new version of the event to celebrate its 50th anniversary.Credit...Jake Michaels for The New York Times. The impact of the festival’s performances is hard to comprehend now, when buzz bands can crash and burn on social media before ever going on tour. Monterey was the breakout moment for Jimi Hendrix, who lit his guitar on fire, and Janis Joplin, who was quickly signed by another fresh face in the business, Clive Davis of Columbia Records. The Who, Ravi Shankar and Otis Redding got some of their first exposure to the American mainstream there.
“It was a great hang,” said Phil Lesh of the Grateful Dead, who recalled a backstage jam where Hendrix sheepishly asked if he could sit in on bass. “Everybody was there — everybody but the Beatles.”



Il Dizionario Del Rock – N.° 67

1 The Knife 9:19
2 Stagnation 7:54
3 Looking For Someone 7:09
4 The Return Of The Giant Hogweed 5:44
5 Supper's Ready 24:28
6 Happy The Man 2:59

Track 1 recorded: 25 February 1973 at De Montfort Hall, Leicester
Track 3 from: BBC session, February 22, 1970
Track 2,4,6 from: Live in Charleroi, Belgium - 1972/01/16
Track 5 from: Live at Imperial College, London, England - November 18, 1972

Bass, Guitar – Mike Rutherford
Drums – Phil Collins, John Mayhew (drums on track 3)
Guitar – Steve Hackett,  Anthony Phillips (lead guitars on track 3)
Keyboards – Tony Banks
Vocals – Peter Gabriel

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 © Official released material:
Track 1 has been released on Genesis Live official album of 1973 

Beloved Symphonic prog rock through to stadium filling rock titans
Any biography of Genesis must recognise that there are distinct periods in the band's history, and that any discussion should recognise that musically and lyrically, the band which filled vast stadia throughout the 1990's was a completely different creature to that which played sweaty student halls filled with spotty young men in the early 1970's.

The original incarnation of the band had its origins in two outfits formed by Peter Gabriel (vocals & flute), Tony Banks (keyboards), Michael Rutherford (bass & rhythm guitars), and Anthony Phillips (lead guitars) whilst boarding students at the elite English public school, Charterhouse in the mid-1960's. Outside the confines of an extremely stuffy atmosphere, the world was becoming far more liberated, socially, sexually, politically, and musically, and these bands represented an outlet for young men who, basically, as young men do, wanted some of that.
The two acts coalesced into one, and the students had the novel idea of placing a tape of their music into the hands of Jonathan King whilst he was visiting his alma mater. King was, at this time, a big selling artist and musical impresario, and, consequently, someone who mattered in the rock world.

The tapes were basic, but King took a shine to Gabriel's voice, and recognised a unique sound and talent which, if nurtured, could become huge. He arranged for the band, with drummer Chris Stewart, to record some sessions in London, where the boys experimented with quite complex, orchestral pastiches. Knowing that King was not happy, the band penned Silent Sun, a song which was essentially a Bee Gees tribute single. The brothers Gibb were huge commercially at this time, and King was known to be a huge fan. The resulting album in early 1969 was named "Genesis to Revelation" by King, as representing something brand new and exciting in the musical world. It barely scratched the surface of the commercial music world, and, for many a year after, copies could still be found in the bargain bin section of stores.

Following this, there was, initially, some doubt as to whether the musical careers would survive leaving school. Parental pressures were particularly acute on Rutherford, whose parents had virtually guaranteed him a scholarship with the British Foreign Office. However, a decision was taken to further the music, and, with new drummer John Mayhew (not a schoolmate) in tow, the band began to gig extensively, picking up admirers in the burgeoning progressive rock scene which was bursting out in student halls across the UK.

King had, by now, lost interest, but the band were lucky when, on a recommendation, Tony Stratton-Smith, a legendary Soho impresario and founder of Charisma Records, saw them live, fell in love with, particularly, a live version of what was to be later recorded as Visions of Angels, and signed them up virtually there and then. The key to this signing was the artistic freedom afforded by the label to the band to produce the music they wanted to produce, and, crucially, the time required to build a following, something which would be next to impossible in the modern world, with its record executives generally having the attention span of the average gnat.
The first Charisma release was Trespass in late 1970, a collection of complex songs which belied the youth and relative inexperience of the band. As strange as it may seem, the band continued to play music from this album right up to the final live shows of 2007, with elements of Stagnation forming part of the classic instrumental medley regularly played at gigs. Most recognise that the highlight of the work was the furiously paced, radical, revolutionary rock track The Knife, which was the album, and live show, closer. It became a hit in Belgium in 1971, helping to propel the album to number one in the charts there.

The extensive touring was, though, beginning to take a toll on Phillips, who began to suffer from acute stage fright, this becoming so bad that he made the decision to quit. His departure was a body blow to the band, because Phillips was far more in terms of song-writing and playing one fifth of the outfit. Phillips would subsequently become a music teacher, and launched his own (studio based) solo career in 1977, encompassing a range of musical styles. Despite the loss, the decision was taken to carry on and to replace Mayhew, who had serious musical limitations, at the same time.

Steve Hackett on guitar was recruited on the back of an advert he had placed in the music newspaper Melody Maker, in which stated he wished to join "receptive musicians, determined to drive beyond existing stagnant music forms". Phil Collins on drums attended auditions held at the rather grand Gabriel residence, and learned the songs being played to and by other auditionees whilst relaxing in an outside swimming pool. By the time his turn came, he was note perfect!
As grave as the loss of Phillips must have been, Genesis had added two exceptional musicians. Collins came to be regarded as one of the finest rock drummers in the world, and he had the added advantage of being able to provide decent backing vocals to Gabriel. On the first album released by the line-up, Nursery Cryme in 1971, Collins sang (uncredited) lead vocals on the short For Absent Friends.

The album did not sell particularly well in the UK, where the band were still very much a cult act, but did break big in Italy. Belgium also continued its commercial affair with the band, and, as a result, the band toured extensively on the continent, and made several television appearances, some of which can still be viewed in varying degrees of quality, on YouTube.
The breakthrough, though, was with the release of Foxtrot in 1972, featuring at its heart a sprawling epic on the second side, Supper's Ready, with its patchwork of differing ideas and tunes brought together to stunning effect and, literally, Biblical epoch. On the resulting tour, the stage costumes and theatrical persona of Gabriel began to take shape. He caused no end of controversy in Eire when he leapt onto the stage in a lady's dress and fox head, a la the stunning album cover drawn by Paul Whitehead. An old man's mask was worn to frightening effect in the closing stages of Nursery Cryme, telling the story of a love unrequited, and unfulfilled. The mask of the Magog in the Suppers Ready passage Apocalypse in 9/8 was distinctly creepy and dark, whilst the flower head in The Guaranteed Eternal Sanctuary Man was simply silly. A Genesis gig at this time was becoming an event, visual as well as oral, and it is fair to say that the oral side was becoming more and more accomplished.

The follow-up, Selling England by the Pound, consolidated the progress made, and even spawned a hit single in I Know What I Like. Highly recommended for those wishing to get a flavour of the live act in this period is the initial Archive (1967-1975) boxset release of 1998, which has a 1973 set from The Rainbow theatre. The first two CD's of this boxset have the entire live performance (barring the denouement, It, which was lost, and subsequently re-recorded by the band in the studio) of the subsequent album release, the sprawling Lamb Lies Down on Broadway, a double concept album released in 1974 about a Puerto Rican youth living in New York with dual personality issues.

The Lamb was incredibly adventurous, and remains a firm progressive rock favourite to this day. However, it marked the end of the "classic" line-up of the band, and the strains had begun to show even before Gabriel announced to the press in a statement that he was leaving. Banks has subsequently gone on record to state he never really "got" the concept of the album, the costumes worn by Gabriel, in particular the Slipperman bubble suit, were thought by his bandmates to be becoming a real distraction to the music, and the recording of the album itself was marred by Gabriel's first child almost dying after birth, and the not altogether sympathetic reaction of the remainder did not go down well.



Il Dizionario Del Rock – N.° 66

1 Turn Your Lovelight 11:31
2 Morning Dew 6:36
3 It Hurts Me Too 3:56
4 Death Don't Have No Mercy 7:36
5 Caution 10:58
Durata totale: 41'37''

Live in Los Angeles 1967
Live at Shrine Auditorium on 1967-11-10

Jerry Garcia – lead guitar, vocals
Bob Weir – rhythm guitar, vocals
Ron "Pigpen" McKernan – keyboards, harmonica, percussion, vocals
Phil Lesh – bass, vocals
Bill Kreutzmann – drums

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Grateful Dead 
Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's most beloved musical ambassadors as well as its most enduring survivors, spreading their message of peace, love, and mind expansion across the globe throughout the better part of three decades. The object of adoration for popular music's most fervent and celebrated fan following -- the Deadheads, their numbers and devotion legendary in their own right -- they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries.

The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a longtime bluegrass enthusiast who began playing the guitar at age 15. Upon relocating to Palo Alto, California, in 1960, he befriended Robert Hunter, whose lyrics later graced many of Garcia's most famous melodies; in time, he also came into contact with aspiring electronic music composer Phil Lesh.

By 1962, Garcia was playing banjo in a variety of local folk and bluegrass outfits, two years later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks, their lineup by then including Lesh on bass as well as Bill Kreutzmann on drums.



Il Dizionario Del Rock – N.° 65

1 Politician 4:01
2 Stepping Out 3:49
3 Sweet Wine 3:08
4 I Feel Free 2:51
5 Sleepy Time Time 6:47
6 Traintime 5:16
7 Lawdy Mama 1:47
8 N.S.U. 3:54
9 Crossroads 4:07
10 I'm So Glad 4:38

Track 1 recorded 9 January 1968 at Aeolian 2, London.
Tracks: 2,6,8,10  recorded 7 March 1967, Stockholm
Track 3 recorded 8 November 1966 at the BBC Playhouse Theatre, London.
Track 4 recorded 10 January 1967 at the BBC Playhouse Theatre, London.
Track 5 recorded 9 March 1968, Winterland, San Francisco.
Track 7 recorded 9 December 1966 at Maida Vale 4, London.
Track 9 recorded 10 March 1968 at Winterland, San Francisco, CA. (1st show)

Bass – Jack Bruce
Drums – Ginger Baker
Electric Guitar, Lead Vocals – Eric Clapton

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 © Official released material:
Tracks 1,3,4,7 have been released on "BBC Sessions" by  Polydor – 076 048-2 - 2003
Tracks: 2,6,8,10 have been released on "Cream Classic Artists"  Bonus CD
Tracks 5,9 have been released on "Those were the days"

BBC Sessions
BBC Sessions is a live album by the British rock band Cream, released on 25 May 2003 on Polydor Records. It contains 22 tracks and 4 interviews recorded live at the BBC studios in London.
Between 21 October 1966 and 9 January 1968, Cream recorded seven  sessions for the BBC radio network, selected highlights from seven of which are featured in chronological order on this collection. Recorded over a period of 14 months and seven separate gigs, BBC Sessions provides glimpses of the band in its developmental stages, and evidences its incredibly rapid coalescence into the ultimate heavy virtuoso group.  The scope of the material runs the gambit from classic tunes to lesser-known compositions, and uniformly displays Cream's remarkable musicianship throughout each recording session.

When Cream came together in 1966, the band was perfectly positioned to add a different dimension to the burgeoning British music scene. Building upon the blues inspired output of the Animals and early Stones, Cream harnessed the talents of its members and coupled these attributes with a musical knowledge and sophistication rare for young musicians of the period. The result was a potent mix of rock, jazz, and American Delta blues far more advanced than anything previously heard.
Cream's music reflected the pedigree of its members; Eric Clapton had solidified his reputation as a guitar gunslinger from his previous work with the Yardbirds and John Mayall, while Ginger Baker and Jack Bruce had honed their craft with the Graham Bond Organisation. The three joined forces and in a relatively short time became the preeminent power trio, laying the groundwork for the future by creating a model for heavy blues based rock. In spite of a surprisingly brief tenure together, Cream was successful in creating a wealth of memorable work on stage and in the studio.

As Cream was firmly grounded in Southern blues based roots, the inclusion of various covers into its repertoire was not surprising (Robert Johnson's "Four until Late") in this sense the BBC tapings show how adept the band was at interpreting the material with genuine feeling and authenticity. Cream's members were not mere fans of the blues, but dedicated students, and their passion resonates from every note. The tracks "Born under a Bad Sign" and "Outside Woman Blues" are given similar treatment, resulting in some discernable slow burn heaviness.
The fact that the BBC forced the band to curtail any excessive soloing comes as a blessing for those familiar with the longeurs of Wheels Of Fire. Ginger still does his falling-down-stairs impersonation, but it's the succinct, poppy nature of tracks like ''I Feel Free'' and ''Strange Brew'' that forces Clapton to give us guitar work that he's rarely bettered since

BBC Sessions is certainly a welcomed addition to the Cream catalogue, if not for its imperfect sound quality but rather its historical significance. As BBC Sessions is a compilation of live recordings, the album is not without its faults. Sound quality is often inconsistent, ranging from excellent to somewhat muffled and tinny, while the agonizingly un-hip interviewer/announcer will make listeners cringe.Many of the featured tracks were at the time new releases or works in progress, all of which highlight the band's efforts to perfect each song's possibilities. Additionally, the recordings harken back to the days when bands were capable of making quality music without sprawling drum kits and massively overblown walls of amplified sound. In a way, the BBC recording sessions were to the '60s what MTV Unplugged became for the '90s, an ideal vehicle for groups to display their wares in a minimalist environment. For Cream, performing in the various BBC venues afforded them the opportunity to showcase their significant talents, and demonstrate how great the band truly was.

Konserthuset, Stockholm, 7th March 1967
The show was recorded and 5 songs were broadcast later on Sveriges Radio's "Konsert Med Cream"
There are two known 1967 Stockholm tapes - 1967-03-07 and 1967-11-14. The March '67 show has already been officially released as a bonus CD included with the excellent 2006 DVD documentary "Cream Classic Artists" I have a magazine interview with that DVD's director talking about how he licensed the material from the Swedish Radio Corp and got permission from Cream/Universal Music.

Their Fully Authorized Story: Disc 2 (CD audio): Swedish Radio Sessions: Konsert Med Cream 1967 Disc 1 includes unreleased archive footage, new interviews with Eric Clapton, Ginger Baker and Jack Bruce and others, plus music, performance footage, rare and unseen photographs and memorabilia! Disc 2 (audio) includes Swedish Radio sessions ("Konsert med Cream," 1967) and 5 previously unreleased audio tracks: "NSU," "Steppin' Out," "Traintime,""Toad" and "I'm So Glad." In January of 1967 I turned 15 and for my age I think I had already acquired a quite distinct taste in music. Ever since my oldest sister and her boyfriend brought Elvis to our home I preferred the roughest, toughest and loudest music. When Beatles hit it big with "She loves you" they became my new favourite act and remained so until I heard Rolling Stones` "Little red roster". That then was the ultimate roughness for me and I even saw them in 1965 at the same time as they had released "I cant get no satisfaction" and their third album. Seeing Stones also made me realise how fascinating live performances can be. 1966 was the year I discovered The Who and "My generation" was a world hit. Then came 67 and after finishing school in June our family moved to our summercottage for the holidays. That became the summer of love in much of the Western Hemisphere. Although I liked music a lot I only had a couple of singles and one LP to play, so when my parents left me alone and went on a 2 week vacation a friend of mine moved in, bringing his tape recorder. We had friends over and lived like hippies partying every day.

On one of his tapereels, my friend had recorded the radio broadcast of Creams first appearance in Sweden, the march 7 at Konserthuset in Stockholm. I had heard about Clapton before but the sound and the very different songs made me fall in love with Cream at "first hearsight". The broadcast had only four songs, "NSU", "Stepping out", "Traintime" and "I’m so glad", with some "funny" cheerful commentaries in between but we listened to it again and again for those two weeks and the rest of the summer. I especially liked the trio concept with all three being of equal status. And they were the loudest band in the world!