Buffy Sainte-Marie - Illuminations (1969)
1. God Is Alive, Magic Is Afoot 4:51
2. Mary 1:30
3. Better To Find Out For Yourself 2:12
4. The Vampire 2:05
5. Adam 5:05
6. The Dream Tree 2:34
7. Suffer The LIttle Children 2:53
8. The Angel 3:41
9. With You, Honey 1:48
10. Guess Who I Saw In Paris 2:25
11. He's A Keeper Of The Fire 3:21
12. Poppies 3:26
Thursday, September 27, 2012
Buffy Sainte-Marie - It's My Way! (1964)
Buffy Sainte-Marie - It's My Way! (1964)
Buffy Sainte-marie's Very First Album, Recorded for Vanguard in 1964, which Earned her Billboard's Award for Best Newcomer of the Year. A Staggering Debut, Recorded When She was 23, which Addresses Usually Difficult Subject Matter: War ('the Universal Soldier', Later a Hit for Donovan); Drugs ('cod'ine'); Sex ('the Incest Song'); And the Mistreatment of Native Americans, of which Sainte-marie is One ('now that the Buffalo's Gone').
1. Now that the Buffalo's Gone 2:51
2. The Old Man's Lament 4:02
3. Ananias 2:40
4. Mayoo Sto Hoon 1:25
5. Cod'ine 5:07
6. Cripple Creek 1:50
7. The Universal Soldier 2:20
8. Babe in Arms 2:35
9. He Lived Alone in Town 4:42
10. You're Gonna Need Somebody on Your Bond 2:50
11. The Incest Song 4:19
12. Eyes of Amber 2:21
13. It's My Way 3:33
Buffy Sainte-marie's Very First Album, Recorded for Vanguard in 1964, which Earned her Billboard's Award for Best Newcomer of the Year. A Staggering Debut, Recorded When She was 23, which Addresses Usually Difficult Subject Matter: War ('the Universal Soldier', Later a Hit for Donovan); Drugs ('cod'ine'); Sex ('the Incest Song'); And the Mistreatment of Native Americans, of which Sainte-marie is One ('now that the Buffalo's Gone').
1. Now that the Buffalo's Gone 2:51
2. The Old Man's Lament 4:02
3. Ananias 2:40
4. Mayoo Sto Hoon 1:25
5. Cod'ine 5:07
6. Cripple Creek 1:50
7. The Universal Soldier 2:20
8. Babe in Arms 2:35
9. He Lived Alone in Town 4:42
10. You're Gonna Need Somebody on Your Bond 2:50
11. The Incest Song 4:19
12. Eyes of Amber 2:21
13. It's My Way 3:33
Bryan Maclean - Ifyoubelievein (1997)
Bryan Maclean - Ifyoubelievein (1997)
Bryan MacLean was an American singer, guitarist and songwriter, with the Los Angeles rock band Love, best known for the critically acclaimed 1967 album, Forever Changes.
Arthur Lee got the press, but Bryan MacLean was a crucial part of the Love sound, responsible for some of the group's most fragile melodies. And here's in a sense the Love record that never was-solo demos and home recordings of 14 MacLean tunes from the '60s, only three of which ( Orange Skies; Alone Again Or , and Old Man ) have ever been heard. Fascinating!
1. Barber John 4:05
2. Fresh Hope 4:16
3. Kathleen 2:06
4. Orange Skies 4:22
5. Strong Commitment 5:25
6. Alone Again Or 3:35
7. Tired Of Sitting 2:36
8. Blues Singer 3:26
9. Friday's Party 2:59
10. People 2:52
11. Claudia 3:04
12. If You Believe In 3:09
13. Orange Skies (second version) 4:37
14. Alone Again Or (second version) 3:49
15. She Looks Good 4:02
16. Old Man 3:05
Bryan MacLean was an American singer, guitarist and songwriter, with the Los Angeles rock band Love, best known for the critically acclaimed 1967 album, Forever Changes.
Arthur Lee got the press, but Bryan MacLean was a crucial part of the Love sound, responsible for some of the group's most fragile melodies. And here's in a sense the Love record that never was-solo demos and home recordings of 14 MacLean tunes from the '60s, only three of which ( Orange Skies; Alone Again Or , and Old Man ) have ever been heard. Fascinating!
1. Barber John 4:05
2. Fresh Hope 4:16
3. Kathleen 2:06
4. Orange Skies 4:22
5. Strong Commitment 5:25
6. Alone Again Or 3:35
7. Tired Of Sitting 2:36
8. Blues Singer 3:26
9. Friday's Party 2:59
10. People 2:52
11. Claudia 3:04
12. If You Believe In 3:09
13. Orange Skies (second version) 4:37
14. Alone Again Or (second version) 3:49
15. She Looks Good 4:02
16. Old Man 3:05
Bridget St. John - Jumblequeen (1974)
Bridget St. John - Jumblequeen (1974)
Hux reissue
This 1974 album by the cult British singer-songwriter was her last recording for two decades. It's by turns searingly honest and achingly beautiful, and the production, by Ten Years After bassist Leo Lyons, gives St. John's songs plenty of room to breathe, with help from such storied contributors as the singer Beverley Martin, the guitarist Stefan Grossman, and the experimental musician Ron Geesin.
In 1974, Bridget signed to Chrysalis Records and released her 4th album, Jumblequeen. This was a great folk-rock album, produced by Leo Lyons of the band Ten Years After. The album includes support from excellent musicians including the folk guitarist Stefan Grossman, Chick Churchill (Ten Years After) and Mike Giles (King Crimson). It also features harmony vocals from Beverley Martin. This CD is now reissued in agreement with Bridget St John, and it includes three previously unreleased bonus tracks, recorded in 1975. 'Bumper To Bumper' features Famous Jug Band guitarist Pete Berryman and 'Grow' has Ron Geesin on piano.
------------------------------------
Released: (1974/1995 Remastered & Expanded Edition)
BGO Records (BGO CD260)
Genre: British Folk
Bridget St. John's fourth album fell somewhere between vintage British folk-rock and the kind of singer/songwriter approach used by Phoebe Snow or early Joni Mitchell. It was a low-key, agreeable affair of sophisticated romantic ruminations, although not compelling. Though a couple of songs came from outside sources (including a cover of Elton John's "Sweet Painted Lady"), most of the material was self-penned, and rather self-effacing, with assistance from backup musicians including ex-King Crimson drummer Mike Giles and noted acoustic guitarist Stefan Grossman. Oddly, different CD reissues of the album have added different bonus tracks. The mid-'90s reissue on BGO added four tracks recorded in the U.S. in 1976; however, the three bonus tracks added on the 2006 reissue on Hux were entirely different, slightly lo-fi ones done in 1975 that were previously unreleased anywhere. Recorded in preparation for a future album that would never be realized, these actually show her exploring some interesting possible future directions, playing underwater-sounding guitar through a foot pedal on "3DB Australia"; using Ron Geesin (most famous for his composing contribution to Pink Floyd's Atom Heart Mother) as piano accompanist on "Grow"; and featuring Peter Berryman on accomplished picked folky guitar on "Bumper to Bumper." ~ Richie Unterberger, All Music Guide
Tracklist:
1. Sparrowpit 3:08
2. Song For The Waterden Widow 2:44
3. I Don't Know If I Can Take It 4:04
4. Some Kind Of Beautiful 3:16
5. Last Goodnight 5:04
6. Curious & Woolly 3:11
7. Want To Be With You 3:34
8. Jumble Queen 3:24
9. Sweet Painted Lady 3:41
10. Long Long Time 3:47
11. 3DB Australia 4:09
12. Bumper To Bumper 3:27
13. Grow 3:34
Hux reissue
This 1974 album by the cult British singer-songwriter was her last recording for two decades. It's by turns searingly honest and achingly beautiful, and the production, by Ten Years After bassist Leo Lyons, gives St. John's songs plenty of room to breathe, with help from such storied contributors as the singer Beverley Martin, the guitarist Stefan Grossman, and the experimental musician Ron Geesin.
In 1974, Bridget signed to Chrysalis Records and released her 4th album, Jumblequeen. This was a great folk-rock album, produced by Leo Lyons of the band Ten Years After. The album includes support from excellent musicians including the folk guitarist Stefan Grossman, Chick Churchill (Ten Years After) and Mike Giles (King Crimson). It also features harmony vocals from Beverley Martin. This CD is now reissued in agreement with Bridget St John, and it includes three previously unreleased bonus tracks, recorded in 1975. 'Bumper To Bumper' features Famous Jug Band guitarist Pete Berryman and 'Grow' has Ron Geesin on piano.
------------------------------------
Released: (1974/1995 Remastered & Expanded Edition)
BGO Records (BGO CD260)
Genre: British Folk
Bridget St. John's fourth album fell somewhere between vintage British folk-rock and the kind of singer/songwriter approach used by Phoebe Snow or early Joni Mitchell. It was a low-key, agreeable affair of sophisticated romantic ruminations, although not compelling. Though a couple of songs came from outside sources (including a cover of Elton John's "Sweet Painted Lady"), most of the material was self-penned, and rather self-effacing, with assistance from backup musicians including ex-King Crimson drummer Mike Giles and noted acoustic guitarist Stefan Grossman. Oddly, different CD reissues of the album have added different bonus tracks. The mid-'90s reissue on BGO added four tracks recorded in the U.S. in 1976; however, the three bonus tracks added on the 2006 reissue on Hux were entirely different, slightly lo-fi ones done in 1975 that were previously unreleased anywhere. Recorded in preparation for a future album that would never be realized, these actually show her exploring some interesting possible future directions, playing underwater-sounding guitar through a foot pedal on "3DB Australia"; using Ron Geesin (most famous for his composing contribution to Pink Floyd's Atom Heart Mother) as piano accompanist on "Grow"; and featuring Peter Berryman on accomplished picked folky guitar on "Bumper to Bumper." ~ Richie Unterberger, All Music Guide
Tracklist:
1. Sparrowpit 3:08
2. Song For The Waterden Widow 2:44
3. I Don't Know If I Can Take It 4:04
4. Some Kind Of Beautiful 3:16
5. Last Goodnight 5:04
6. Curious & Woolly 3:11
7. Want To Be With You 3:34
8. Jumble Queen 3:24
9. Sweet Painted Lady 3:41
10. Long Long Time 3:47
11. 3DB Australia 4:09
12. Bumper To Bumper 3:27
13. Grow 3:34
Bridget St. John - Thank You For... (1972)
Bridget St. John - Thank You For... (1972)
BRIDGET ST. JOHN - a biography
by Nigel Cross
In his humorous liner notes for the Dandelion Records sampler LP, There’s Some Fun Going Forward the late DJ and Dandelion co-founder John Peel said of Bridget St. John:
" What can you hope to do with someone who won’t do a damned thing but go on being the best lady singer/songwriter in the country? We’ll keep trying though....” and in his sleeve note to the BBC Top Gear compilation, released in Autumn 1969, he wrote:
“ She’s my favourite lady singer (along with Fairport Convention’s Sandy Denny) in the whole world".
Having graduated from Sheffield University in 1968,and with John Martyn's help,
Bridget made her first demo on a Revox owned by another rising singer/songwriter,
Al Stewart. Within weeks of leaving college, Bridget was recording her first BBC radio broadcast for John Peel’s eclectic Wednesday evening programme Night Ride. Her debut session aired on 28th August 1968 and would mark the first stage in a significant friendship with the late DJ. "John really liked what I did and the next day he rang up and had got me a spot on a television show How It Is. Then somehow he’d take me on gigs. I can’t remember how it evolved. We’d go to his discotheque and club dates, and I’d play for half an hour in between John playing records’.
When Peel and business partner Clive Selwood formed their own label, Dandelion,
Bridget St. John was one of the first signings. In 1969, following various other BBC radio and TV sessions, Bridget released a single To B without a Hitch/Autumn Lullabuy, and album Ask Me No Questions on Peel’s Dandelion label and was featured heavily on the Top Gear LP. She had also become a mainstay of the booming college and club circuit, and played some prestigious shows including two Royal Festival Hall concerts supporting Tom Paxton and Matthews Southern Comfort and Trees, at which she was given a standing ovation. And she even got to have her own half hour show on Radio One with special guests John Martyn and Kevin Ayers.
The start of the 70s might have seen folk rock and acoustic music blossom in the UK, but for Bridget St. John, 1970 was something of a quiet year in terms of record releases. This was in part due to distribution problems for Dandelion product. In October 1970 just as Peel and label co-partner Clive Selwood were switching from UK CBS to WEA, Bridget released one of the finest performances of her career: a single If You’ve Got Money b/w Yep. ‘Money’ was a real change of pace, a rocking tune with ‘hit’ stamped all over it, a catchy bop-shoo-wah style chorus and an all-star cast that included Steve Broughton on drums, David Bedford on piano, Mike Oldfield on cracking lead guitar and Kevin Ayers on bass – the latter also produced the single, and with and his old Soft Machine cohort Daevid Allen wrote Yep. At this time she was being represented by Peter Jenner and Andrew King’s Blackhill Enterprises Agency who put on so many great free concerts in Hyde Park during that halcyon era, so it was no surprise that she became firm friends with other members of their roster, which included Michael Chapman, the Edgar Broughton Band and Kevin Ayers & the Whole World. Bridget had met Kevin at a CND benefit gig at the Roundhouse in April 1969 and Ayers had asked Bridget to contribute to the Whole World’s second album for Harvest Records Shooting at the Moon and she duly complied with the enchanting Oyster & the Flying Fish – Ayers again producing, and fellow
Whole Worlder, David Bedford doing the arrangement. Bridget would later also sing
Jolie Madame on Kevin’s Odd Ditties LP. Fast-forward to 2007 and Bridget can be found singing harmonies on Kevin's highly acclaimed release Unfairground.
In 1971 Songs for the Gentle Man was released, a collaboration with producer-arranger Ron Geesin that Peel once described as the Sgt Pepper of its genre. As
Kim Cooper wrote in her piece on Songs for the Gentle Man included in the 2004 book Lost in the Grooves- Scram's capricious guide to the music you missed:
" Imagine a Nico of the buttercups, all sunshine, smiles and cautious optimism... a set of cool pastel originals garnished with a pinch of John Martyn and a splash of Donovan... A small record, yet one that fills the room and lingers."
At the beginning of 1972, Bridget seemed to be no nearer to a breakthrough into the big time. Press had been good, live gigs plentiful and sessions for Radio One a regular occurrence – Bridget also enjoyed a solid fan base yet she somehow remained on the margins, still far from being a household name – in part this was down to her record label’s continuing distribution problems. By the time of the release of her third album, Thank You For... Dandelion had hooked up with another major company, Polydor, though as ever it was still very difficult to find their releases in all but the hippest record stores. Thank You For… was the closest Bridget ever got to fully-fledged folk rock and was the album that should’ve finally established her as one of the leading singer/songwriters of her generation. The early 70s saw an explosion of solo performers armed with just a guitar or piano make their mark and ‘soft rock’ was the order of the day – listening now to this record and her previous ones, it remains a mystery as to why she didn’t go beyond a cult following. She definitely wrote and performed material that was the equal and at times even better than that of the late Nick Drake or Sandy Denny. Dandelion finally went belly up in early 1973 leaving its acts high and dry – Clive Selwood engineered a deal for Bridget with MCA though only one 45 was released –
Passing Thru, a Leonard Cohen song, and The Road Was Lonely, a St. John original. The single was produced by another friend, and a stalwart of the British acoustic scene, Michael Chapman,; Bridget can be heard singing harmony on Michael’s Deal Gone Down, album. Fortunately she was soon to land a new record contract – through Jo Lustig whom she had been introduced to by Steeleye Span bass player Rick Kemp – and signed a deal with Chrysalis, home to some of the biggest rock acts of the day such as Jethro Tull and Ten Years After, the blues rock legends of the Woodstock Festival whose bass player Leo Lyons would end up producing this album, Jumblequeen.
After cutting Jumblequeen in 1974 and doing some highly enjoyable live shows with both Pete Berryman and ex-Daddylonglegs guitarist Steve Hayton, Bridget made the bold move of relocating to New York in 1976 and has lived in the heart of Greenwich Village for over 30 years. She became involved in the vibrant New York music scene and, as well as playing prominent Village clubs - The Bottom Line, The Bitter End and Kenny's Castaways - she also appeared at Carnegie Hall and on the Central Park Wollman Rink Summer Stage. Since the birth of her daughter, Cristy, in 1983 she has continued to write, record and perform live. Road Goes On Forever Records released Bridget’s fifth album - a great compilation of recordings made between 1976 and 1982 called Take the 5ifth.
In December 2004, shortly after the sad passing of friend and mentor John Peel, she played a fine live set at Bush Hall in Shepherds Bush to great audience acclaim, which marked the beginning of a return to touring. In 2007, after a spring tour in Belgium, Bridget returned to the UK towards the end of November to play a London gig at the St. Sloysius Social Club, with Wizz Jones,, and then joined up with Michael Chapman for a short tour in the North of England and Scotland.
All of Bridget’s recordings are currently available: Cherry Red Records has reissued Bridget’s Dandelion catalogue, including all the singles, Hux Records has reissued Jumblequeen, and Road Goes On Forever Records has reissued Take the 5ifth.
A Japanese only album - Under Tokyo Skies - a live in concert recording was released in August of 2009 on the P-Vine label.
Spring of 2010 will see the issue on HUX Records of Bridget's BBC recordings - a double CD release; also a "Best of..." on Cherry Red Records- and a month long tour of the UK starting on March 31st in London and ending in Paris on April 27th. The good news is that she has started to do live work again and is beginning to gain a new younger audience who never saw her the first time around. Despite her slim body of work she may yet be recognised as one of the great British troubadours and take her rightful place alongside the likes of John Martyn, Sandy Denny and Donovan Leitch.
1. Nice 3:22
2. Thank You For... 3:37
3. Lazarus 4:21
4. Goodbye Goodbye 2:08
5. Love Minus Zero, No Limit 3:20
6. Silver Coin 3:07
7. Happy Day 3:54
8. Fly High 3:22
9. To Leave Your Cover 3:21
10. Every Day 4:20
11. A Song Is As Long As It Wants To Go On 1:11
12. Passing Thru' 4:23
13. There's A Place I Know 2:39
14. Nice (Live) 5:08
15. Silver Coin (Live) 3:47
16. Fly High (Live) 3:57
17. Lazarus (Live) 4:44
18. The River (Live) 3:36
19. Thank You For... (Live) 3:54
20. Ask Me No Questions (Live) 4:54
21. If You've Got Money (Live) 2:58
BRIDGET ST. JOHN - a biography
by Nigel Cross
In his humorous liner notes for the Dandelion Records sampler LP, There’s Some Fun Going Forward the late DJ and Dandelion co-founder John Peel said of Bridget St. John:
" What can you hope to do with someone who won’t do a damned thing but go on being the best lady singer/songwriter in the country? We’ll keep trying though....” and in his sleeve note to the BBC Top Gear compilation, released in Autumn 1969, he wrote:
“ She’s my favourite lady singer (along with Fairport Convention’s Sandy Denny) in the whole world".
Having graduated from Sheffield University in 1968,and with John Martyn's help,
Bridget made her first demo on a Revox owned by another rising singer/songwriter,
Al Stewart. Within weeks of leaving college, Bridget was recording her first BBC radio broadcast for John Peel’s eclectic Wednesday evening programme Night Ride. Her debut session aired on 28th August 1968 and would mark the first stage in a significant friendship with the late DJ. "John really liked what I did and the next day he rang up and had got me a spot on a television show How It Is. Then somehow he’d take me on gigs. I can’t remember how it evolved. We’d go to his discotheque and club dates, and I’d play for half an hour in between John playing records’.
When Peel and business partner Clive Selwood formed their own label, Dandelion,
Bridget St. John was one of the first signings. In 1969, following various other BBC radio and TV sessions, Bridget released a single To B without a Hitch/Autumn Lullabuy, and album Ask Me No Questions on Peel’s Dandelion label and was featured heavily on the Top Gear LP. She had also become a mainstay of the booming college and club circuit, and played some prestigious shows including two Royal Festival Hall concerts supporting Tom Paxton and Matthews Southern Comfort and Trees, at which she was given a standing ovation. And she even got to have her own half hour show on Radio One with special guests John Martyn and Kevin Ayers.
The start of the 70s might have seen folk rock and acoustic music blossom in the UK, but for Bridget St. John, 1970 was something of a quiet year in terms of record releases. This was in part due to distribution problems for Dandelion product. In October 1970 just as Peel and label co-partner Clive Selwood were switching from UK CBS to WEA, Bridget released one of the finest performances of her career: a single If You’ve Got Money b/w Yep. ‘Money’ was a real change of pace, a rocking tune with ‘hit’ stamped all over it, a catchy bop-shoo-wah style chorus and an all-star cast that included Steve Broughton on drums, David Bedford on piano, Mike Oldfield on cracking lead guitar and Kevin Ayers on bass – the latter also produced the single, and with and his old Soft Machine cohort Daevid Allen wrote Yep. At this time she was being represented by Peter Jenner and Andrew King’s Blackhill Enterprises Agency who put on so many great free concerts in Hyde Park during that halcyon era, so it was no surprise that she became firm friends with other members of their roster, which included Michael Chapman, the Edgar Broughton Band and Kevin Ayers & the Whole World. Bridget had met Kevin at a CND benefit gig at the Roundhouse in April 1969 and Ayers had asked Bridget to contribute to the Whole World’s second album for Harvest Records Shooting at the Moon and she duly complied with the enchanting Oyster & the Flying Fish – Ayers again producing, and fellow
Whole Worlder, David Bedford doing the arrangement. Bridget would later also sing
Jolie Madame on Kevin’s Odd Ditties LP. Fast-forward to 2007 and Bridget can be found singing harmonies on Kevin's highly acclaimed release Unfairground.
In 1971 Songs for the Gentle Man was released, a collaboration with producer-arranger Ron Geesin that Peel once described as the Sgt Pepper of its genre. As
Kim Cooper wrote in her piece on Songs for the Gentle Man included in the 2004 book Lost in the Grooves- Scram's capricious guide to the music you missed:
" Imagine a Nico of the buttercups, all sunshine, smiles and cautious optimism... a set of cool pastel originals garnished with a pinch of John Martyn and a splash of Donovan... A small record, yet one that fills the room and lingers."
At the beginning of 1972, Bridget seemed to be no nearer to a breakthrough into the big time. Press had been good, live gigs plentiful and sessions for Radio One a regular occurrence – Bridget also enjoyed a solid fan base yet she somehow remained on the margins, still far from being a household name – in part this was down to her record label’s continuing distribution problems. By the time of the release of her third album, Thank You For... Dandelion had hooked up with another major company, Polydor, though as ever it was still very difficult to find their releases in all but the hippest record stores. Thank You For… was the closest Bridget ever got to fully-fledged folk rock and was the album that should’ve finally established her as one of the leading singer/songwriters of her generation. The early 70s saw an explosion of solo performers armed with just a guitar or piano make their mark and ‘soft rock’ was the order of the day – listening now to this record and her previous ones, it remains a mystery as to why she didn’t go beyond a cult following. She definitely wrote and performed material that was the equal and at times even better than that of the late Nick Drake or Sandy Denny. Dandelion finally went belly up in early 1973 leaving its acts high and dry – Clive Selwood engineered a deal for Bridget with MCA though only one 45 was released –
Passing Thru, a Leonard Cohen song, and The Road Was Lonely, a St. John original. The single was produced by another friend, and a stalwart of the British acoustic scene, Michael Chapman,; Bridget can be heard singing harmony on Michael’s Deal Gone Down, album. Fortunately she was soon to land a new record contract – through Jo Lustig whom she had been introduced to by Steeleye Span bass player Rick Kemp – and signed a deal with Chrysalis, home to some of the biggest rock acts of the day such as Jethro Tull and Ten Years After, the blues rock legends of the Woodstock Festival whose bass player Leo Lyons would end up producing this album, Jumblequeen.
After cutting Jumblequeen in 1974 and doing some highly enjoyable live shows with both Pete Berryman and ex-Daddylonglegs guitarist Steve Hayton, Bridget made the bold move of relocating to New York in 1976 and has lived in the heart of Greenwich Village for over 30 years. She became involved in the vibrant New York music scene and, as well as playing prominent Village clubs - The Bottom Line, The Bitter End and Kenny's Castaways - she also appeared at Carnegie Hall and on the Central Park Wollman Rink Summer Stage. Since the birth of her daughter, Cristy, in 1983 she has continued to write, record and perform live. Road Goes On Forever Records released Bridget’s fifth album - a great compilation of recordings made between 1976 and 1982 called Take the 5ifth.
In December 2004, shortly after the sad passing of friend and mentor John Peel, she played a fine live set at Bush Hall in Shepherds Bush to great audience acclaim, which marked the beginning of a return to touring. In 2007, after a spring tour in Belgium, Bridget returned to the UK towards the end of November to play a London gig at the St. Sloysius Social Club, with Wizz Jones,, and then joined up with Michael Chapman for a short tour in the North of England and Scotland.
All of Bridget’s recordings are currently available: Cherry Red Records has reissued Bridget’s Dandelion catalogue, including all the singles, Hux Records has reissued Jumblequeen, and Road Goes On Forever Records has reissued Take the 5ifth.
A Japanese only album - Under Tokyo Skies - a live in concert recording was released in August of 2009 on the P-Vine label.
Spring of 2010 will see the issue on HUX Records of Bridget's BBC recordings - a double CD release; also a "Best of..." on Cherry Red Records- and a month long tour of the UK starting on March 31st in London and ending in Paris on April 27th. The good news is that she has started to do live work again and is beginning to gain a new younger audience who never saw her the first time around. Despite her slim body of work she may yet be recognised as one of the great British troubadours and take her rightful place alongside the likes of John Martyn, Sandy Denny and Donovan Leitch.
1. Nice 3:22
2. Thank You For... 3:37
3. Lazarus 4:21
4. Goodbye Goodbye 2:08
5. Love Minus Zero, No Limit 3:20
6. Silver Coin 3:07
7. Happy Day 3:54
8. Fly High 3:22
9. To Leave Your Cover 3:21
10. Every Day 4:20
11. A Song Is As Long As It Wants To Go On 1:11
12. Passing Thru' 4:23
13. There's A Place I Know 2:39
14. Nice (Live) 5:08
15. Silver Coin (Live) 3:47
16. Fly High (Live) 3:57
17. Lazarus (Live) 4:44
18. The River (Live) 3:36
19. Thank You For... (Live) 3:54
20. Ask Me No Questions (Live) 4:54
21. If You've Got Money (Live) 2:58
Bridget St. John - Ask Me No Questions & Songs For The Gentle Man (1969 & 1971) [1994]
Bridget St. John - Ask Me No Questions & Songs For The Gentle Man (1969 & 1971) [1994]
see for miles seecd 408.
ask me no questions;
The wholly acoustic debut album (originally released on John Peel's Dandelion label) from this oft-revered 1970s folk singer, whose deep, laid back, androgynous voice (some have said think of a folk equivalent to Nico or even Timi Yuro, but eithout the darkness of the former or the soul of the latter) marked her as decidedly different from her contemporaries such as Sandy Denny, Maddy Prior, Mandy Morton, Vashti Bunyan etc- as did her reliance on original rather than traditional material. The mood is wistful, pastoral, often melancholy, but the overall feeling is one of relaxed warmth and contentment, as songs such as 'Curious Crystals Of Unusual Purity' 'I Like To Be With You In The Sun' and 'Barefeet And Hot Pavements' demonstrate: for those who like their folk a little more wyrd, there's the curious 'Lizard-Long-Tongue Boy'. Features a guest appearance by John Martyn, as does its successor.
songs for the gentle man;
Second album, again originally released on Dandelion (in 1971) from underrated UK folk singer-songwriter, this time produced by Ron Geesin (yes, 'im wot co-wrote the Floyd's "Atom Heart Mother") and featuring much more elaborate arrnagements and instrumentation such as cello, flute, bassoon, horns, violins and backing vocals. The songs are also more playful and less melancholy than on her debut, although the same feeling of relaxed warmth prevails on 'Seagull Sunday' and 'Lady And The Gentle Man' which bring her most obvious influence- Joni Mitchell- out into the open. Elsewhere there are covers of songs by John Martyn (featuring the man himself on guitar) and Donovan, another artist she has been compared to: there's also an odd, harmonium-and-vocal closing track which sounds more like Nico than Nico, if one catches the drift. The package contains
track list
Ask Me No Questions
To Be Without A Hitch
Autumn Lullaby
Curl Your Toes
Like Never Before
The Curious Crystals Of Unusual Purity
Barefeet And Hot Pavements
I Like To Be With You In The Sun (Song For The Laird Of Connaught Hall)
Lizard-Long-Tongue Boy
Hello Again (Of Course)
Many Happy Returns
Broken Faith
Ask Me No Questions
Songs For The Gentle Man
A Day A Way
City Crazy
Back To Stay
Seagull-Sunday
If You'd Been There
Songs For The Laird Of Connaught Hall Part 2
Making Losing Better
The Lady And The Gentle Man
Downderry Daze
The Pebble And The Man
It Seems Very Strange
see for miles seecd 408.
ask me no questions;
The wholly acoustic debut album (originally released on John Peel's Dandelion label) from this oft-revered 1970s folk singer, whose deep, laid back, androgynous voice (some have said think of a folk equivalent to Nico or even Timi Yuro, but eithout the darkness of the former or the soul of the latter) marked her as decidedly different from her contemporaries such as Sandy Denny, Maddy Prior, Mandy Morton, Vashti Bunyan etc- as did her reliance on original rather than traditional material. The mood is wistful, pastoral, often melancholy, but the overall feeling is one of relaxed warmth and contentment, as songs such as 'Curious Crystals Of Unusual Purity' 'I Like To Be With You In The Sun' and 'Barefeet And Hot Pavements' demonstrate: for those who like their folk a little more wyrd, there's the curious 'Lizard-Long-Tongue Boy'. Features a guest appearance by John Martyn, as does its successor.
songs for the gentle man;
Second album, again originally released on Dandelion (in 1971) from underrated UK folk singer-songwriter, this time produced by Ron Geesin (yes, 'im wot co-wrote the Floyd's "Atom Heart Mother") and featuring much more elaborate arrnagements and instrumentation such as cello, flute, bassoon, horns, violins and backing vocals. The songs are also more playful and less melancholy than on her debut, although the same feeling of relaxed warmth prevails on 'Seagull Sunday' and 'Lady And The Gentle Man' which bring her most obvious influence- Joni Mitchell- out into the open. Elsewhere there are covers of songs by John Martyn (featuring the man himself on guitar) and Donovan, another artist she has been compared to: there's also an odd, harmonium-and-vocal closing track which sounds more like Nico than Nico, if one catches the drift. The package contains
track list
Ask Me No Questions
To Be Without A Hitch
Autumn Lullaby
Curl Your Toes
Like Never Before
The Curious Crystals Of Unusual Purity
Barefeet And Hot Pavements
I Like To Be With You In The Sun (Song For The Laird Of Connaught Hall)
Lizard-Long-Tongue Boy
Hello Again (Of Course)
Many Happy Returns
Broken Faith
Ask Me No Questions
Songs For The Gentle Man
A Day A Way
City Crazy
Back To Stay
Seagull-Sunday
If You'd Been There
Songs For The Laird Of Connaught Hall Part 2
Making Losing Better
The Lady And The Gentle Man
Downderry Daze
The Pebble And The Man
It Seems Very Strange
Bridget St. John - Ask Me No Questions (1969)
Bridget St. John - Ask Me No Questions (1969)
Bridget St John is a English singer and songwriter who recorded some lovely albums in the early seventies. Her debut Ask Me No Questions was released in 1969 on John Peel's legendary Dandelion Records. Good old John even produced it. The music is very gentle and poetic. She sings beautifully in a quite low register accompanied by sparse guitar playing. Sometimes she sounds a little like Nico.
Bridget St. John's first album was a wholly acoustic, almost wholly solo folk affair, though different from many British folk albums of the time in that it was comprised entirely of self-composed material. St. John sang low-key, reflective, slightly sad songs that were unsurpassed, really, in their extraordinary level of containment. That's not say they were brilliant, or even as good as those of another British singer/songwriter of the time known for reserved meditations, Nick Drake. There was, however, the sense of an unflappable woman whose temperature would remain unchanged by nothing short of an equatorial sun. Her deep voice makes her sound at times rather like a Nico who can sing more in tune, without Nico's gothic or more bizarre streaks. Perhaps there's a tinge of Françoise Hardy without the pop sensibility, too, if you're looking for another comparison. It's music for wandering through meadows on overcast days, though a sameness to the presentation (the slide guitar on "Many Happy Returns" makes for a welcome dash of urgency) and a lack of excellent melodies can make it easy for one's mind to wander.
A British folk-rock singer/songwriter with a gentle, lilting voice, Bridget St. John enjoyed cult success in the U.K. in the late '60s and early '70s. In addition to recording some LPs for John Peel's Dandelion label (one of which was produced and scored by Pink Floyd collaborator Ron Geesin), she also did some vocals for Kevin Ayers' Shooting at the Moon album. Her final album, Jumblequeen, included support from members of Jethro Tull and King Crimson, as well as folk guitarist Stefan Grossman. She put her recording career on hold after moving to New York in 1976.
1. To B Without A Hitch
2. Autumn Lullaby
3. Curl Your Toes
4. Like Never Before
5. The Curious Crystals Of Unusual
6. Barefeet And Hot Pavements
7. I Like To Be With You In The Su
8. Lizard-Long-Tongue Boy
9. Hello Again ( Of Course )
10. Many Happy Returns
11. Broken Faith
12. Ask Me No Questions
13. Suzanne ( Bonus Track )
14. The Road Was Lonely ( Bonus Track)
Bridget St John is a English singer and songwriter who recorded some lovely albums in the early seventies. Her debut Ask Me No Questions was released in 1969 on John Peel's legendary Dandelion Records. Good old John even produced it. The music is very gentle and poetic. She sings beautifully in a quite low register accompanied by sparse guitar playing. Sometimes she sounds a little like Nico.
Bridget St. John's first album was a wholly acoustic, almost wholly solo folk affair, though different from many British folk albums of the time in that it was comprised entirely of self-composed material. St. John sang low-key, reflective, slightly sad songs that were unsurpassed, really, in their extraordinary level of containment. That's not say they were brilliant, or even as good as those of another British singer/songwriter of the time known for reserved meditations, Nick Drake. There was, however, the sense of an unflappable woman whose temperature would remain unchanged by nothing short of an equatorial sun. Her deep voice makes her sound at times rather like a Nico who can sing more in tune, without Nico's gothic or more bizarre streaks. Perhaps there's a tinge of Françoise Hardy without the pop sensibility, too, if you're looking for another comparison. It's music for wandering through meadows on overcast days, though a sameness to the presentation (the slide guitar on "Many Happy Returns" makes for a welcome dash of urgency) and a lack of excellent melodies can make it easy for one's mind to wander.
A British folk-rock singer/songwriter with a gentle, lilting voice, Bridget St. John enjoyed cult success in the U.K. in the late '60s and early '70s. In addition to recording some LPs for John Peel's Dandelion label (one of which was produced and scored by Pink Floyd collaborator Ron Geesin), she also did some vocals for Kevin Ayers' Shooting at the Moon album. Her final album, Jumblequeen, included support from members of Jethro Tull and King Crimson, as well as folk guitarist Stefan Grossman. She put her recording career on hold after moving to New York in 1976.
1. To B Without A Hitch
2. Autumn Lullaby
3. Curl Your Toes
4. Like Never Before
5. The Curious Crystals Of Unusual
6. Barefeet And Hot Pavements
7. I Like To Be With You In The Su
8. Lizard-Long-Tongue Boy
9. Hello Again ( Of Course )
10. Many Happy Returns
11. Broken Faith
12. Ask Me No Questions
13. Suzanne ( Bonus Track )
14. The Road Was Lonely ( Bonus Track)
Brian Protheroe - Pinball and Other Stories: The Best of Brian Protheroe (2006)
Brian Protheroe - Pinball and Other Stories: The Best of Brian Protheroe (2006)
1. Brian Protheroe - Pinball 3:09
2. Brian Protheroe - Goodbye Surprise 2:27
3. Brian Protheroe - Money Love 3:25
4. Brian Protheroe - Changing My Tune 2:46
5. Brian Protheroe - Fly Now 2:21
6. Brian Protheroe - Monkey 3:38
7. Brian Protheroe - Enjoy It 4:18
8. Brian Protheroe - Oh, Weeping Will 4:05
9. Brian Protheroe - Running Through the City 3:43
10. Brian Protheroe - Soft Song 3:27
11. Brian Protheroe - Pick-Up 7:54
12. Brian Protheroe - I/You 5:45
13. Brian Protheroe - Dancing on Black Ice 4:10
14. Brian Protheroe - Never Join the Fire Brigade 3:02
15. Brian Protheroe - Hotel 3:29
16. Brian Protheroe - The Face and I 5:20
17. Brian Protheroe - Thick and Creamy 2:11
18. Brian Protheroe - Cold Harbour 4:03
19. Brian Protheroe - Holyoke Hotel 4:12
1. Brian Protheroe - Pinball 3:09
2. Brian Protheroe - Goodbye Surprise 2:27
3. Brian Protheroe - Money Love 3:25
4. Brian Protheroe - Changing My Tune 2:46
5. Brian Protheroe - Fly Now 2:21
6. Brian Protheroe - Monkey 3:38
7. Brian Protheroe - Enjoy It 4:18
8. Brian Protheroe - Oh, Weeping Will 4:05
9. Brian Protheroe - Running Through the City 3:43
10. Brian Protheroe - Soft Song 3:27
11. Brian Protheroe - Pick-Up 7:54
12. Brian Protheroe - I/You 5:45
13. Brian Protheroe - Dancing on Black Ice 4:10
14. Brian Protheroe - Never Join the Fire Brigade 3:02
15. Brian Protheroe - Hotel 3:29
16. Brian Protheroe - The Face and I 5:20
17. Brian Protheroe - Thick and Creamy 2:11
18. Brian Protheroe - Cold Harbour 4:03
19. Brian Protheroe - Holyoke Hotel 4:12
Boudewijn De Groot - Nacht En Ontij (1968)
Boudewijn De Groot - Nacht En Ontij (1968)
1. Wie kan me nog vertellen 6:34
2. Aeneas nu 4:47
3. Babylon 4:08
4. Heksen-sabbath 31:19
1. Wie kan me nog vertellen 6:34
2. Aeneas nu 4:47
3. Babylon 4:08
4. Heksen-sabbath 31:19
Boudewijn De Groot - Voor De Overlevenden (1966)
Boudewijn De Groot - Voor De Overlevenden (1966)
1. Voor De Overlevenden 3:00
2. Lied Voor Een Kind Dat Bang Is In Het Donker 2:51
3. De Wilde Jager 3:49
4. Naast Jou 3:31
5. Testament 3:14
6. De Vrienden Van Vroeger 2:56
7. Ze Zijn Niet Meer Als Toen 2:52
8. Zonder Vrienden Kan Ik Niet 1:48
9. Het Land Van Maas En Waal 2:56
10. Verdronken Vlinder 2:26
11. Beneden Alle Peil 3:07
12. Ken Je Dat Land 2:34
1. Voor De Overlevenden 3:00
2. Lied Voor Een Kind Dat Bang Is In Het Donker 2:51
3. De Wilde Jager 3:49
4. Naast Jou 3:31
5. Testament 3:14
6. De Vrienden Van Vroeger 2:56
7. Ze Zijn Niet Meer Als Toen 2:52
8. Zonder Vrienden Kan Ik Niet 1:48
9. Het Land Van Maas En Waal 2:56
10. Verdronken Vlinder 2:26
11. Beneden Alle Peil 3:07
12. Ken Je Dat Land 2:34
Bob Dylan - Bob Dylan's Greatest Hits (1967)
Bob Dylan - Bob Dylan's Greatest Hits (1967)
1. Rainy Day Women #12 & 35 4:39
2. Blowin' In The Wind 2:49
3. The Times They Are A-Changin' 3:16
4. It Ain't Me Babe 3:37
5. Like A Rolling Stone 6:10
6. Mr. Tambourine Man 5:29
7. Subterranean Homesick Blues 2:21
8. I Want You 3:08
9. Positively 4th Street 3:56
10. Just Like A Woman 4:54
1. Rainy Day Women #12 & 35 4:39
2. Blowin' In The Wind 2:49
3. The Times They Are A-Changin' 3:16
4. It Ain't Me Babe 3:37
5. Like A Rolling Stone 6:10
6. Mr. Tambourine Man 5:29
7. Subterranean Homesick Blues 2:21
8. I Want You 3:08
9. Positively 4th Street 3:56
10. Just Like A Woman 4:54
Bob Dylan - Blonde On Blonde (1966)
Bob Dylan - Blonde On Blonde (1966)
If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like "Visions of Johanna," "Just Like a Woman," and "Sad Eyed Lady of the Lowlands." Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands ("Rainy Day Women #12 & 35"). It's the culmination of Dylan's electric rock & roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again. [In 2003, Columbia/Legacy reissued 15 selected titles from Dylan's catalog as hybrid SACDs, playable in both regular CD players and Super Audio CD players. Each title is packaged as a digipack, containing the full original artwork. On each of the titles, and on each of the layers, the remastered sound is spectacular, a considerable upgrade from the initial CD pressings. Blonde on Blonde was one of five titles that also included a 5.1 Surround Sound mix.]
~ Stephen Thomas Erlewine, All Music Guide
Tracklist:
1 Rainy Day Women #12 & 35 4:36
2 Pledging My Time 3:50
3 Visions of Johanna 7:33
4 One of Us Must Know (Sooner or Later) 4:54
5 I Want You 3:07
6 Stuck Inside of Mobile With the Memphis Blues Again 7:05
7 Leopard-Skin Pill-Box Hat 3:58
8 Just Like a Woman 4:53
9 Most Likely You Go Your Way (And I'll Go Mine) 3:30
10 Temporary Like Achilles 5:02
11 Absolutely Sweet Marie 4:57
12 4th Time Around 4:35
13 Obviously 5 Believers 3:35
14 Sad Eyed Lady of the Lowlands 11:19
If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like "Visions of Johanna," "Just Like a Woman," and "Sad Eyed Lady of the Lowlands." Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands ("Rainy Day Women #12 & 35"). It's the culmination of Dylan's electric rock & roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again. [In 2003, Columbia/Legacy reissued 15 selected titles from Dylan's catalog as hybrid SACDs, playable in both regular CD players and Super Audio CD players. Each title is packaged as a digipack, containing the full original artwork. On each of the titles, and on each of the layers, the remastered sound is spectacular, a considerable upgrade from the initial CD pressings. Blonde on Blonde was one of five titles that also included a 5.1 Surround Sound mix.]
~ Stephen Thomas Erlewine, All Music Guide
Tracklist:
1 Rainy Day Women #12 & 35 4:36
2 Pledging My Time 3:50
3 Visions of Johanna 7:33
4 One of Us Must Know (Sooner or Later) 4:54
5 I Want You 3:07
6 Stuck Inside of Mobile With the Memphis Blues Again 7:05
7 Leopard-Skin Pill-Box Hat 3:58
8 Just Like a Woman 4:53
9 Most Likely You Go Your Way (And I'll Go Mine) 3:30
10 Temporary Like Achilles 5:02
11 Absolutely Sweet Marie 4:57
12 4th Time Around 4:35
13 Obviously 5 Believers 3:35
14 Sad Eyed Lady of the Lowlands 11:19
Bob Dylan - Highway 61 Revisited (1965)
Bob Dylan - Highway 61 Revisited (1965)
Highway 61 Revisited is a landmark — recorded in 1965, during the same tumultuous summer that had seen him plugging in his electric guitar at the Newport Folk Festival, Highway 61 Revisited is Bob Dylan diving head-first into the rock and roll maelstrom, backed by the studio prowess of Al Kooper, Michael Bloomfield and others on such devastating classics as the epochal "Like A Rolling Stone."
From cduniverse:
Recorded in Columbia Studios, New York, New York in June-August 1965.
Though 1966's BLONDE ON BLONDE is usually singled as the most innovative Bob Dylan album, its predecessor HIGHWAY 61 REVISITED is the one that definitively marks Dylan's transformation from progressive folk singer to visionary rock poet. It's Dylan's first fully electric album, powered by the manic intensity of Mike Bloomfield's skull-and-crossbones blues-rock guitar leads and Al Kooper's rich organ fills.
While many of the songs are presented in a traditional 12-bar blues format, the lyrics find Dylan finally abandoning conventional linear narrative in favor of poetic abstraction, surreal imagery, and biting sarcasm. In the rock world, there has never been a lambasting harsher or more cathartic than the excoriation of "Ballad of a Thin Man," and no challenge more bold than that offered in the iconic "Like a Rolling Stone." When Dylan invokes the names of Ezra Pound and T.S. Eliot towards the end of the poetic epic "Desolation Row," he's not just name-dropping; he's merely delineating the company in which a work as rich and ground-breaking as HIGHWAY 61 belongs.
Personnel: Bob Dylan (vocals, guitar, harmonica, piano); Michael Bloomfield Charlie McCoy (guitar); Al Kooper, Paul Griffin (piano, organ); Frank Owens (piano); Harvey Goldstein, Russ Savakus (bass); Bobby Gregg (drums).
Engineers include: Peter Dauria, Roy Halee, Frank Laico.
AMG review by by Stephen Thomas Erlewine:
Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited -- it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex.
-----------------------
Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. From the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row," his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr. Z's technically suspect pitch and decided that he too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. --Steven Stolder
Tracklist:
1. Like A Rolling Stone 6:13
2. Tombstone Blues 5:58
3. It Takes A Lot To Laugh, It Takes A Train To Cry 4:09
4. From A Buick 6 3:19
5. Ballad Of A Thin Man 5:58
6. Queen Jane Approximately 5:31
7. Highway 61 Revisited 3:30
8. Just Like Tom Thumb's Blues 5:31
9. Desolation Row 11:21
Highway 61 Revisited is a landmark — recorded in 1965, during the same tumultuous summer that had seen him plugging in his electric guitar at the Newport Folk Festival, Highway 61 Revisited is Bob Dylan diving head-first into the rock and roll maelstrom, backed by the studio prowess of Al Kooper, Michael Bloomfield and others on such devastating classics as the epochal "Like A Rolling Stone."
From cduniverse:
Recorded in Columbia Studios, New York, New York in June-August 1965.
Though 1966's BLONDE ON BLONDE is usually singled as the most innovative Bob Dylan album, its predecessor HIGHWAY 61 REVISITED is the one that definitively marks Dylan's transformation from progressive folk singer to visionary rock poet. It's Dylan's first fully electric album, powered by the manic intensity of Mike Bloomfield's skull-and-crossbones blues-rock guitar leads and Al Kooper's rich organ fills.
While many of the songs are presented in a traditional 12-bar blues format, the lyrics find Dylan finally abandoning conventional linear narrative in favor of poetic abstraction, surreal imagery, and biting sarcasm. In the rock world, there has never been a lambasting harsher or more cathartic than the excoriation of "Ballad of a Thin Man," and no challenge more bold than that offered in the iconic "Like a Rolling Stone." When Dylan invokes the names of Ezra Pound and T.S. Eliot towards the end of the poetic epic "Desolation Row," he's not just name-dropping; he's merely delineating the company in which a work as rich and ground-breaking as HIGHWAY 61 belongs.
Personnel: Bob Dylan (vocals, guitar, harmonica, piano); Michael Bloomfield Charlie McCoy (guitar); Al Kooper, Paul Griffin (piano, organ); Frank Owens (piano); Harvey Goldstein, Russ Savakus (bass); Bobby Gregg (drums).
Engineers include: Peter Dauria, Roy Halee, Frank Laico.
AMG review by by Stephen Thomas Erlewine:
Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited -- it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex.
-----------------------
Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. From the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row," his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr. Z's technically suspect pitch and decided that he too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. --Steven Stolder
Tracklist:
1. Like A Rolling Stone 6:13
2. Tombstone Blues 5:58
3. It Takes A Lot To Laugh, It Takes A Train To Cry 4:09
4. From A Buick 6 3:19
5. Ballad Of A Thin Man 5:58
6. Queen Jane Approximately 5:31
7. Highway 61 Revisited 3:30
8. Just Like Tom Thumb's Blues 5:31
9. Desolation Row 11:21
Bob Dylan - Bob Dylan (1962)
Bob Dylan - Bob Dylan (1962)
1. You're No Good 1:40
2. Talkin' New York 3:20
3. In My Time Of Dyin' 2:40
4. Man Of Constant Sorrow 3:10
5. Fixin' To Die 2:22
6. Pretty Peggy-O 3:23
7. Highway 51 Blues 2:52
8. Gospel Plow 1:47
9. Baby, Let Me Follow You Down 2:37
10. House Of The Risin' Sun 5:20
11. Freight Train Blues 2:18
12. Song To Woody 2:42
13. See That My Grave Is Kept Clean 2:43
1. You're No Good 1:40
2. Talkin' New York 3:20
3. In My Time Of Dyin' 2:40
4. Man Of Constant Sorrow 3:10
5. Fixin' To Die 2:22
6. Pretty Peggy-O 3:23
7. Highway 51 Blues 2:52
8. Gospel Plow 1:47
9. Baby, Let Me Follow You Down 2:37
10. House Of The Risin' Sun 5:20
11. Freight Train Blues 2:18
12. Song To Woody 2:42
13. See That My Grave Is Kept Clean 2:43
Bill Fay - Bill Fay & Time Of The Last Persecution...Plus (1970 & 1971)
Bill Fay - Bill Fay & Time Of The Last Persecution...Plus (1970 & 1971)
Tracklist:
1. Bill Fay - Garden Song 3:11
2. Bill Fay - The Sun Is Bored 2:31
3. Bill Fay - We Want You To Stay 3:32
4. Bill Fay - Narrow Way 2:47
5. Bill Fay - We Have Laid Here 2:27
6. Bill Fay - Sing Us One Of Your Songs May 2:49
7. Bill Fay - Gentle Willy 3:13
8. Bill Fay - Methane River 2:55
9. Bill Fay - The Room 1:55
10. Bill Fay - Goodnight Stan 2:04
11. Bill Fay - Cannons Plain 2:24
12. Bill Fay - Be Not So Fearful 2:43
13. Bill Fay - Down To The Bridge 1:47
14. Bill Fay - Omega Day 3:13
15. Bill Fay - Don't Let My Marigolds Die 2:25
16. Bill Fay - I Hear Your Calling 2:55
17. Bill Fay - Dust Filled Room 2:00
18. Bill Fay - 'Til The Christ Come Back 3:07
19. Bill Fay - Realise Is In The Eye 2:40
20. Bill Fay - Laughing Man 3:10
21. Bill Fay - Inside The Keepers Pantry 2:26
22. Bill Fay - Tell It Like It Is 2:31
23. Bill Fay - Plan D 3:11
24. Bill Fay - Pictures Of Adolf Again 2:27
25. Bill Fay - Time Of The Last Persecution 3:52
26. Bill Fay - Come A Day 2:26
27. Bill Fay - Let All The Other Teddies Know 2:33
28. Bill Fay - Scream In The Ears 2:21
29. Bill Fay - Some Good Advice 3:22
Tracklist:
1. Bill Fay - Garden Song 3:11
2. Bill Fay - The Sun Is Bored 2:31
3. Bill Fay - We Want You To Stay 3:32
4. Bill Fay - Narrow Way 2:47
5. Bill Fay - We Have Laid Here 2:27
6. Bill Fay - Sing Us One Of Your Songs May 2:49
7. Bill Fay - Gentle Willy 3:13
8. Bill Fay - Methane River 2:55
9. Bill Fay - The Room 1:55
10. Bill Fay - Goodnight Stan 2:04
11. Bill Fay - Cannons Plain 2:24
12. Bill Fay - Be Not So Fearful 2:43
13. Bill Fay - Down To The Bridge 1:47
14. Bill Fay - Omega Day 3:13
15. Bill Fay - Don't Let My Marigolds Die 2:25
16. Bill Fay - I Hear Your Calling 2:55
17. Bill Fay - Dust Filled Room 2:00
18. Bill Fay - 'Til The Christ Come Back 3:07
19. Bill Fay - Realise Is In The Eye 2:40
20. Bill Fay - Laughing Man 3:10
21. Bill Fay - Inside The Keepers Pantry 2:26
22. Bill Fay - Tell It Like It Is 2:31
23. Bill Fay - Plan D 3:11
24. Bill Fay - Pictures Of Adolf Again 2:27
25. Bill Fay - Time Of The Last Persecution 3:52
26. Bill Fay - Come A Day 2:26
27. Bill Fay - Let All The Other Teddies Know 2:33
28. Bill Fay - Scream In The Ears 2:21
29. Bill Fay - Some Good Advice 3:22
Bert Jansch - Santa Barbara Honeymoon (1975)
Bert Jansch - Santa Barbara Honeymoon (1975)
2009 Remaster + Bonus
Santa Barbara Honeymoon is the tenth album by Scottish folk musician Bert Jansch, released in 1975.
The three 70's Charisma albums L.A. Turnaround, Santa Barbara Honeymoon and A Rare Conundrum
had been out of print for decades and never been available on CD before.
In June 2009 these three albums were released by Virgin Records (EMI). Bert supervised the re-mastering
himself as well as hand-picked the bonus material. The CD includes newly discovered material from the
album sessions as well as live recordings from the Montreux Jazz Festival 4 July 1975, all of them
previously unreleased.
Release Info
Released: June 2009
Label: Virgin Records (EMI)
Catalog#: 5099996486429
Playing Time: 59 minutes
Remastering: Peter Mew and Bert Jansch
Personnel
Bert Jansch (guitar/vocal)
Jim Baker (guitar)
Jay Lacy (electric guitar)
Bill Smith (keyboards)
David Barry (keyboards)
George Seymour (synth)
Robert Greenidge (steel drum)
Don Whaley (bass)
Ernie McDaniels (bass)
David Hungate (bass)
Danny Lane (drums)
Tris Imboden (drums)
+brass and backing vocals
Review by Daniel S. Crommie on amazon.com, Rating: 5/5 Stars
Under-rated, beautifully remastered and expanded
I bought this as an LP back in the early eighties - used, as it was difficult to find a new copy to procure
at the time, and I have to say I was underwhelmed by the material and the band he chose to accompany
him on this third Charisma Records excursion. With 30 years passed I can safely say I was quite wrong
in my judgement of this fine, fine album. Sure, there are some unexpected production touches that seemed
jarring at the time: spacey synth on Mary and Joseph, steel drums and horns, etc. Now I can see these
were very appropriate and complemented the arrangements with good result. I used to cringe at You are
My Sunshine - now I find it to be a really emotionally touching song with some fine backing vocals from
the other musicians. Of course Blues Run the Game is also a marvelous song by one of his favorite
songwriters, the late Jackson C. Frank - and a song he would later revisit on his live CD Downunder.
The remastering is splendid on all the Charisma releases, but the real bonuses are the live tracks recorded
in 1975 at Montreaux, especially the live version of When the Teardrops Fell which I personally prefer over
the studio version from the album proper. I am very pleased that I had a chance to re-evaluate this
recording, especially considering my early reluctance to pick it up when I saw it was going to be made
available again.
Tracklist:
1. Love Anew
2. Mary and Joseph
3. Be My Friend
4. Baby Blue
5. Dance Lady Dance
6. You Are My Sunshine
7. Lons And Gone
8. Blues Run The Game
9. Build Another Band
10. When The Teardrops Fell
11. Dynamite
12. Buckrabbit
13. Build Another Band [Alternate Version] - (previously unreleased)
14. When The Teardrops Fall - (previously unreleased, live)
15. Lady Nothing - (previously unreleased, live)
16. Dance Lady Dance - (previously unreleased, live)
17. Angie - (previously unreleased, live)
18. One For Jo - (previously unreleased, live)
2009 Remaster + Bonus
Santa Barbara Honeymoon is the tenth album by Scottish folk musician Bert Jansch, released in 1975.
The three 70's Charisma albums L.A. Turnaround, Santa Barbara Honeymoon and A Rare Conundrum
had been out of print for decades and never been available on CD before.
In June 2009 these three albums were released by Virgin Records (EMI). Bert supervised the re-mastering
himself as well as hand-picked the bonus material. The CD includes newly discovered material from the
album sessions as well as live recordings from the Montreux Jazz Festival 4 July 1975, all of them
previously unreleased.
Release Info
Released: June 2009
Label: Virgin Records (EMI)
Catalog#: 5099996486429
Playing Time: 59 minutes
Remastering: Peter Mew and Bert Jansch
Personnel
Bert Jansch (guitar/vocal)
Jim Baker (guitar)
Jay Lacy (electric guitar)
Bill Smith (keyboards)
David Barry (keyboards)
George Seymour (synth)
Robert Greenidge (steel drum)
Don Whaley (bass)
Ernie McDaniels (bass)
David Hungate (bass)
Danny Lane (drums)
Tris Imboden (drums)
+brass and backing vocals
Review by Daniel S. Crommie on amazon.com, Rating: 5/5 Stars
Under-rated, beautifully remastered and expanded
I bought this as an LP back in the early eighties - used, as it was difficult to find a new copy to procure
at the time, and I have to say I was underwhelmed by the material and the band he chose to accompany
him on this third Charisma Records excursion. With 30 years passed I can safely say I was quite wrong
in my judgement of this fine, fine album. Sure, there are some unexpected production touches that seemed
jarring at the time: spacey synth on Mary and Joseph, steel drums and horns, etc. Now I can see these
were very appropriate and complemented the arrangements with good result. I used to cringe at You are
My Sunshine - now I find it to be a really emotionally touching song with some fine backing vocals from
the other musicians. Of course Blues Run the Game is also a marvelous song by one of his favorite
songwriters, the late Jackson C. Frank - and a song he would later revisit on his live CD Downunder.
The remastering is splendid on all the Charisma releases, but the real bonuses are the live tracks recorded
in 1975 at Montreaux, especially the live version of When the Teardrops Fell which I personally prefer over
the studio version from the album proper. I am very pleased that I had a chance to re-evaluate this
recording, especially considering my early reluctance to pick it up when I saw it was going to be made
available again.
Tracklist:
1. Love Anew
2. Mary and Joseph
3. Be My Friend
4. Baby Blue
5. Dance Lady Dance
6. You Are My Sunshine
7. Lons And Gone
8. Blues Run The Game
9. Build Another Band
10. When The Teardrops Fell
11. Dynamite
12. Buckrabbit
13. Build Another Band [Alternate Version] - (previously unreleased)
14. When The Teardrops Fall - (previously unreleased, live)
15. Lady Nothing - (previously unreleased, live)
16. Dance Lady Dance - (previously unreleased, live)
17. Angie - (previously unreleased, live)
18. One For Jo - (previously unreleased, live)
Bert Jansch - Moonshine (1973)
Bert Jansch - Moonshine (1973)
Even when performing with others, Bert Jansch has always continued his solo career. Moonshine was recorded in 1972 and released in 1973, and while it gained little attention at the time, it is greatly superior to later Pentangle efforts like Reflection. The arrangements are fuller than on his earlier solo work and more varied than Pentangle's, creating a distinct folk-rock sound. There are violins, harps, harmonicas, and even electric guitar. Things get started with the traditional "Yarrow," highlighted by a lovely flute, and brought to fullness by Jansch's deep vocals and acoustic guitar. Tony Visconti's bass work and Dave Mattacks' percussion build a sturdy bottom end that perfectly underlines the other players. The original "Night Time Blues" receives a nice boost from Aly Bain's fiddle, while "Oh My Father" is tinted with Gary Boyle's stinging guitar. Ralph McTell adds bluesy harmonica to "Brought With the Rain," and Jansch strips things down to voice and guitar for "Twa Corbies." In fact, there are no bad cuts here. Jansch is in great voice throughout this project, and sings all except one cut alone. His duet with Mary Visconti on "The First Time Ever I Saw Your Face" is fascinating. Her alto voice, like Jacqui McShee's, offers a perfect contrast to Jansch's deeper pipes. The arrangement is also intriguing, allowing Visconti to enter each stanza half a step behind Jansch, overlapping with the same lyrics. Danny Thompson produced the album, lending a hand to its beautiful, dense sound. For Jansch, Pentangle, and folk-rock fans, Moonshine will be a real find.
Tracklist:
1 Yarrow Traditional 5:09
Composed by: Traditional
Performed by: Jansch, Les Quatre,
2 Brought With the Rain Jansch, Traditional 2:55
3 The January Man Goulder 3:31
4 Night Time Blues Jansch 7:14
5 Moonshine Jansch 4:56
6 The First Time Ever I Saw Your Face MacColl 3:00
7 Ramble Away Traditional 4:35
8 TWA Corbies Traditional 3:00
9 Oh My Father Jansch 4:07
Even when performing with others, Bert Jansch has always continued his solo career. Moonshine was recorded in 1972 and released in 1973, and while it gained little attention at the time, it is greatly superior to later Pentangle efforts like Reflection. The arrangements are fuller than on his earlier solo work and more varied than Pentangle's, creating a distinct folk-rock sound. There are violins, harps, harmonicas, and even electric guitar. Things get started with the traditional "Yarrow," highlighted by a lovely flute, and brought to fullness by Jansch's deep vocals and acoustic guitar. Tony Visconti's bass work and Dave Mattacks' percussion build a sturdy bottom end that perfectly underlines the other players. The original "Night Time Blues" receives a nice boost from Aly Bain's fiddle, while "Oh My Father" is tinted with Gary Boyle's stinging guitar. Ralph McTell adds bluesy harmonica to "Brought With the Rain," and Jansch strips things down to voice and guitar for "Twa Corbies." In fact, there are no bad cuts here. Jansch is in great voice throughout this project, and sings all except one cut alone. His duet with Mary Visconti on "The First Time Ever I Saw Your Face" is fascinating. Her alto voice, like Jacqui McShee's, offers a perfect contrast to Jansch's deeper pipes. The arrangement is also intriguing, allowing Visconti to enter each stanza half a step behind Jansch, overlapping with the same lyrics. Danny Thompson produced the album, lending a hand to its beautiful, dense sound. For Jansch, Pentangle, and folk-rock fans, Moonshine will be a real find.
Tracklist:
1 Yarrow Traditional 5:09
Composed by: Traditional
Performed by: Jansch, Les Quatre,
2 Brought With the Rain Jansch, Traditional 2:55
3 The January Man Goulder 3:31
4 Night Time Blues Jansch 7:14
5 Moonshine Jansch 4:56
6 The First Time Ever I Saw Your Face MacColl 3:00
7 Ramble Away Traditional 4:35
8 TWA Corbies Traditional 3:00
9 Oh My Father Jansch 4:07
Bert Jansch - Jack Orion (1966)
Bert Jansch - Jack Orion (1966)
Tracklist:
1. The Waggoner's Ladd 3:25
2. The First Time Ever I Saw Your Face 1:41
3. Jack Orion 9:47
4. The Gardener 1:42
5. Nottamun 4:33
6. Henry Martin 3:11
7. Blackwaterside 3:44
8. Pretty Polly 4:09
Tracklist:
1. The Waggoner's Ladd 3:25
2. The First Time Ever I Saw Your Face 1:41
3. Jack Orion 9:47
4. The Gardener 1:42
5. Nottamun 4:33
6. Henry Martin 3:11
7. Blackwaterside 3:44
8. Pretty Polly 4:09
Bert Jansch - Birthday Blues (1969)
Bert Jansch - Birthday Blues (1969)
It's no accident that Jansch's 1969 album sounds like a modified version of the Pentangle. He was a member of the great British folk-rock group at the time of this album's release, which was produced by Shel Talmy (who also worked with the Pentangle). And he's backed by the group's sterling rhythm section of Danny Thompson (bass) and Terry Cox (drums), with occasional touches of harmonica (played by British blues singer Duffy Power), alto sax, and flute. The effect is akin to hearing an unbalanced Pentangle, with no John Renbourn on dueling guitar or Jacqui McShee on vocals. That's not at all a bad thing — Jansch was one of the group's main motors, and can still be a compelling writer and performer on his own. All of the cuts on this LP are originals, showing the artist leaning a little more toward bluesy styles than usual, though the mood is predominantly British folk. It's a pleasant effort, but not his best work, either as a solo performer or within a group context.
1 Come Sing Me a Happy Song to Prove We All Can Get Along the Lumpy, ... Jansch 2:05
2 The Bright New Year Jansch 1:34
3 Tree Song Jansch 2:37
4 Poison Jansch 3:16
5 Miss Heather Rosemary Sewell Jansch 2:10
6 I've Got a Woman Jansch 5:15
7 A Woman Like You Jansch 4:27
8 I Am Lonely Jansch 2:31
9 Promised Land Jansch 2:51
10 Birthday Blues Jansch 1:14
11 Wishing Well Briggs, Jansch 2:17
12 Blues Jansch 2:40
It's no accident that Jansch's 1969 album sounds like a modified version of the Pentangle. He was a member of the great British folk-rock group at the time of this album's release, which was produced by Shel Talmy (who also worked with the Pentangle). And he's backed by the group's sterling rhythm section of Danny Thompson (bass) and Terry Cox (drums), with occasional touches of harmonica (played by British blues singer Duffy Power), alto sax, and flute. The effect is akin to hearing an unbalanced Pentangle, with no John Renbourn on dueling guitar or Jacqui McShee on vocals. That's not at all a bad thing — Jansch was one of the group's main motors, and can still be a compelling writer and performer on his own. All of the cuts on this LP are originals, showing the artist leaning a little more toward bluesy styles than usual, though the mood is predominantly British folk. It's a pleasant effort, but not his best work, either as a solo performer or within a group context.
1 Come Sing Me a Happy Song to Prove We All Can Get Along the Lumpy, ... Jansch 2:05
2 The Bright New Year Jansch 1:34
3 Tree Song Jansch 2:37
4 Poison Jansch 3:16
5 Miss Heather Rosemary Sewell Jansch 2:10
6 I've Got a Woman Jansch 5:15
7 A Woman Like You Jansch 4:27
8 I Am Lonely Jansch 2:31
9 Promised Land Jansch 2:51
10 Birthday Blues Jansch 1:14
11 Wishing Well Briggs, Jansch 2:17
12 Blues Jansch 2:40
Bert Jansch - The Bert Jansch Sampler (1969)
Bert Jansch - The Bert Jansch Sampler (1969)
1969 LP Transatlantic 10
The Bert Jansch Sampler
Label: Transatlantic Records
Catalog#: TRA SAM 10
Format: Vinyl, LP
Country: UK
Released: 1969
Genre: Rock
Style: Folk Rock
Credits: Written-By - Bert Jansch (tracks: A1, A2, A6, B5, B6)
BERT JANSCH The Bert Jansch Sampler (Original 1969 UK 12-track Transatlantic vinyl compilation LP
Tracklist:
A1 Rabbit Run
A2 The Wheel
A3 Go Your Way My Love
Written-By - Anne Briggs , Bert Jansch
A4 Come Back Baby
A5 Angie
Written-By - Davy Graham
A6 Needle Of Death
B1 Wishing Well
Written-By - Anne Briggs , Bert Jansch
B2 The First Time I Ever Saw Your Face
Written-By - Ewan MacColl
B3 Nottamun Town
Written By - Trad. Arr. Jansch
B4 Blackwater Side
Written By - Trad. Arr. Jansch
B5 Veronica
B6 Running From Home
1969 LP Transatlantic 10
The Bert Jansch Sampler
Label: Transatlantic Records
Catalog#: TRA SAM 10
Format: Vinyl, LP
Country: UK
Released: 1969
Genre: Rock
Style: Folk Rock
Credits: Written-By - Bert Jansch (tracks: A1, A2, A6, B5, B6)
BERT JANSCH The Bert Jansch Sampler (Original 1969 UK 12-track Transatlantic vinyl compilation LP
Tracklist:
A1 Rabbit Run
A2 The Wheel
A3 Go Your Way My Love
Written-By - Anne Briggs , Bert Jansch
A4 Come Back Baby
A5 Angie
Written-By - Davy Graham
A6 Needle Of Death
B1 Wishing Well
Written-By - Anne Briggs , Bert Jansch
B2 The First Time I Ever Saw Your Face
Written-By - Ewan MacColl
B3 Nottamun Town
Written By - Trad. Arr. Jansch
B4 Blackwater Side
Written By - Trad. Arr. Jansch
B5 Veronica
B6 Running From Home
Bert Jansch & John Renbourn - Bert And John (1966)
Bert Jansch & John Renbourn - Bert And John (1966)
British guitarists Bert Jansch and John Renbourn have created an amazing musical landscape in this album, which is their only collaboration outside of their band Pentangle. Pentangle released six albums and enjoyed an unprecedented amount of success for an acoustic band. Bert Jansch is a virtuoso acoustic guitarist, famously revered by Neil Young and Jimmy Page, and John Renbourn is a virtuoso guitarist who is every bit as talented as Jansch. This album is produced in stereo - it sounds like there are really two guitarists sitting in your room - and it is very interesting to hear how the two seperate guitar parts interplay with each other. Overall, this is a very good album, and the conver of Mingus' "Goodbye Pork Pie Hat" is worth the price of the album alone.
"At one point I was absolutely obsessed with Bert Jansch. When I first heard that LP (1965) I couldn't believe it. It was so far ahead of what everyone else was doing. No one in America could touch that." - Jimmy Page
"As much of a great guitar player as Jimi was, Bert Jansch is the same thing for acoustic guitar ... and my favourite." - Neil Young (amazon.com)
Tracklist:
1. East Wind 1:25
2. Piano Tune 1:39
3. Goodbye Pork Pie Hat 3:51
4. Soho 3:00
5. Tic-Tocative 1:56
6. Orlando 1:40
7. Red's Favourite 1:33
8. No Exit 1:24
9. Along The Way 2:02
10. The Time Has Come 2:53
11. Stepping Stones 2:42
12. After The Dance 2:23
British guitarists Bert Jansch and John Renbourn have created an amazing musical landscape in this album, which is their only collaboration outside of their band Pentangle. Pentangle released six albums and enjoyed an unprecedented amount of success for an acoustic band. Bert Jansch is a virtuoso acoustic guitarist, famously revered by Neil Young and Jimmy Page, and John Renbourn is a virtuoso guitarist who is every bit as talented as Jansch. This album is produced in stereo - it sounds like there are really two guitarists sitting in your room - and it is very interesting to hear how the two seperate guitar parts interplay with each other. Overall, this is a very good album, and the conver of Mingus' "Goodbye Pork Pie Hat" is worth the price of the album alone.
"At one point I was absolutely obsessed with Bert Jansch. When I first heard that LP (1965) I couldn't believe it. It was so far ahead of what everyone else was doing. No one in America could touch that." - Jimmy Page
"As much of a great guitar player as Jimi was, Bert Jansch is the same thing for acoustic guitar ... and my favourite." - Neil Young (amazon.com)
Tracklist:
1. East Wind 1:25
2. Piano Tune 1:39
3. Goodbye Pork Pie Hat 3:51
4. Soho 3:00
5. Tic-Tocative 1:56
6. Orlando 1:40
7. Red's Favourite 1:33
8. No Exit 1:24
9. Along The Way 2:02
10. The Time Has Come 2:53
11. Stepping Stones 2:42
12. After The Dance 2:23
Bert Jansch - Bert Jansch (1965)
Bert Jansch - Bert Jansch (1965)
Recorded with a portable tape player on a borrowed guitar in the kitchen of his London flat, the impact of Bert Jansch's debut has been somewhat blunted by time, but it was a vastly influential work. His masterful acoustic picking, which blended elements of traditional British folk, blues, and jazz, inspired not just other folk players, but rockers who frequently used acoustic guitars. Specifically, Jimmy Page and Neil Young have gone on record as noting their heavy debts to Jansch's early material. He was also a talented songwriter, and all but one of the 15 tracks on his debut was an original composition (the set closes with his version of the instrumental "Angi," originally performed by fellow British folk guitarist Davy Graham, and popularized by Paul Simon). The artist sounds quite close to early Donovan with his Scottish inflections, though he is darker and less pop-oriented; indeed, Donovan recorded a couple of early Jansch tunes, and wrote a couple of songs directly inspired by the artist ("Bert's Blues" and "House of Jansch"). Jansch reflects a rambling, beatnik sort of lifestyle with his compositions on this album, which includes one of his most famous tunes, the somber "Needle of Death" (about the heroin-induced death of one of his friends). [Castle reissued the album in 2002, adding a pair of bonus tracks.]
Tracklist:
1 Strolling Down the Highway Jansch 3:06
2 Smokey River Giuffre 2:56
3 Oh How Your Love Is Strong Jansch 3:40
4 I Have No Time Jansch 3:09
5 Finches Jansch 0:51
6 Rambling's Going to Be the Death of Me Jansch 3:18
7 Veronica Jansch 1:32
8 Needle of Death Jansch 3:20
9 Do You Hear Me Now? Jansch 2:06
10 Alice's Wonderland Mingus 1:46
11 Running from Home Jansch 2:24
12 Courting Blues Jansch 4:02
13 Casbah Jansch 2:10
14 Dreams of Love Jansch 1:44
15 Angie Adderley, Graham 3:15
16 Instrumental Medley 1964 [*] Jansch 8:44
17 Angie 1964 [live/*] Adderley, Graham 2:50
Recorded with a portable tape player on a borrowed guitar in the kitchen of his London flat, the impact of Bert Jansch's debut has been somewhat blunted by time, but it was a vastly influential work. His masterful acoustic picking, which blended elements of traditional British folk, blues, and jazz, inspired not just other folk players, but rockers who frequently used acoustic guitars. Specifically, Jimmy Page and Neil Young have gone on record as noting their heavy debts to Jansch's early material. He was also a talented songwriter, and all but one of the 15 tracks on his debut was an original composition (the set closes with his version of the instrumental "Angi," originally performed by fellow British folk guitarist Davy Graham, and popularized by Paul Simon). The artist sounds quite close to early Donovan with his Scottish inflections, though he is darker and less pop-oriented; indeed, Donovan recorded a couple of early Jansch tunes, and wrote a couple of songs directly inspired by the artist ("Bert's Blues" and "House of Jansch"). Jansch reflects a rambling, beatnik sort of lifestyle with his compositions on this album, which includes one of his most famous tunes, the somber "Needle of Death" (about the heroin-induced death of one of his friends). [Castle reissued the album in 2002, adding a pair of bonus tracks.]
Tracklist:
1 Strolling Down the Highway Jansch 3:06
2 Smokey River Giuffre 2:56
3 Oh How Your Love Is Strong Jansch 3:40
4 I Have No Time Jansch 3:09
5 Finches Jansch 0:51
6 Rambling's Going to Be the Death of Me Jansch 3:18
7 Veronica Jansch 1:32
8 Needle of Death Jansch 3:20
9 Do You Hear Me Now? Jansch 2:06
10 Alice's Wonderland Mingus 1:46
11 Running from Home Jansch 2:24
12 Courting Blues Jansch 4:02
13 Casbah Jansch 2:10
14 Dreams of Love Jansch 1:44
15 Angie Adderley, Graham 3:15
16 Instrumental Medley 1964 [*] Jansch 8:44
17 Angie 1964 [live/*] Adderley, Graham 2:50
Bergen White - For Women Only (1970)
Bergen White - For Women Only (1970)
The enigmatic Bergen White....member of Ronny And The Daytonas with childhood friends Buzz Cason and Bucky Wilkins....all of them members of the Memphis/Nashville pop aristocracy....child stars etc...all of them carry on as star Nashville arrangers, producers, and writers.....Bergen has arranged and/or produced albums for Elvis Presley, Glen Campbell, George Jones, Kenny Rogers and scores more. In 1969, he made his only solo album...."For Women Only" is a softpop classic par excellence....a full-on outburst of Scott Walker-ism in the heart of Country Music land..an eccentric decision, but by God it works!..this album has been much sought after in it's original SSS International issue...Featuring the Area Code 615 Nashville session team; The "Wrecking Crew" of Nashville and the sonic architects of Dylan's "Blonde On Blonde" and 'Nashville Skyline.', "For Women Only" is a unique listening experience....featuring songs by David Gates, Townes Van Zandt, Mann and Weil, and of course Bergen himself....an absolutely brilliant album, it's rarity irrelevant it's that good....a must for all softpop fans...and conneiseurs of Memphis/Nashville POP..... Rev-Ola. 2004.
Tracklist:
1. She Is Today
2. It's Your Time
3. Let Me Stay Awhile
4. Look at Me
5. Lisa Was
6. Hurt So Bad
7. On and On
8. Gone Again
9. Second Lover's Song
10. The Bird Song
11. Now
12. It's Over Now
13. If It's Not Asking Too Much [*]
14. Don't Keep Me Waiting [*]
15. What Would You Do in My Place [*]
16. House on Bonnie Brae [*]
17. The Bird Song [Mono Version][*]
18. It's Over Now [Mono Version][*]
The enigmatic Bergen White....member of Ronny And The Daytonas with childhood friends Buzz Cason and Bucky Wilkins....all of them members of the Memphis/Nashville pop aristocracy....child stars etc...all of them carry on as star Nashville arrangers, producers, and writers.....Bergen has arranged and/or produced albums for Elvis Presley, Glen Campbell, George Jones, Kenny Rogers and scores more. In 1969, he made his only solo album...."For Women Only" is a softpop classic par excellence....a full-on outburst of Scott Walker-ism in the heart of Country Music land..an eccentric decision, but by God it works!..this album has been much sought after in it's original SSS International issue...Featuring the Area Code 615 Nashville session team; The "Wrecking Crew" of Nashville and the sonic architects of Dylan's "Blonde On Blonde" and 'Nashville Skyline.', "For Women Only" is a unique listening experience....featuring songs by David Gates, Townes Van Zandt, Mann and Weil, and of course Bergen himself....an absolutely brilliant album, it's rarity irrelevant it's that good....a must for all softpop fans...and conneiseurs of Memphis/Nashville POP..... Rev-Ola. 2004.
Tracklist:
1. She Is Today
2. It's Your Time
3. Let Me Stay Awhile
4. Look at Me
5. Lisa Was
6. Hurt So Bad
7. On and On
8. Gone Again
9. Second Lover's Song
10. The Bird Song
11. Now
12. It's Over Now
13. If It's Not Asking Too Much [*]
14. Don't Keep Me Waiting [*]
15. What Would You Do in My Place [*]
16. House on Bonnie Brae [*]
17. The Bird Song [Mono Version][*]
18. It's Over Now [Mono Version][*]
Barry Ryan - Singing The Songs Of Paul Ryan (1968)
Barry Ryan - Singing The Songs Of Paul Ryan (1968)
Barry Ryan
ALBUMS:
1 SINGS PAUL RYAN (MGM MGM-C(S) 8106) 1968 SC
2 BARRY RYAN (Polydor 583 067) 1969
3 ELOISE (Polydor 2872 109) 1982
45s:
1 Goodbye/I'm So Sad (MGM MGM 1423) 1968 -
2 Eloise/Love I Almost Found You (MGM MGM 1442) 1968 2
3 Love Is Love/I'll Be On My Way Dear (MGM MGM 1464) 1968 25
4 The Hunt/Oh, For The Love Of Me (Polydor BM 56348) 1969 34
5 Magical Spiel/Caroline (Polydor BM 56370) 1970 49
6 Kitsch/Give Me A Sign (Polydor 2001 035) 1970 37
7 It Is Written/Annabelle (Polydor 2001 154) 1971 -
8 Can't Let You Go/When I Was A Child (Polydor 2001 256) 1971 32
9 From My Head To My Toe/Alimony Money Blues (Polydor 2001 335) 1972 -
10 I'm Sorry Susan/LA Woman (Polydor 2001 362) 1972 -
11 Do That/Summer's Over (Dawn DNS 1109) 1975 -
12 Where Were You/Making Do (Private Stock PVT 70) 1976 -
13 Brother/Life's So Easy (Private Stock PVT 87) 1977 -
Reissue 45s:
14 Eloise/Love Only Comes Tomorrow (Polydor 2001 630) 1976 -
15 Eloise/(Flip by different artist) (Old Gold OG 9440) 1984 -
Barry along with his brother, Paul, who were both identical twin sons of Marion Ryan, a fifties pop singer, were signed by Decca in 1965. With neat long hair and carefully selected fashionable clothes they were skilfully marketed by Decca although thankfully none of the slushy songs written for them (I haven't bothered to list them in this book) met with much success. In 1968 Barry Ryan went solo and Paul took to songwriting. An early result of this new partnership was Eloise, a stunning single with its melodramatic vocal style and heavily orchestrated backing. This was certainly Barry's magnum opus and he soldiered on for several years after without achieving the same heights again.
Compilation appearances include: There You Go on The Mod Scene (CD), Pop Inside The '60s, Vol. 2 (CD), Sixties Lost And Found, Vol. 3 (LP) and Sixties Explosion, Vol. 1 (CD); Gotta Go Out To Work on A Whiter Shade Of Pale (LP); I Can't Make A Friend on Electric Sugar Cube Flashbacks (CD).
Tracklist:
1. Theme to Eutopia 3:36
2. Why Do You Cry My Love? 3:30
3. The Colour of My Love 2:48
4. Crazy Days 2:29
5. Eloise 5:52
6. My Mama 3:51
7. I Will Bring You Love 2:34
8. Love Is on the Way 2:30
9. What's That Sleeping in My Bed? 2:20
10. You Don't Know What You're Doing 3:35
11. Kristan Astra Bella 2:52
12. The Hunt 3:03
13. Sunday Theme 2:41
14. Swallow Fly Away 2:59
15. Sunrise in the Morning 3:03
16. Isn't That Wild? 3:27
17. Man Alive 2:28
18. Makin' Eyes 2:57
19. No Living Without Her Love 3:03
20. Sea of Tranquility 3:22
21. I See You 2:52
22. Feeling Unwell 2:56
23. Where Have You Been? 3:03
24. Look to the Right, Look to the Left 2:28
25. Oh for the Love of Me 3:00
Barry Ryan
ALBUMS:
1 SINGS PAUL RYAN (MGM MGM-C(S) 8106) 1968 SC
2 BARRY RYAN (Polydor 583 067) 1969
3 ELOISE (Polydor 2872 109) 1982
45s:
1 Goodbye/I'm So Sad (MGM MGM 1423) 1968 -
2 Eloise/Love I Almost Found You (MGM MGM 1442) 1968 2
3 Love Is Love/I'll Be On My Way Dear (MGM MGM 1464) 1968 25
4 The Hunt/Oh, For The Love Of Me (Polydor BM 56348) 1969 34
5 Magical Spiel/Caroline (Polydor BM 56370) 1970 49
6 Kitsch/Give Me A Sign (Polydor 2001 035) 1970 37
7 It Is Written/Annabelle (Polydor 2001 154) 1971 -
8 Can't Let You Go/When I Was A Child (Polydor 2001 256) 1971 32
9 From My Head To My Toe/Alimony Money Blues (Polydor 2001 335) 1972 -
10 I'm Sorry Susan/LA Woman (Polydor 2001 362) 1972 -
11 Do That/Summer's Over (Dawn DNS 1109) 1975 -
12 Where Were You/Making Do (Private Stock PVT 70) 1976 -
13 Brother/Life's So Easy (Private Stock PVT 87) 1977 -
Reissue 45s:
14 Eloise/Love Only Comes Tomorrow (Polydor 2001 630) 1976 -
15 Eloise/(Flip by different artist) (Old Gold OG 9440) 1984 -
Barry along with his brother, Paul, who were both identical twin sons of Marion Ryan, a fifties pop singer, were signed by Decca in 1965. With neat long hair and carefully selected fashionable clothes they were skilfully marketed by Decca although thankfully none of the slushy songs written for them (I haven't bothered to list them in this book) met with much success. In 1968 Barry Ryan went solo and Paul took to songwriting. An early result of this new partnership was Eloise, a stunning single with its melodramatic vocal style and heavily orchestrated backing. This was certainly Barry's magnum opus and he soldiered on for several years after without achieving the same heights again.
Compilation appearances include: There You Go on The Mod Scene (CD), Pop Inside The '60s, Vol. 2 (CD), Sixties Lost And Found, Vol. 3 (LP) and Sixties Explosion, Vol. 1 (CD); Gotta Go Out To Work on A Whiter Shade Of Pale (LP); I Can't Make A Friend on Electric Sugar Cube Flashbacks (CD).
Tracklist:
1. Theme to Eutopia 3:36
2. Why Do You Cry My Love? 3:30
3. The Colour of My Love 2:48
4. Crazy Days 2:29
5. Eloise 5:52
6. My Mama 3:51
7. I Will Bring You Love 2:34
8. Love Is on the Way 2:30
9. What's That Sleeping in My Bed? 2:20
10. You Don't Know What You're Doing 3:35
11. Kristan Astra Bella 2:52
12. The Hunt 3:03
13. Sunday Theme 2:41
14. Swallow Fly Away 2:59
15. Sunrise in the Morning 3:03
16. Isn't That Wild? 3:27
17. Man Alive 2:28
18. Makin' Eyes 2:57
19. No Living Without Her Love 3:03
20. Sea of Tranquility 3:22
21. I See You 2:52
22. Feeling Unwell 2:56
23. Where Have You Been? 3:03
24. Look to the Right, Look to the Left 2:28
25. Oh for the Love of Me 3:00
Barry McGuire - Eve Of Destruction (1965)
Barry McGuire - Eve Of Destruction (1965)
Tracklist:
1. Eve Of Destruction 3:39
2. She Belongs To Me 2:47
3. You Never Had It So Good 3:07
4. Sloop John B. 3:04
5. Baby Blue 3:17
6. The Sins Of A Family 3:02
7. Try To Remember 3:24
8. Mr. Man On The Street - Act One 6:06
9. You Were On My Mind 2:32
10. Ain't No Way I'm Gonna Change My Mind 2:30
11. What Exactly's The Matter With Me 2:33
12. Why Not Stop & Dig It While You Can 2:15
Tracklist:
1. Eve Of Destruction 3:39
2. She Belongs To Me 2:47
3. You Never Had It So Good 3:07
4. Sloop John B. 3:04
5. Baby Blue 3:17
6. The Sins Of A Family 3:02
7. Try To Remember 3:24
8. Mr. Man On The Street - Act One 6:06
9. You Were On My Mind 2:32
10. Ain't No Way I'm Gonna Change My Mind 2:30
11. What Exactly's The Matter With Me 2:33
12. Why Not Stop & Dig It While You Can 2:15
Arlo Guthrie - Alice's Restaurant (1967)
Arlo Guthrie - Alice's Restaurant (1967)
Tracklist:
1. Alice's Restaurant Massacree 18:36
2. Chilling Of The Evening 3:04
3. Ring-Around-A-Rosy Rag 2:15
4. Now And Then 2:23
5. I'm Going Home 3:18
6. The Motorcycle Song 2:50
7. Highway In The Wind 2:41
Tracklist:
1. Alice's Restaurant Massacree 18:36
2. Chilling Of The Evening 3:04
3. Ring-Around-A-Rosy Rag 2:15
4. Now And Then 2:23
5. I'm Going Home 3:18
6. The Motorcycle Song 2:50
7. Highway In The Wind 2:41
Arik Brauer - Arik Brauer (1971)
Arik Brauer - Arik Brauer (1971)
Tracklist:
1. Oho Halalali 1:59
2. Die Jause 2:40
3. Sie hab'n a Haus 'baut 1:39
4. Wie a Hund 2:13
5. warum ist er so dumm 2:59
6. Sein Köpferl im Sand 2:56
7. reise nach afrika 3:24
8. Der Surmi Sui 2:47
9. Der Spiritus 2:39
10. Rostiger die feuerwehr kommt 2:01
11. Serenade 3:24
12. Dschiribim-Dschiribam 3:21
Tracklist:
1. Oho Halalali 1:59
2. Die Jause 2:40
3. Sie hab'n a Haus 'baut 1:39
4. Wie a Hund 2:13
5. warum ist er so dumm 2:59
6. Sein Köpferl im Sand 2:56
7. reise nach afrika 3:24
8. Der Surmi Sui 2:47
9. Der Spiritus 2:39
10. Rostiger die feuerwehr kommt 2:01
11. Serenade 3:24
12. Dschiribim-Dschiribam 3:21
The Breeders - Divine Hammer 10'' EP (1993)
The Breeders - Divine Hammer 10'' EP (1993)
Label: 4AD
Catalog#: BADD 3017
Format: Vinyl, 10", 45 RPM, Limited Edition
Country: UK
Released: 25 Oct 1993
Genre: Rock
Style: Alternative Rock
1. A1-Divine Hammer 2:39
2. A2-Hoverin' 2:52
3. B1-I Can't Help It(If I'm Still In) 2:29
4. B2-Do You Love Me Now 2:59
Label: 4AD
Catalog#: BADD 3017
Format: Vinyl, 10", 45 RPM, Limited Edition
Country: UK
Released: 25 Oct 1993
Genre: Rock
Style: Alternative Rock
1. A1-Divine Hammer 2:39
2. A2-Hoverin' 2:52
3. B1-I Can't Help It(If I'm Still In) 2:29
4. B2-Do You Love Me Now 2:59
Buzzcocks - Operators Manual (1991)
Buzzcocks - Operators Manual (1991)
1. Orgasm Addict 2:02
2. What Do I Get 2:55
3. I Don't Mind 2:19
4. Autonomy 3:50
5. Fast Cars 2:31
6. Get On Our Own 2:30
7. Sixteen 3:46
8. Fiction Romance 4:33
9. Love You More 1:50
10. Noise Annoys 2:52
11. Ever Fallen in Love 2:42
12. Operators Manual 3:34
13. Nostalgia 2:55
14. Walking Distance 2:02
15. Nothing Left 4:28
16. ESP 4:39
17. Promises 2:36
18. Lipstick 2:37
19. Everybody's Happy Nowadays 3:12
20. Harmony in my Head 3:09
21. You Say You Don't Love Me 2:53
22. I Don't Know What to Do with My Life 2:44
23. I Believe 7:08
24. Are Everything 3:35
25. Radio Nine 0:43
1. Orgasm Addict 2:02
2. What Do I Get 2:55
3. I Don't Mind 2:19
4. Autonomy 3:50
5. Fast Cars 2:31
6. Get On Our Own 2:30
7. Sixteen 3:46
8. Fiction Romance 4:33
9. Love You More 1:50
10. Noise Annoys 2:52
11. Ever Fallen in Love 2:42
12. Operators Manual 3:34
13. Nostalgia 2:55
14. Walking Distance 2:02
15. Nothing Left 4:28
16. ESP 4:39
17. Promises 2:36
18. Lipstick 2:37
19. Everybody's Happy Nowadays 3:12
20. Harmony in my Head 3:09
21. You Say You Don't Love Me 2:53
22. I Don't Know What to Do with My Life 2:44
23. I Believe 7:08
24. Are Everything 3:35
25. Radio Nine 0:43
Buzzcocks - Love Bites (1978)
Buzzcocks - Love Bites (1978)
1. Real World 3:33
2. Ever Fallen In Love (With Someone You Shouldn't 'Ve) 2:42
3. Operator's Manual 3:34
4. Nostalgia 2:55
5. Walking Distance 2:02
6. E.S.P. 4:47
7. Just Lust 3:02
8. Love Is Lies 3:13
9. Nothing Left 4:28
10. Sixteen Again 3:18
11. Late For The Train 5:33
1. Real World 3:33
2. Ever Fallen In Love (With Someone You Shouldn't 'Ve) 2:42
3. Operator's Manual 3:34
4. Nostalgia 2:55
5. Walking Distance 2:02
6. E.S.P. 4:47
7. Just Lust 3:02
8. Love Is Lies 3:13
9. Nothing Left 4:28
10. Sixteen Again 3:18
11. Late For The Train 5:33
Black Flag - Everything Went Black (1983)
Black Flag - Everything Went Black (1983)
When Everything Went Black was first released in 1983, Black Flag was in the
middle of a backbreaking legal dispute with Unicorn Records. As a result of
litigation, the band was prevented from using the Black Flag name on any
records. Hence the original packaging for this album, which listed only the
names of individual bandmembers on the cover (this was rectified on
subsequent issues). It's a double-album (on vinyl) compilation of previously
released material and outtakes -- though the European edition features a
wholly different running order. The material, dating from 1978 to 1981, is
excellent in places, average in others. However, only obsessives need track
it down -- as signified by the inclusion of two versions of several songs
(including stalwarts "Damaged" and "Police Story"). The fourth side of the
original vinyl issue also included a sequence of radio spots discussing
forthcoming Black Flag gigs, which is entertaining stuff, but it's more useful as a historical document than a listening experience. -- Alex Ogg
Tracklist:
1. Gimmie Gimmie Gimmie 1:59
2. I Don't Care 0:59
3. White Minority 1:12
4. No Values 1:59
5. Revenge 1:05
6. Depression 2:10
7. Clocked In 1:30
8. Police Story 1:32
9. Wasted 0:44
10. Gimmie Gimmie Gimmie 1:42
11. Depression 2:42
12. Police Story 1:33
13. Clocked In 1:37
14. My Rules 1:04
15. Jealous Again 2:21
16. Police Story 1:36
17. Damaged I 2:09
18. Louie Louie 1:27
19. No More 3:02
20. Room 13 2:08
21. Depression 2:40
22. Damaged II 4:13
23. Padded Cell 1:53
24. Gimmie Gimmie Gimmie 1:48
25. Crass Commercialism 17:10
When Everything Went Black was first released in 1983, Black Flag was in the
middle of a backbreaking legal dispute with Unicorn Records. As a result of
litigation, the band was prevented from using the Black Flag name on any
records. Hence the original packaging for this album, which listed only the
names of individual bandmembers on the cover (this was rectified on
subsequent issues). It's a double-album (on vinyl) compilation of previously
released material and outtakes -- though the European edition features a
wholly different running order. The material, dating from 1978 to 1981, is
excellent in places, average in others. However, only obsessives need track
it down -- as signified by the inclusion of two versions of several songs
(including stalwarts "Damaged" and "Police Story"). The fourth side of the
original vinyl issue also included a sequence of radio spots discussing
forthcoming Black Flag gigs, which is entertaining stuff, but it's more useful as a historical document than a listening experience. -- Alex Ogg
Tracklist:
1. Gimmie Gimmie Gimmie 1:59
2. I Don't Care 0:59
3. White Minority 1:12
4. No Values 1:59
5. Revenge 1:05
6. Depression 2:10
7. Clocked In 1:30
8. Police Story 1:32
9. Wasted 0:44
10. Gimmie Gimmie Gimmie 1:42
11. Depression 2:42
12. Police Story 1:33
13. Clocked In 1:37
14. My Rules 1:04
15. Jealous Again 2:21
16. Police Story 1:36
17. Damaged I 2:09
18. Louie Louie 1:27
19. No More 3:02
20. Room 13 2:08
21. Depression 2:40
22. Damaged II 4:13
23. Padded Cell 1:53
24. Gimmie Gimmie Gimmie 1:48
25. Crass Commercialism 17:10
The Adverts - Crossing The Red Sea With The Adverts (1978)
The Adverts - Crossing The Red Sea With The Adverts (1978)
Artist: The Adverts
Album: The Adverts - Crossing The Red Sea With The Adverts
Audio CD (August 13, 2002)
Original Release Date: August 13, 2002
Number of Discs: 1
Format: Original recording reissued
Label: Fire UK
ASIN: B0000633G1
Product Description
'Ultimate' edition of the UK punk's classic 1978 debut includes 12 bonus tracks. 'One Chord Wonders', 'Quickstep', 'Gary Gilmore's Eyes', 'Bored Teenagers', 'Safety In Numbers' & 'We Who Wait' are taken from singles. 'On Wheels', 'Newboys', 'New Church', 'Gary Gilmore's Eyes', 'Drowning Men' & 'No Time To Be 21' are previously unreleased live tracks. 2002.
A devastating debut, one of the finest albums not only of the punk era, but of the 1970s as a whole, Crossing the Red Sea With the Adverts was the summation of a year's worth of gigging, honing a repertoire that -- jagged, jarring, and frequently underplayed though it was -- nevertheless bristled with hits, both commercial and cultural. "No Time to Be 21," "One Chord Wonders," and "Bored Teenagers" were already established among the most potent rallying cries of the entire new wave, catch phrases for a generation that had no time for anthems; "Bombsite Boy," "Safety in Numbers," and "Great British Mistake" offered salvation to the movement's disaffected hordes; and the whole thing was cut with such numbingly widescreen energy that, even with the volume down, it still shakes the foundations. The band's original vision saw a rerecording of "Gary Gilmore's Eyes," a Top 20 hit during summer 1977, included on the album -- it was dropped (for space considerations) at the last minute. Several early '80s reissues of the album attempted to rectify the omission by appending the single version to side two of the LP, but it was 1983 before the rerecording itself made it out, as a minor U.K. hit single, and 1998 before Smith himself was finally able to restore Red Sea to its original glory, with "Gary Gilmore's Eyes" slotted in immediately before "Bombsite Boy," and another absentee, "New Day Dawning," following "Safety in Numbers." This revised CD release also wrapped up the remainder of the Adverts' 1977-era singles as additional bonus tracks; in 2002, the so-called "Ultimate Edition" of Red Sea appended a further six tracks, drawn from a riotous live show in early 1978, effectively doubling the original album's length. ~ Dave Thompson, All Music Guide
Tracklist:
1. One Chord Wonders 2:48
2. Bored Teenagers 1:44
3. New Church 2:26
4. On The Roof 3:01
5. Newboys 3:12
6. Gary Gilmore's Eyes 2:17
7. Bobmbsite Boy 3:28
8. No Time To Be 21 2:36
9. Safety In Numbers 3:15
10. New Day Dawns 2:40
11. Drowning Men 2:18
12. On Wheels 3:17
13. Great British Mistake 3:48
14. One Chord Wonders 2:36
15. Quickstep 3:18
16. Gary Gilmore's Eyes 2:13
17. Bored Teenagers 1:54
18. Safety In Numbers 3:31
19. We Who Wait 2:02
20. On Wheels (Live) 4:09
21. Newboys (Live) 3:24
22. New Church (Live) 2:26
23. Gary Gilmore's Eyes (Live) 2:20
24. Drowning Men (Live) 2:05
25. No Time To Be 21 (Live) 2:38
The Adverts - Crossing The Red Sea With The Adverts (1978)
Artist: The Adverts
Album: The Adverts - Crossing The Red Sea With The Adverts
Audio CD (August 13, 2002)
Original Release Date: August 13, 2002
Number of Discs: 1
Format: Original recording reissued
Label: Fire UK
ASIN: B0000633G1
Product Description
'Ultimate' edition of the UK punk's classic 1978 debut includes 12 bonus tracks. 'One Chord Wonders', 'Quickstep', 'Gary Gilmore's Eyes', 'Bored Teenagers', 'Safety In Numbers' & 'We Who Wait' are taken from singles. 'On Wheels', 'Newboys', 'New Church', 'Gary Gilmore's Eyes', 'Drowning Men' & 'No Time To Be 21' are previously unreleased live tracks. 2002.
A devastating debut, one of the finest albums not only of the punk era, but of the 1970s as a whole, Crossing the Red Sea With the Adverts was the summation of a year's worth of gigging, honing a repertoire that -- jagged, jarring, and frequently underplayed though it was -- nevertheless bristled with hits, both commercial and cultural. "No Time to Be 21," "One Chord Wonders," and "Bored Teenagers" were already established among the most potent rallying cries of the entire new wave, catch phrases for a generation that had no time for anthems; "Bombsite Boy," "Safety in Numbers," and "Great British Mistake" offered salvation to the movement's disaffected hordes; and the whole thing was cut with such numbingly widescreen energy that, even with the volume down, it still shakes the foundations. The band's original vision saw a rerecording of "Gary Gilmore's Eyes," a Top 20 hit during summer 1977, included on the album -- it was dropped (for space considerations) at the last minute. Several early '80s reissues of the album attempted to rectify the omission by appending the single version to side two of the LP, but it was 1983 before the rerecording itself made it out, as a minor U.K. hit single, and 1998 before Smith himself was finally able to restore Red Sea to its original glory, with "Gary Gilmore's Eyes" slotted in immediately before "Bombsite Boy," and another absentee, "New Day Dawning," following "Safety in Numbers." This revised CD release also wrapped up the remainder of the Adverts' 1977-era singles as additional bonus tracks; in 2002, the so-called "Ultimate Edition" of Red Sea appended a further six tracks, drawn from a riotous live show in early 1978, effectively doubling the original album's length. ~ Dave Thompson, All Music Guide
Tracklist:
1. One Chord Wonders 2:48
2. Bored Teenagers 1:44
3. New Church 2:26
4. On The Roof 3:01
5. Newboys 3:12
6. Gary Gilmore's Eyes 2:17
7. Bobmbsite Boy 3:28
8. No Time To Be 21 2:36
9. Safety In Numbers 3:15
10. New Day Dawns 2:40
11. Drowning Men 2:18
12. On Wheels 3:17
13. Great British Mistake 3:48
14. One Chord Wonders 2:36
15. Quickstep 3:18
16. Gary Gilmore's Eyes 2:13
17. Bored Teenagers 1:54
18. Safety In Numbers 3:31
19. We Who Wait 2:02
20. On Wheels (Live) 4:09
21. Newboys (Live) 3:24
22. New Church (Live) 2:26
23. Gary Gilmore's Eyes (Live) 2:20
24. Drowning Men (Live) 2:05
25. No Time To Be 21 (Live) 2:38
The Adverts - Crossing The Red Sea With The Adverts (1978)
Jeff Beck - Truth (1968)
Jeff Beck - Truth (1968)
Jeff Beck's Truth -- which was already regarded as the pioneering heavy metal blues album of its era, beating Led Zeppelin to the punch by about six months -- got a lot better with this British import remastered reissue, which puts all prior editions of the CD to shame. EMI Records have remastered the original LP in 24-bit digital, which puts Beck's guitar and John Paul Jones' organ on "You Shook Me" practically in your lap, and the amp on the former almost up against your ear, and Mickey Waller's drums and Ron Wood's bass on "Shapes of Things" into a position of similar intimacy, so you can almost hear the action on the bass strings. And Rod Stewart's voice is not only close but flows out with a resonance that can't entirely be covered by his rasping delivery -- "Ol' Man River" now seems like an ideal choice for him (as well as a distant precursor to his later recordings of standards), and Keith Moon's timpani performance is totally larger-than-life here. Beck's guitar sounds like it's in the room with you on "Rock My Plimsoul," and Stewart's singing is presented in such detail, that his nuances now seem fine and intimate. There are so many details revealed in the playing here in this remastering, that even longtime listeners are certain to find nuances in the playing and the different parts that are new to them -- and that's just the established album. The original ten songs have been very judiciously augmented with a brace of killer bonus tracks, starting with "I've Been Drinking," where Rod Stewart first treaded into Sam Cooke territory stylistically, which somehow never got included on the LP and ended up relegated to the B-side of the Beck single "Love Is Blue" in mono (it's in stereo here, natch); there's also the undubbed, stripped-down first take of "You Shook Me," filled with instruments that are nice and close and crunchy (especially the guitar); the early, single-take of "Rock My Plimsoul," remixed to stereo here; "Beck's Bolero" in its original mono single version; the previously unissued first take of the shattering "Blues De Luxe"; and the early single A-sides "Tallyman," "Love Is Blue," and "Hi Ho Silver Lining," the first and last featuring Beck's own singing (a decision imposed by producer Mickie Most over the guitarist's vociferous objections) the latter in its unedited form with a "wee surprise" at the very end. It's worth the upgrade -- you may well find yourself practically getting high off the raw invention and passions oozing from virtually all of the music, and even playing it once for some younger friends who've heard it before will make a few converts to its cause. ~ Bruce Eder (allmusic)
1. Shapes Of Things 3:19
2. Let Me Love You 4:43
3. Morning Dew 4:41
4. You Shook Me 2:29
5. Ol' Man River 3:57
6. Greensleeves 1:49
7. Rock My Plimsoul 4:13
8. Beck's Bolero 2:53
9. Blues De Luxe 7:32
10. I Ain't Superstitious 4:59
11. I've Been Drinking (Stereo Mix) 3:20
12. You Shook Me (Take 1) 2:31
13. Rock My Plimsoul (Stereo Mix) 3:41
14. (Beck's) Bolero (Mono Single Version) 3:11
15. Blues De Luxe (Unreleased Take 1) 7:31
16. Tallyman (Single) 2:45
17. Love Is Blue (Single) 2:57
18. Hi Ho Silver Lining (Stereo Mix) 3:45
Jeff Beck's Truth -- which was already regarded as the pioneering heavy metal blues album of its era, beating Led Zeppelin to the punch by about six months -- got a lot better with this British import remastered reissue, which puts all prior editions of the CD to shame. EMI Records have remastered the original LP in 24-bit digital, which puts Beck's guitar and John Paul Jones' organ on "You Shook Me" practically in your lap, and the amp on the former almost up against your ear, and Mickey Waller's drums and Ron Wood's bass on "Shapes of Things" into a position of similar intimacy, so you can almost hear the action on the bass strings. And Rod Stewart's voice is not only close but flows out with a resonance that can't entirely be covered by his rasping delivery -- "Ol' Man River" now seems like an ideal choice for him (as well as a distant precursor to his later recordings of standards), and Keith Moon's timpani performance is totally larger-than-life here. Beck's guitar sounds like it's in the room with you on "Rock My Plimsoul," and Stewart's singing is presented in such detail, that his nuances now seem fine and intimate. There are so many details revealed in the playing here in this remastering, that even longtime listeners are certain to find nuances in the playing and the different parts that are new to them -- and that's just the established album. The original ten songs have been very judiciously augmented with a brace of killer bonus tracks, starting with "I've Been Drinking," where Rod Stewart first treaded into Sam Cooke territory stylistically, which somehow never got included on the LP and ended up relegated to the B-side of the Beck single "Love Is Blue" in mono (it's in stereo here, natch); there's also the undubbed, stripped-down first take of "You Shook Me," filled with instruments that are nice and close and crunchy (especially the guitar); the early, single-take of "Rock My Plimsoul," remixed to stereo here; "Beck's Bolero" in its original mono single version; the previously unissued first take of the shattering "Blues De Luxe"; and the early single A-sides "Tallyman," "Love Is Blue," and "Hi Ho Silver Lining," the first and last featuring Beck's own singing (a decision imposed by producer Mickie Most over the guitarist's vociferous objections) the latter in its unedited form with a "wee surprise" at the very end. It's worth the upgrade -- you may well find yourself practically getting high off the raw invention and passions oozing from virtually all of the music, and even playing it once for some younger friends who've heard it before will make a few converts to its cause. ~ Bruce Eder (allmusic)
1. Shapes Of Things 3:19
2. Let Me Love You 4:43
3. Morning Dew 4:41
4. You Shook Me 2:29
5. Ol' Man River 3:57
6. Greensleeves 1:49
7. Rock My Plimsoul 4:13
8. Beck's Bolero 2:53
9. Blues De Luxe 7:32
10. I Ain't Superstitious 4:59
11. I've Been Drinking (Stereo Mix) 3:20
12. You Shook Me (Take 1) 2:31
13. Rock My Plimsoul (Stereo Mix) 3:41
14. (Beck's) Bolero (Mono Single Version) 3:11
15. Blues De Luxe (Unreleased Take 1) 7:31
16. Tallyman (Single) 2:45
17. Love Is Blue (Single) 2:57
18. Hi Ho Silver Lining (Stereo Mix) 3:45
Janis Joplin - Pearl (1971)
Janis Joplin - Pearl (1971)
From cduniverse:
Personnel: Janis Joplin (vocals, acoustic guitar); John Till (guitar); Bobby Womack (acoustic guitar); Richard Bell (piano); Ken Pearson (organ); Brad Campbell (bass instrument); Clark Pierson (drums); Bobbye Porter Hall (congas, bongos); Sandra Crouch (tambourine).
Recording information: 09/04/1970 - 09/25/1970.
Janis Joplin's PEARL, from 1971, is a bluesy, organ-drenched benediction for the flower-child sound of the free-and-easy 60's. It is also one of great singer's most consistent and representative efforts. Gone are the ear-shattering sonics of Big Brother and the Holding Company, and Full Tilt Boogie, the backing band here, steps in to offer a degree of polish and control that frames Joplin's vocals nicely. Yet the band still grooves hard with the fierceness her voice demands. Guitarist John Till's riffs, chords, and solos, in particular, are exciting and tightly executed.
"A Woman Left Lonely" and Bobby Womack's "Trust Me" are rain-on-the-windows ballads that come alive with Joplin's gritty vocal brilliance, while the burbling "Move Over" and "Half Moon" are among her funkiest, most driving cuts. The dramatic "Cry Baby" is offset by the tongue-in-cheek a cappella number "Mercedes Benz," while Joplin's version of Kris Kristofferson's "Me and Bobby McGee" went on to become her signature song. Joplin died during the sessions for PEARL, making these tracks the final word on her towering talent and a superb addition to her enduring legacy.
AMG review by Steve Huey:
Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplin's trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit "Me and Bobby McGee." The unfinished "Buried Alive in the Blues" features no Joplin vocals -- she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin's career; Pearl's power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement. [The 1999 CD reissue adds four previously unreleased live July 1970 recordings: "Tell Mama," "Little Girl Blue," "Try," and "Cry Baby."]
1. Move Over 3:43
2. Cry Baby 3:58
3. A Woman Left Lonely 3:29
4. Half Moon 3:53
5. Buried Alive In The Blues 2:27
6. My Baby 3:45
7. Me And Bobby McGee 4:31
8. Mercedes Benz 1:47
9. Trust Me 3:17
10. Get It While You Can 3:33
11. Tell Mama (Live) 6:32
12. Little Girl Blue (Live) 3:55
13. Try (Just A Little Bit Harder) (Live) 6:52
14. Cry Baby (Live) 6:31
From cduniverse:
Personnel: Janis Joplin (vocals, acoustic guitar); John Till (guitar); Bobby Womack (acoustic guitar); Richard Bell (piano); Ken Pearson (organ); Brad Campbell (bass instrument); Clark Pierson (drums); Bobbye Porter Hall (congas, bongos); Sandra Crouch (tambourine).
Recording information: 09/04/1970 - 09/25/1970.
Janis Joplin's PEARL, from 1971, is a bluesy, organ-drenched benediction for the flower-child sound of the free-and-easy 60's. It is also one of great singer's most consistent and representative efforts. Gone are the ear-shattering sonics of Big Brother and the Holding Company, and Full Tilt Boogie, the backing band here, steps in to offer a degree of polish and control that frames Joplin's vocals nicely. Yet the band still grooves hard with the fierceness her voice demands. Guitarist John Till's riffs, chords, and solos, in particular, are exciting and tightly executed.
"A Woman Left Lonely" and Bobby Womack's "Trust Me" are rain-on-the-windows ballads that come alive with Joplin's gritty vocal brilliance, while the burbling "Move Over" and "Half Moon" are among her funkiest, most driving cuts. The dramatic "Cry Baby" is offset by the tongue-in-cheek a cappella number "Mercedes Benz," while Joplin's version of Kris Kristofferson's "Me and Bobby McGee" went on to become her signature song. Joplin died during the sessions for PEARL, making these tracks the final word on her towering talent and a superb addition to her enduring legacy.
AMG review by Steve Huey:
Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplin's trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit "Me and Bobby McGee." The unfinished "Buried Alive in the Blues" features no Joplin vocals -- she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin's career; Pearl's power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement. [The 1999 CD reissue adds four previously unreleased live July 1970 recordings: "Tell Mama," "Little Girl Blue," "Try," and "Cry Baby."]
1. Move Over 3:43
2. Cry Baby 3:58
3. A Woman Left Lonely 3:29
4. Half Moon 3:53
5. Buried Alive In The Blues 2:27
6. My Baby 3:45
7. Me And Bobby McGee 4:31
8. Mercedes Benz 1:47
9. Trust Me 3:17
10. Get It While You Can 3:33
11. Tell Mama (Live) 6:32
12. Little Girl Blue (Live) 3:55
13. Try (Just A Little Bit Harder) (Live) 6:52
14. Cry Baby (Live) 6:31
Groundhogs - Scratching The Surface (1968)
Groundhogs - Scratching The Surface (1968)
Groundhogs Info from AMG:
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.
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 reforming 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.
AMG Review
"The Groundhogs' debut album is a long way from the "classic" sound of the better-known Thank Christ for the Bomb/Split/Who Will Save the World? trilogy. Indeed, the mellow classic blues through which the band pursues its nine tracks offer the unsuspecting listener little more than a direct blast from the peak of the British blues boom past. Early Fleetwood Mac, Chicken Shack, and Savoy Brown all haunted precisely the same corridors as Scratching the Surface, with only the occasional burst of fuzzed Tony McPhee guitar to distinguish the sonics from the rest of the pack. That said, Scratching the Surface ranks among the finest albums to emerge out of that entire period, a moody shuffle that includes an epic recounting of the Chicago classic "Still a Fool" and which matches five solid McPhee originals with a pair of blistering contributions from outgoing harmonica whiz Steve Rye. In fact, his "Early in the Morning" and "You Don't Love Me" might well be the album's best numbers, a discrepancy that puts one in mind of another of the blues boom's hottest acts, Jethro Tull, and just how much they changed once a founding member (Mick Abrahams) departed. Again, if you arrive at Scratching the Surface in search of a fresh "Cherry Red" or "Status People," you'll probably be disappointed. But if you want to hear the blues sluicing straight out of the Southern England Delta, there are precious few better introductions."
1. Rocking Chair 4:13
2. Early In The Morning 4:48
3. Waking Blues 2:27
4. Married Men 4:36
5. No More Doggin' 4:53
6. Man Trouble 6:24
7. Come Back Baby 3:51
8. You Don't Love Me 4:09
9. Still A Fool 6:37
Groundhogs Info from AMG:
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.
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 reforming 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.
AMG Review
"The Groundhogs' debut album is a long way from the "classic" sound of the better-known Thank Christ for the Bomb/Split/Who Will Save the World? trilogy. Indeed, the mellow classic blues through which the band pursues its nine tracks offer the unsuspecting listener little more than a direct blast from the peak of the British blues boom past. Early Fleetwood Mac, Chicken Shack, and Savoy Brown all haunted precisely the same corridors as Scratching the Surface, with only the occasional burst of fuzzed Tony McPhee guitar to distinguish the sonics from the rest of the pack. That said, Scratching the Surface ranks among the finest albums to emerge out of that entire period, a moody shuffle that includes an epic recounting of the Chicago classic "Still a Fool" and which matches five solid McPhee originals with a pair of blistering contributions from outgoing harmonica whiz Steve Rye. In fact, his "Early in the Morning" and "You Don't Love Me" might well be the album's best numbers, a discrepancy that puts one in mind of another of the blues boom's hottest acts, Jethro Tull, and just how much they changed once a founding member (Mick Abrahams) departed. Again, if you arrive at Scratching the Surface in search of a fresh "Cherry Red" or "Status People," you'll probably be disappointed. But if you want to hear the blues sluicing straight out of the Southern England Delta, there are precious few better introductions."
1. Rocking Chair 4:13
2. Early In The Morning 4:48
3. Waking Blues 2:27
4. Married Men 4:36
5. No More Doggin' 4:53
6. Man Trouble 6:24
7. Come Back Baby 3:51
8. You Don't Love Me 4:09
9. Still A Fool 6:37
Fleetwood Mac - Fleetwood Mac (1968)
Fleetwood Mac - Fleetwood Mac (1968)
Fleetwood Mac's debut LP was a highlight of the late-'60s British blues boom. Green's always inspired playing, the capable (if erratic) songwriting, and the general panache of the band as a whole placed them leagues above the overcrowded field. Elmore James is a big influence on this set, particularly on the tunes fronted by Jeremy Spencer ( "Shake Your Moneymaker," "Got to Move" ). Spencer's bluster, however, was outshone by the budding singing and songwriting skills of Green. The guitarist balanced humor and vulnerability on cuts like "Looking for Somebody" and "Long Grey Mare," and with "If I Loved Another Woman," he offered a glimpse of the Latin-blues fusion that he would perfect with "Black Magic Woman." The album was an unexpected smash in the U.K., reaching number four on the British charts. ~ AMG
1. My Heart Beat Like A Hammer 2:59
2. Merry Go Round 4:09
3. Long Grey Mare 2:16
4. Hellhound On My Trail 2:01
5. Shake Your Moneymaker 2:56
6. Looking For Somebody 2:50
7. No Place To Go 3:23
8. My Baby's Good To Me 2:51
9. I Loved Another Woman 2:57
10. Cold Black Night 3:17
11. The World Keep On Turning 2:30
12. Got To Move 3:20
Fleetwood Mac's debut LP was a highlight of the late-'60s British blues boom. Green's always inspired playing, the capable (if erratic) songwriting, and the general panache of the band as a whole placed them leagues above the overcrowded field. Elmore James is a big influence on this set, particularly on the tunes fronted by Jeremy Spencer ( "Shake Your Moneymaker," "Got to Move" ). Spencer's bluster, however, was outshone by the budding singing and songwriting skills of Green. The guitarist balanced humor and vulnerability on cuts like "Looking for Somebody" and "Long Grey Mare," and with "If I Loved Another Woman," he offered a glimpse of the Latin-blues fusion that he would perfect with "Black Magic Woman." The album was an unexpected smash in the U.K., reaching number four on the British charts. ~ AMG
1. My Heart Beat Like A Hammer 2:59
2. Merry Go Round 4:09
3. Long Grey Mare 2:16
4. Hellhound On My Trail 2:01
5. Shake Your Moneymaker 2:56
6. Looking For Somebody 2:50
7. No Place To Go 3:23
8. My Baby's Good To Me 2:51
9. I Loved Another Woman 2:57
10. Cold Black Night 3:17
11. The World Keep On Turning 2:30
12. Got To Move 3:20
Beefeaters - Meet You There (1971)
Beefeaters - Meet You There (1971)
Tracklist:
1. I´ll Meet You There
2. You Changed My Way Of Living
3. Night Train
4. Now I Know
5. Serenade To A Cuckoo
6. Stormy Monday
Tracklist:
1. I´ll Meet You There
2. You Changed My Way Of Living
3. Night Train
4. Now I Know
5. Serenade To A Cuckoo
6. Stormy Monday
Beefeaters - Beefeaters & Meet You There (1967)
Beefeaters - Beefeaters & Meet You There (1967)
Tracklist:
1. It Ain't Necessarily So 3:54
2. Crossroads 2:31
3. My Babe 3:35
4. I Want You 3:39
5. Hey Little Girl 2:17
6. Papa's Got A Brand New Bag 3:29
7. Let Me Down Easy 3:40
8. Shakin' Fingerpop 2:50
9. Night Flight 3:19
10. Summer Scene 4:29
11. I'll Meet You There 4:51
12. You Changed My Way Of Living 4:13
13. Night Train 4:25
14. Now I Know 4:55
15. Serenade To A Cuckoo 10:02
16. Stormy Monday 9:56
Tracklist:
1. It Ain't Necessarily So 3:54
2. Crossroads 2:31
3. My Babe 3:35
4. I Want You 3:39
5. Hey Little Girl 2:17
6. Papa's Got A Brand New Bag 3:29
7. Let Me Down Easy 3:40
8. Shakin' Fingerpop 2:50
9. Night Flight 3:19
10. Summer Scene 4:29
11. I'll Meet You There 4:51
12. You Changed My Way Of Living 4:13
13. Night Train 4:25
14. Now I Know 4:55
15. Serenade To A Cuckoo 10:02
16. Stormy Monday 9:56
Big Bertha Featuring Cozy Powell - Live Featuring Cozy Powell (1970)
Big Bertha Featuring Cozy Powell - Live Featuring Cozy Powell (1970)
Limited collector's release featuring thunderous, blues-based hard rock of a very high caliber. Almost certainly Cozy's earliest ever live recording with Big Bertha. A combined total of 11 tracks on two CDs, all taken from two sets performed by Powell with Dave Ball & Denny Ball on December 3rd, 1970 at a small club near Hamburg, Germany. UK blues rockers featuring Cozy Powell recorded live in 1970 on a double disc set. Zeppelin meets Cream styled heavy blues rock and features "Rhapsody in Blue","Set Me Free and "Ring of Fire","She's Not There" a lengthy version of "Crossroads" and more..
Tracklist:
CD1
1. Dave's Idiot Dance
2. Beast
3. Ring Of Fire
4. She's Not There
5. Munich City
6. Spoonful
CD2
7. Crossroads
8. Stumble
9. Never Gonna Let My Body T
10. Rhapsody In Blue
11. Set Me Free
Limited collector's release featuring thunderous, blues-based hard rock of a very high caliber. Almost certainly Cozy's earliest ever live recording with Big Bertha. A combined total of 11 tracks on two CDs, all taken from two sets performed by Powell with Dave Ball & Denny Ball on December 3rd, 1970 at a small club near Hamburg, Germany. UK blues rockers featuring Cozy Powell recorded live in 1970 on a double disc set. Zeppelin meets Cream styled heavy blues rock and features "Rhapsody in Blue","Set Me Free and "Ring of Fire","She's Not There" a lengthy version of "Crossroads" and more..
Tracklist:
CD1
1. Dave's Idiot Dance
2. Beast
3. Ring Of Fire
4. She's Not There
5. Munich City
6. Spoonful
CD2
7. Crossroads
8. Stumble
9. Never Gonna Let My Body T
10. Rhapsody In Blue
11. Set Me Free
Elias Hulk - Unchained (1970)
Elias Hulk - Unchained (1970)
CD re-issue of this rare early 70's acid blues tinged psyche set. Very much in the UK blues boom hard rock mould this album is very seldom seen in it's original pressing. Plenty of long guitar breaks and an album comparable to Leafhound, Killing Floor, Jasper and other simlilar bands of the era.
1. Anthology Of Dreams - 3.08 3:07
2. Nightmare - 3.11 3:10
3. Been Around Too Long - 3.01 3:01
4. Yesterday's Trip - 3.55 3:55
5. We Can Fly - 6.16 6:16
6. Free - 3.36 3:37
7. Delphi Blues - 4.17 4:18
8. Ain't Got You - 3.25 3:25
CD re-issue of this rare early 70's acid blues tinged psyche set. Very much in the UK blues boom hard rock mould this album is very seldom seen in it's original pressing. Plenty of long guitar breaks and an album comparable to Leafhound, Killing Floor, Jasper and other simlilar bands of the era.
1. Anthology Of Dreams - 3.08 3:07
2. Nightmare - 3.11 3:10
3. Been Around Too Long - 3.01 3:01
4. Yesterday's Trip - 3.55 3:55
5. We Can Fly - 6.16 6:16
6. Free - 3.36 3:37
7. Delphi Blues - 4.17 4:18
8. Ain't Got You - 3.25 3:25
Big Brother & The Holding Company - Cheap Thrills (1968)
Big Brother & The Holding Company - Cheap Thrills (1968)
Tracklist:
1. Combination Of The Two 5:47
2. I Need A Man To Love 4:54
3. Summertime 4:00
4. Piece Of My Heart 4:15
5. Turtle Blues 4:23
6. Oh, Sweet Mary 4:16
7. Ball And Chain 9:38
8. Roadblock [Studio Outtake] 5:33
9. Flower In The Sun [Studio Outtake] 3:05
10. Catch Me Daddy [Live] 5:31
11. Magic Of Love [Live] 3:58
Tracklist:
1. Combination Of The Two 5:47
2. I Need A Man To Love 4:54
3. Summertime 4:00
4. Piece Of My Heart 4:15
5. Turtle Blues 4:23
6. Oh, Sweet Mary 4:16
7. Ball And Chain 9:38
8. Roadblock [Studio Outtake] 5:33
9. Flower In The Sun [Studio Outtake] 3:05
10. Catch Me Daddy [Live] 5:31
11. Magic Of Love [Live] 3:58
Black Cat Bones - Barbed Wire Sandwich (1969)
Black Cat Bones - Barbed Wire Sandwich (1969)
UK Bluesrock
The Black Cat Bones was a blues-rock group from London founded in the late '60s by Paul Kossoff (guitar), Stuart Brooks (bass), and Simon Kirke (drums). Kossoff and Kirke left to form Free, and Brooks recruited Brian Short (vocals), Derek Brooks (guitar),
Incredible! This is how I see life. If you wanna feel the blue's, I mean really feel the blues. This recording here will get you. Death valley blues is incredible, the most powerfull blues song ive ever heard. The guitar work is far above stevie ray, or johnny winters or even B.B. King. No disrespect, I more than enjoy all of the above. But this is just a spellbound recording. Let it speak for itself and pick this up please.
Tracklist:
1. Chauffeur Listen
2. Death Valley Blues
3. Feelin' Good
4. Please Tell Me Baby
5. Coming Back
6. Save My Love
7. Four Women
8. Sylvester's Blues
9. Good Lookin' Woman
UK Bluesrock
The Black Cat Bones was a blues-rock group from London founded in the late '60s by Paul Kossoff (guitar), Stuart Brooks (bass), and Simon Kirke (drums). Kossoff and Kirke left to form Free, and Brooks recruited Brian Short (vocals), Derek Brooks (guitar),
Incredible! This is how I see life. If you wanna feel the blue's, I mean really feel the blues. This recording here will get you. Death valley blues is incredible, the most powerfull blues song ive ever heard. The guitar work is far above stevie ray, or johnny winters or even B.B. King. No disrespect, I more than enjoy all of the above. But this is just a spellbound recording. Let it speak for itself and pick this up please.
Tracklist:
1. Chauffeur Listen
2. Death Valley Blues
3. Feelin' Good
4. Please Tell Me Baby
5. Coming Back
6. Save My Love
7. Four Women
8. Sylvester's Blues
9. Good Lookin' Woman
Blind Faith - Blind Faith (1969)
Blind Faith - Blind Faith (1969)
Artist: Blind Faith
Album: Blind Faith
Released: 1969/2008
Genre: British blues, Psychedelic rock
Blind Faith is the self-titled album by the British supergroup Blind Faith, which consisted of Eric Clapton (The Yardbirds, Cream), Ginger Baker (Graham Bond Organisation, Cream), Steve Winwood (Spencer Davis Group, Traffic) and Ric Grech (Family). Their only album, Blind Faith was released in August 1969 (see 1969 in music).
There was an intense buzz about the band and its debut album Blind Faith, which on release topped Billboard's Pop Albums chart in America (as it did the UK charts) and peaked at #40 on the Black Albums chart, an impressive feat for a British rock quartet.
They began to work out songs early in 1969, and in February and March the group was in London at Morgan Studios, preparing for the beginnings of basic tracks for their album although the first few almost finished songs didn't show up until they were at Olympic Studios in April and May under the direction of producer Jimmy Miller. The music community was already aware of the linkup, despite Clapton's claim that he was cutting an album of his own on which Winwood would play. The rock press wasn't buying any of it, knowing that Baker was involved as well, and then the promoters and record companies got involved, pushing those concerned for an album and a tour.
The recording of their album was interrupted by such a tour of Scandinavia, then a U.S. tour from July 11 (Newport) to August 24 (Hawaii), supported by Free and Delaney & Bonnie and Friends. Although a chart topper the LP was recorded hurriedly and side two consisted of just two songs, one of them a 15-minute jam entitled "Do What You Like." Nevertheless the band was able to produce two classic hits; Winwood's "Can't Find My Way Home" and Clapton's "Presence of the Lord."
Tracklist:
1. Had To Cry Today
2. Can't Find My Way Home
3. Well Alright
4. Presence Of The Lord
5. Sea Of Joy
6. Do What You Like
7. Exchange And Mart [bonus track]
8. Spending All My Days [bonus track]
Artist: Blind Faith
Album: Blind Faith
Released: 1969/2008
Genre: British blues, Psychedelic rock
Blind Faith is the self-titled album by the British supergroup Blind Faith, which consisted of Eric Clapton (The Yardbirds, Cream), Ginger Baker (Graham Bond Organisation, Cream), Steve Winwood (Spencer Davis Group, Traffic) and Ric Grech (Family). Their only album, Blind Faith was released in August 1969 (see 1969 in music).
There was an intense buzz about the band and its debut album Blind Faith, which on release topped Billboard's Pop Albums chart in America (as it did the UK charts) and peaked at #40 on the Black Albums chart, an impressive feat for a British rock quartet.
They began to work out songs early in 1969, and in February and March the group was in London at Morgan Studios, preparing for the beginnings of basic tracks for their album although the first few almost finished songs didn't show up until they were at Olympic Studios in April and May under the direction of producer Jimmy Miller. The music community was already aware of the linkup, despite Clapton's claim that he was cutting an album of his own on which Winwood would play. The rock press wasn't buying any of it, knowing that Baker was involved as well, and then the promoters and record companies got involved, pushing those concerned for an album and a tour.
The recording of their album was interrupted by such a tour of Scandinavia, then a U.S. tour from July 11 (Newport) to August 24 (Hawaii), supported by Free and Delaney & Bonnie and Friends. Although a chart topper the LP was recorded hurriedly and side two consisted of just two songs, one of them a 15-minute jam entitled "Do What You Like." Nevertheless the band was able to produce two classic hits; Winwood's "Can't Find My Way Home" and Clapton's "Presence of the Lord."
Tracklist:
1. Had To Cry Today
2. Can't Find My Way Home
3. Well Alright
4. Presence Of The Lord
5. Sea Of Joy
6. Do What You Like
7. Exchange And Mart [bonus track]
8. Spending All My Days [bonus track]
C.K. Strong - C.K. Strong (1969)
C.K. Strong - C.K. Strong (1969)
Personnel:
CHRISTOPHER BROOKS bs A
LYNN CAREY vcls A
RON GRINEL drms A
JEFFERSON KEWLEY gtr A
GEOFF WESTEN gtr, organ, piano, vcls A
ALBUM:
1(A) C.K. STRONG (Epic BN-26473) 1969 SC
45:
1 Daddy/Stormbird (Epic 10534) 1969
A loud and bluesy rock group with the screaming vocals of Lynn Carey and loads of guitar on tracks like Stormbird, Baby Let Me Out, Mean Hearted Man and the 9 minute Trilogy. The group was managed by Robert Fipztpatrick, an associate of Robert Stigwood. He would recommand their young female singer to the Hollywood composer Stu Phillips and that give birth to the Carrie Nations project.
Lynn Carey would soon become better known as Mama Lion. The guitarist Jefferson Kewley later played with Sandi Szigeti.
(Stephane Rebeschini/Nick Kontogouris)
Tracklist:
1. Stormbird 3:04
2. Baby Let Me Out 7:16
3. Affairs 2:55
4. Trilogy 9:19
5. Benn So long 3:45
6. Mean Hearted Man 8:13
7. Rolling Down The Highway 4:01
8. Daddy 4:42
C.K. Strong - C.K. Strong (1969)
Personnel:
CHRISTOPHER BROOKS bs A
LYNN CAREY vcls A
RON GRINEL drms A
JEFFERSON KEWLEY gtr A
GEOFF WESTEN gtr, organ, piano, vcls A
ALBUM:
1(A) C.K. STRONG (Epic BN-26473) 1969 SC
45:
1 Daddy/Stormbird (Epic 10534) 1969
A loud and bluesy rock group with the screaming vocals of Lynn Carey and loads of guitar on tracks like Stormbird, Baby Let Me Out, Mean Hearted Man and the 9 minute Trilogy. The group was managed by Robert Fipztpatrick, an associate of Robert Stigwood. He would recommand their young female singer to the Hollywood composer Stu Phillips and that give birth to the Carrie Nations project.
Lynn Carey would soon become better known as Mama Lion. The guitarist Jefferson Kewley later played with Sandi Szigeti.
(Stephane Rebeschini/Nick Kontogouris)
Tracklist:
1. Stormbird 3:04
2. Baby Let Me Out 7:16
3. Affairs 2:55
4. Trilogy 9:19
5. Benn So long 3:45
6. Mean Hearted Man 8:13
7. Rolling Down The Highway 4:01
8. Daddy 4:42
C.K. Strong - C.K. Strong (1969)
The Bob Seger System - Ramblin' Gamblin' Man (1969)
The Bob Seger System - Ramblin' Gamblin' Man (1969)
Bob Seger recorded 'The Bob Seger System', also known as 'Ramblin' Gamblin' Man' in 1968. The album scaled the charts to number 62, and two 45's, 'Ramblin' Gamblin' Man'/'Tales of Lucy Blue' and 'Ivory'/'Love Needs To Be Loved' charted out at numbers 17 and 97 respectively (the songs predictably did considerably better in Bob's hometown of Detroit, Michigan, where he has been an icon since the late 1960's). Despite this promising debut, it would be another long eight years before Bob would achieve national prominence.
The sound and look of 'Ramblin' Gamblin' Man' reflect the psychedelic persuasions of the era it was produced in. While that adds some interesting twists to the disc, it didn't turn out to be Seger's favored genre. Bob did much better as a flat-out rocker, as several songs on this disc attest to, or in the more mainstream persona he adopted in the mid-1970's, primarily pushing romantic ballads. Every time Bob cuts loose on this disc it's a raging success, but the remainder of the tracks meet with mixed results.
Three songs are hands-down winners, beginning with the churning title track, and continuing with one of the first and most stinging Vietnam protest songs, '2 + 2 = ?' ("...you say he died for freedom, if he died to save your lies, go ahead and call me yellow, 2 + 2 is on my mind..."), through 'Ivory' with its fuzzy yet slick lead guitar, and heavy, hand-clap beat. 'Down Home' is another good rock number focused on a dysfunctional family. It's harmonica, bass, and drum driven melody supports the tale of Chicago Green, Aunt Mary, Little Willy, and Eddie. 'Tales of Lucy Blue', despite it's decided psychedelic leanings, manages to deliver a haunting and just a bit sinister lead guitar, and engaging lyrics ("...empty words falling on ears which have never heard, hollow lies comin' from lost, hung up and lonely guys..."). Perhaps 'Lucy Blue' is the lady portrayed on the front insert art, covering her heart and unmentionables, and standing on an icy peninisula that is the mirror-image of Bob's home state of Michigan.
Let's also give a nod to 'Black-Eyed Girl' (Seger's homage to Van Morrison's 'Brown-Eyed Girl'? Hardly.) It is a gutsy blues song that takes off about mid-way through with an elastic slide guitar solo. But the remainder of the songs are a one-time listen. 'Doctor Fine' is an uninteresting one-minute instrumental; 'White Wall', while interesting, can't decide between funky blues, full-fledged power rock, heaven-sent vocal harmonies, or mind-bending psychedelia, all fueled by a torrid-paced percussion, and capped with an appropriate, "Wow!"; 'Gone' seems to be an ode to a drug overdose, a soft, acoustic, flower-power textured ballad with an echo-chambered vocal; 'Love Needs To Be Loved' is the most obvious tribute to psychedelia, an uninspiring knock-off of 'All You Need Is Love' or 'Get Together' ("...women were sent from heaven above, and love needs to be loved..."); and 'Train Man' is an undistinguished acoustic ballad that does manage to break into some funky, distorted guitar to finish up the disc.
While there are some great moments to be cherished on 'Ramblin' Gamblin' Man', it's easy to see why Seger has chosen not to reissue this disc. While fans rightly savor the title track, '2 + 2' and 'Ivory', the remainder of the songs probably detract more than add to the legacy Seger has promoted of himself. You won't even find most of the quality tracks on Seger compilations or live performances. But I believe Bob's being a bit too sensitive about the image thing. There are plenty of people who appreciate his early work every bit as much, or even more, than the tracks that eventually won him critical acclaim. Those people may, in fact, be Bob's most stalwart fans, and it would seem they have earned access to his formative works. Hopefully Bob will recognize that someday, and acquiesce to reissuing his first six albums ('Ramblin' Gamblin' Man' through 'Back In '72').
1. Ramblin' Gamblin' Man 2:23
2. Tales of Lucy Blue 2:29
3. Ivory 2:24
4. Gone 3:29
5. Down Home 3:03
6. Train Man 4:07
7. White Wall 5:21
8. Black Eyed Girl 6:34
9. 2+2= 2:50
10. Doctor fine 1:06
11. The Last Song (Love Needs To Be Loved) 3:05
Bob Seger recorded 'The Bob Seger System', also known as 'Ramblin' Gamblin' Man' in 1968. The album scaled the charts to number 62, and two 45's, 'Ramblin' Gamblin' Man'/'Tales of Lucy Blue' and 'Ivory'/'Love Needs To Be Loved' charted out at numbers 17 and 97 respectively (the songs predictably did considerably better in Bob's hometown of Detroit, Michigan, where he has been an icon since the late 1960's). Despite this promising debut, it would be another long eight years before Bob would achieve national prominence.
The sound and look of 'Ramblin' Gamblin' Man' reflect the psychedelic persuasions of the era it was produced in. While that adds some interesting twists to the disc, it didn't turn out to be Seger's favored genre. Bob did much better as a flat-out rocker, as several songs on this disc attest to, or in the more mainstream persona he adopted in the mid-1970's, primarily pushing romantic ballads. Every time Bob cuts loose on this disc it's a raging success, but the remainder of the tracks meet with mixed results.
Three songs are hands-down winners, beginning with the churning title track, and continuing with one of the first and most stinging Vietnam protest songs, '2 + 2 = ?' ("...you say he died for freedom, if he died to save your lies, go ahead and call me yellow, 2 + 2 is on my mind..."), through 'Ivory' with its fuzzy yet slick lead guitar, and heavy, hand-clap beat. 'Down Home' is another good rock number focused on a dysfunctional family. It's harmonica, bass, and drum driven melody supports the tale of Chicago Green, Aunt Mary, Little Willy, and Eddie. 'Tales of Lucy Blue', despite it's decided psychedelic leanings, manages to deliver a haunting and just a bit sinister lead guitar, and engaging lyrics ("...empty words falling on ears which have never heard, hollow lies comin' from lost, hung up and lonely guys..."). Perhaps 'Lucy Blue' is the lady portrayed on the front insert art, covering her heart and unmentionables, and standing on an icy peninisula that is the mirror-image of Bob's home state of Michigan.
Let's also give a nod to 'Black-Eyed Girl' (Seger's homage to Van Morrison's 'Brown-Eyed Girl'? Hardly.) It is a gutsy blues song that takes off about mid-way through with an elastic slide guitar solo. But the remainder of the songs are a one-time listen. 'Doctor Fine' is an uninteresting one-minute instrumental; 'White Wall', while interesting, can't decide between funky blues, full-fledged power rock, heaven-sent vocal harmonies, or mind-bending psychedelia, all fueled by a torrid-paced percussion, and capped with an appropriate, "Wow!"; 'Gone' seems to be an ode to a drug overdose, a soft, acoustic, flower-power textured ballad with an echo-chambered vocal; 'Love Needs To Be Loved' is the most obvious tribute to psychedelia, an uninspiring knock-off of 'All You Need Is Love' or 'Get Together' ("...women were sent from heaven above, and love needs to be loved..."); and 'Train Man' is an undistinguished acoustic ballad that does manage to break into some funky, distorted guitar to finish up the disc.
While there are some great moments to be cherished on 'Ramblin' Gamblin' Man', it's easy to see why Seger has chosen not to reissue this disc. While fans rightly savor the title track, '2 + 2' and 'Ivory', the remainder of the songs probably detract more than add to the legacy Seger has promoted of himself. You won't even find most of the quality tracks on Seger compilations or live performances. But I believe Bob's being a bit too sensitive about the image thing. There are plenty of people who appreciate his early work every bit as much, or even more, than the tracks that eventually won him critical acclaim. Those people may, in fact, be Bob's most stalwart fans, and it would seem they have earned access to his formative works. Hopefully Bob will recognize that someday, and acquiesce to reissuing his first six albums ('Ramblin' Gamblin' Man' through 'Back In '72').
1. Ramblin' Gamblin' Man 2:23
2. Tales of Lucy Blue 2:29
3. Ivory 2:24
4. Gone 3:29
5. Down Home 3:03
6. Train Man 4:07
7. White Wall 5:21
8. Black Eyed Girl 6:34
9. 2+2= 2:50
10. Doctor fine 1:06
11. The Last Song (Love Needs To Be Loved) 3:05
The Blues Train - The Blues Train (1970)
The Blues Train - The Blues Train (1970)
1. Ride The Train
2. Missin You
3. Pain In My Head
4. Some Body To Love
5. Hootchie Kootchie Man
6. Busted In Chicago
7. A & R Man
8. Coast To Coast
9. Whole Lot O Blues
10. Got My Eyes On You
11. Mojo
1. Ride The Train
2. Missin You
3. Pain In My Head
4. Some Body To Love
5. Hootchie Kootchie Man
6. Busted In Chicago
7. A & R Man
8. Coast To Coast
9. Whole Lot O Blues
10. Got My Eyes On You
11. Mojo
The Blues Right Off - Our Blues Bag (1970)
The Blues Right Off - Our Blues Bag (1970)
Italy
1. one mint julie 1:46
2. rushing wish 5:01
3. black angel 4:19
4. love's gonna show up someday 3:13
5. leaving my hometown 6:38
6. born on the highway 6:07
7. miss d 1:02
Italy
1. one mint julie 1:46
2. rushing wish 5:01
3. black angel 4:19
4. love's gonna show up someday 3:13
5. leaving my hometown 6:38
6. born on the highway 6:07
7. miss d 1:02
The Blues Project - Anthology (1997)
The Blues Project - Anthology (1997)
Product Description
For superior musicianship and soulful playing during the '60s, New York's own Blues Project were awfully tough to beat. And this 36-track collection-drawn from both their Verve/Forecast and Capitol recordings-shows just how good they were, including prime Project workouts like I Can't Keep from Crying Sometimes; Steve's Song; Flute Thing; Wake Me, Shake Me , and Cheryl's Going Home , as well as four unreleased live tracks, eight other cuts never before on CD and a 24-page, photo-packed booklet.
The very things that made the Blues Project one of the most phenomenal bands of the '60s are the same things that made the band a short-lived one. Drawing on a crazy quilt of influences--including folk, pop, jazz, psychedelia, and, yes, blues--the band was known to perform scorching versions of Muddy Waters and Howlin' Wolf classics one minute, then turn around and do mellow contemporary tunes by the likes of Donovan and Patrick Sky the next. A band whose onstage energy was boundless, their studio work didn't always come across quite as well, and sharply divided attitudes about approach and repertoire (plus assorted personal problems) eventually sundered the band. Anthology is the best available sampling of the group's oeuvre, collecting material from their albums on Verve and Capitol and tossing in some rare singles, solo material, and previously unreleased tracks for good measure. You don't often hear the Blues Project mentioned in reverent tones, as are other, similar acts of the era, and that's too bad. This set makes a case for their veneration. --Daniel Durchholz
Disc 1
1. I'm Troubled
2. Back Door Man
3. Violets Of Dawn
4. Goin' Down Louisiana
5. Hoochie Coochie Man
6. Parchman Farm
7. You Go And I'll Go With You
8. Catch The Wind
9. I Want To Be Your Driver
10. Alberta
11. Have You Ever Had The Blues?
12. The Way My Baby Walks
13. Bright Lights, Big City
14. Jelly, Jelly Blues
15. Spoonful
16. Who Do You Love?
17. Love Will Endure
18. I Can't Keep From Crying Sometimes
19. Friday Night City
20. Where There's Smoke There's Fire
Disc 2
1. I Can't Keep From Crying Sometimes
2. Steve's Song
3. You Can't Catch Me
4. Two Trains Running
5. Wake Me, Shake Me
6. Cheryl's Going Home
7. Flute Thing
8. Caress Me Baby
9. Fly Away
10. No Time Like The Right Time
11. Mean Old Southern
12. Gentle Dreams
13. Lost In the Shuffle
14. Black Night
15. Visions Of Flowers 16. Little Rain
Product Description
For superior musicianship and soulful playing during the '60s, New York's own Blues Project were awfully tough to beat. And this 36-track collection-drawn from both their Verve/Forecast and Capitol recordings-shows just how good they were, including prime Project workouts like I Can't Keep from Crying Sometimes; Steve's Song; Flute Thing; Wake Me, Shake Me , and Cheryl's Going Home , as well as four unreleased live tracks, eight other cuts never before on CD and a 24-page, photo-packed booklet.
The very things that made the Blues Project one of the most phenomenal bands of the '60s are the same things that made the band a short-lived one. Drawing on a crazy quilt of influences--including folk, pop, jazz, psychedelia, and, yes, blues--the band was known to perform scorching versions of Muddy Waters and Howlin' Wolf classics one minute, then turn around and do mellow contemporary tunes by the likes of Donovan and Patrick Sky the next. A band whose onstage energy was boundless, their studio work didn't always come across quite as well, and sharply divided attitudes about approach and repertoire (plus assorted personal problems) eventually sundered the band. Anthology is the best available sampling of the group's oeuvre, collecting material from their albums on Verve and Capitol and tossing in some rare singles, solo material, and previously unreleased tracks for good measure. You don't often hear the Blues Project mentioned in reverent tones, as are other, similar acts of the era, and that's too bad. This set makes a case for their veneration. --Daniel Durchholz
Disc 1
1. I'm Troubled
2. Back Door Man
3. Violets Of Dawn
4. Goin' Down Louisiana
5. Hoochie Coochie Man
6. Parchman Farm
7. You Go And I'll Go With You
8. Catch The Wind
9. I Want To Be Your Driver
10. Alberta
11. Have You Ever Had The Blues?
12. The Way My Baby Walks
13. Bright Lights, Big City
14. Jelly, Jelly Blues
15. Spoonful
16. Who Do You Love?
17. Love Will Endure
18. I Can't Keep From Crying Sometimes
19. Friday Night City
20. Where There's Smoke There's Fire
Disc 2
1. I Can't Keep From Crying Sometimes
2. Steve's Song
3. You Can't Catch Me
4. Two Trains Running
5. Wake Me, Shake Me
6. Cheryl's Going Home
7. Flute Thing
8. Caress Me Baby
9. Fly Away
10. No Time Like The Right Time
11. Mean Old Southern
12. Gentle Dreams
13. Lost In the Shuffle
14. Black Night
15. Visions Of Flowers 16. Little Rain
Buddy Guy - The Blues Giant (1979)
Buddy Guy - The Blues Giant (1979)
1. Buddy Guy - The Blues Giant (A) 20:56
2. Buddy Guy - The Blues Giant (B) 20:27
1. Buddy Guy - The Blues Giant (A) 20:56
2. Buddy Guy - The Blues Giant (B) 20:27
Brunning Hall Sunflower Blues Band - Bullen Street Blues & Trackside Blues [2003 Remaster] (1968 & 1969)
Brunning Hall Sunflower Blues Band - Bullen Street Blues & Trackside Blues [2003 Remaster] (1968 & 1969)
UK reissue of two of the British blues act's original albums on one CD, 'Bullen Street Blues' (1968) and 'Trackside Blues' (1969). Digitally remastered. 23 tracks, over 70 minutes of music. Includes one previously unreleased track 'Uranus (Take 2)'. Featuring former members of Fleetwood Mac and Savoy Brown. 2003 Release.
Biography by Chris True
The Brunning/Hall Sunflower Blues Band was the part-time British blues-rock outfit led by former Fleetwood Mac bassist Bob Brunning and blues pianist Bob Hall. A founding member of Fleetwood Mac, Brunning kept a low profile after having been let go by Peter Green once John McVie was free of John Mayall & the Bluesbreakers. He worked briefly with Savoy Brown and became a schoolteacher, but still found time -- with Hall and their Sunflower Blues Band -- to release four albums: 1968's Bullen Street Blues, 1969's Trackside Blues (featuring Green), 1970's I Wish You Would, and 1971's The Brunning/Hall Sunflower Blues Band. The group reconvened in the '80s as the Deluxe Blues Band, and the bandmembers often served as backup players for stateside blues musicians touring England. Trackside Blues and I Wish You Would were re-released on Appaloosa in 2000. Brunning continues to be involved in blues music and study, delivering lectures on the topic from time to time.
Tracklist:
Bullen St. Blues
1. Gone Back Home
2. Hit That Wine
3. Bullen Street Blues
4. No Idea
5. Shout Your Name and Call It
6. Take Your Hands off Me
7. 'Fore Time Began
8. Something Tells Me
9. Big Belly Blues
10. Sunflower Boogie
11. Rockin' Chair
Trackside Blues
12. Ride With Your Daddy Tonight*
13. Tube Train Blues
14. Sunflower Shuffle
15. Simple Simon*
16. I Met This Bird in Playboy
17. Ah! Soul (AKA Uranus Pt 1)*
18. It Takes Time*
19. Baby You're the Real Thing
20. If You Let Me Love You*
21. North Star
22. Closing Hours
23. Uranus [Take 2]*
*with Peter Green
UK reissue of two of the British blues act's original albums on one CD, 'Bullen Street Blues' (1968) and 'Trackside Blues' (1969). Digitally remastered. 23 tracks, over 70 minutes of music. Includes one previously unreleased track 'Uranus (Take 2)'. Featuring former members of Fleetwood Mac and Savoy Brown. 2003 Release.
Biography by Chris True
The Brunning/Hall Sunflower Blues Band was the part-time British blues-rock outfit led by former Fleetwood Mac bassist Bob Brunning and blues pianist Bob Hall. A founding member of Fleetwood Mac, Brunning kept a low profile after having been let go by Peter Green once John McVie was free of John Mayall & the Bluesbreakers. He worked briefly with Savoy Brown and became a schoolteacher, but still found time -- with Hall and their Sunflower Blues Band -- to release four albums: 1968's Bullen Street Blues, 1969's Trackside Blues (featuring Green), 1970's I Wish You Would, and 1971's The Brunning/Hall Sunflower Blues Band. The group reconvened in the '80s as the Deluxe Blues Band, and the bandmembers often served as backup players for stateside blues musicians touring England. Trackside Blues and I Wish You Would were re-released on Appaloosa in 2000. Brunning continues to be involved in blues music and study, delivering lectures on the topic from time to time.
Tracklist:
Bullen St. Blues
1. Gone Back Home
2. Hit That Wine
3. Bullen Street Blues
4. No Idea
5. Shout Your Name and Call It
6. Take Your Hands off Me
7. 'Fore Time Began
8. Something Tells Me
9. Big Belly Blues
10. Sunflower Boogie
11. Rockin' Chair
Trackside Blues
12. Ride With Your Daddy Tonight*
13. Tube Train Blues
14. Sunflower Shuffle
15. Simple Simon*
16. I Met This Bird in Playboy
17. Ah! Soul (AKA Uranus Pt 1)*
18. It Takes Time*
19. Baby You're the Real Thing
20. If You Let Me Love You*
21. North Star
22. Closing Hours
23. Uranus [Take 2]*
*with Peter Green
Thursday, September 6, 2012
Bond & Brown - Two Heads Are Better Than One (1972)
Bond & Brown - Two Heads Are Better Than One (1972)
1. Lost Tribe - 3.55 3:56
2. Ig The Oig - 4.42 4:42
3. Oobati - 3.48 3:48
4. Amazing Grass - 5.08 5:09
5. Scunthorpe Crabmeat Train Sideways Shuffle Stomp - 4.07 4:07
6. C.F.D.T. (Colonel Fright's Dancing Terrapins) - 5.54 5:54
7. Mass Debate - 3.26 3:27
8. Looking For Time - 1.55 1:55
9. Milk Is Turning Sour In My Shoes - 7.31 7:32
10. Macumbe - 3.40 3:40
11. The Beginning (Bonus) - 0.57 0:57
12. Aeroplane Drinking Man (Gladiator Song) (Bonus) - 4.12 4:12
13. Italian Song (Bonus) - 2.31 2:32
14. Spend My Nights In Armour (Bonus) - 4.44 4:45
15. Fury Of The War (Bonus) - 2.54 2:54
16. Magpie Man (Bonus) - 1.21 1:21
17. Drumm Roll (Bonus) - 0.06 0:06
18. Swing Song (Bonus) - 1.18 1:19
19. Sailor's Song (Bonus) - 3.12 3:12
20. The Ending (Bonus) - 1.01 1:01
1. Lost Tribe - 3.55 3:56
2. Ig The Oig - 4.42 4:42
3. Oobati - 3.48 3:48
4. Amazing Grass - 5.08 5:09
5. Scunthorpe Crabmeat Train Sideways Shuffle Stomp - 4.07 4:07
6. C.F.D.T. (Colonel Fright's Dancing Terrapins) - 5.54 5:54
7. Mass Debate - 3.26 3:27
8. Looking For Time - 1.55 1:55
9. Milk Is Turning Sour In My Shoes - 7.31 7:32
10. Macumbe - 3.40 3:40
11. The Beginning (Bonus) - 0.57 0:57
12. Aeroplane Drinking Man (Gladiator Song) (Bonus) - 4.12 4:12
13. Italian Song (Bonus) - 2.31 2:32
14. Spend My Nights In Armour (Bonus) - 4.44 4:45
15. Fury Of The War (Bonus) - 2.54 2:54
16. Magpie Man (Bonus) - 1.21 1:21
17. Drumm Roll (Bonus) - 0.06 0:06
18. Swing Song (Bonus) - 1.18 1:19
19. Sailor's Song (Bonus) - 3.12 3:12
20. The Ending (Bonus) - 1.01 1:01
Bob Seger - Brand New Morning (1971)
Bob Seger - Brand New Morning (1971)
Brand New Morning is an acoustic album by American rock singer/songwriter Bob Seger, released in 1971.
All songs written by Bob Seger
Personnel
Bob Seger - guitar, vocals
Production
Engineer: Milan
Mixing: Punch Andrews, Milan, Bob Seger
Cover photo: Thomas
Tracklist:
"Brand New Morning" – 3:23
"Maybe Today" – 3:16
"Sometimes" – 5:16
"You Know Who You Are" – 3:20
"Railroad Days" – 6:58
"Louise" – 2:52
"Song for Him" – 4:39
"Something Like" – 3:34
Brand New Morning is an acoustic album by American rock singer/songwriter Bob Seger, released in 1971.
All songs written by Bob Seger
Personnel
Bob Seger - guitar, vocals
Production
Engineer: Milan
Mixing: Punch Andrews, Milan, Bob Seger
Cover photo: Thomas
Tracklist:
"Brand New Morning" – 3:23
"Maybe Today" – 3:16
"Sometimes" – 5:16
"You Know Who You Are" – 3:20
"Railroad Days" – 6:58
"Louise" – 2:52
"Song for Him" – 4:39
"Something Like" – 3:34
Blues Creation - Blues Creation (1969)
Blues Creation - Blues Creation (1969)
1. Checkin' Up On My Baby 4:54
2. Steppin' Out 2:53
3. Smoke Stack Lightin' 5:32
4. Double Crossing Time 7:04
5. I Can't Keep From Crying 4:37
6. Spoonful 8:14
7. Rollin' and Tumblin' 4:04
8. All Your Love 4:36
1. Checkin' Up On My Baby 4:54
2. Steppin' Out 2:53
3. Smoke Stack Lightin' 5:32
4. Double Crossing Time 7:04
5. I Can't Keep From Crying 4:37
6. Spoonful 8:14
7. Rollin' and Tumblin' 4:04
8. All Your Love 4:36
Blue Goose - Blue Goose (1976)
Blue Goose - Blue Goose (1976)
1. Struttin´ Stuff 5:12
2. The Chorus 6:42
3. Call On Me 4:31
4. Loretta 3:46
5. Snowman 5:48
6. Over The Top 2:27
7. Let Me Know 3:38
8. Inside Yourself 9:20
1. Struttin´ Stuff 5:12
2. The Chorus 6:42
3. Call On Me 4:31
4. Loretta 3:46
5. Snowman 5:48
6. Over The Top 2:27
7. Let Me Know 3:38
8. Inside Yourself 9:20
Blue Cheer - The Beast Is Back (1985)
Blue Cheer - The Beast Is Back (1985)
1. Nightmares 5:03
2. Summertime Blues 3:57
3. Ride with Me 5:25
4. Girl Next Door 3:39
5. Babylon 4:12
6. Heart of the City 4:19
7. Out of Focus 3:43
8. Parchment Farm 6:55
1. Nightmares 5:03
2. Summertime Blues 3:57
3. Ride with Me 5:25
4. Girl Next Door 3:39
5. Babylon 4:12
6. Heart of the City 4:19
7. Out of Focus 3:43
8. Parchment Farm 6:55
Blue Cheer - Blue Cheer 7 (1978)
Blue Cheer - Blue Cheer 7 (1978)
1. Ride in My Cadillac 3:57
2. Out of Focus 3:35
3. Route 66 2:51
4. Don't Take Me Away 4:29
5. It's Okay 2:29
6. Child of Darkness 3:16
7. Enough of Your Lies 1:55
8. Summertime Blues 3:55
9. Good Morning Starlight 3:05
10. I Want You Once Again 6:33
1. Ride in My Cadillac 3:57
2. Out of Focus 3:35
3. Route 66 2:51
4. Don't Take Me Away 4:29
5. It's Okay 2:29
6. Child of Darkness 3:16
7. Enough of Your Lies 1:55
8. Summertime Blues 3:55
9. Good Morning Starlight 3:05
10. I Want You Once Again 6:33
Blue Cheer - Oh! Pleasant Hope (1971)
Blue Cheer - Oh! Pleasant Hope (1971)
1. Hiway Man 4:22
2. Believer 3:42
3. Money Troubles 4:06
4. Traveling Man 3:11
5. Oh! Pleasant Hope 2:41
6. I'm The Light 5:44
7. Ecological Blues 2:25
8. Lester The Arrester 3:10
9. Heart Full Of Soul 4:36
1. Hiway Man 4:22
2. Believer 3:42
3. Money Troubles 4:06
4. Traveling Man 3:11
5. Oh! Pleasant Hope 2:41
6. I'm The Light 5:44
7. Ecological Blues 2:25
8. Lester The Arrester 3:10
9. Heart Full Of Soul 4:36
Blue Cheer - The Original Human Beeing (1970)
Blue Cheer - The Original Human Beeing (1970)
1. Good Times Are So Hard To Find 3:23
2. Love Of A Woman 4:35
3. Make Me Laugh 5:06
4. Pilot 4:50
5. Babaji 3:46
6. Preacher 3:59
7. Black Sun 3:31
8. Tears In My Bead 2:06
9. Man On The Run 3:58
10. Sandwich 5:02
11. Rest At Ease 5:36
1. Good Times Are So Hard To Find 3:23
2. Love Of A Woman 4:35
3. Make Me Laugh 5:06
4. Pilot 4:50
5. Babaji 3:46
6. Preacher 3:59
7. Black Sun 3:31
8. Tears In My Bead 2:06
9. Man On The Run 3:58
10. Sandwich 5:02
11. Rest At Ease 5:36
Blue Cheer - Blue Cheer (1969)
Blue Cheer - Blue Cheer (1969)
1. Fool 3:33
2. You're Gonna Need Someone 3:35
3. Hello L.A., Bye Bye Birmingham 3:24
4. Saturday Freedom 5:56
5. Ain't That The Way (Love's Suppossed To Be) 3:12
6. Rock and Roll Queens 2:43
7. Better When We Try 2:49
8. Natural Man 3:35
9. Lovin' You's Easy 3:57
10. The Same Old Story 4:17
1. Fool 3:33
2. You're Gonna Need Someone 3:35
3. Hello L.A., Bye Bye Birmingham 3:24
4. Saturday Freedom 5:56
5. Ain't That The Way (Love's Suppossed To Be) 3:12
6. Rock and Roll Queens 2:43
7. Better When We Try 2:49
8. Natural Man 3:35
9. Lovin' You's Easy 3:57
10. The Same Old Story 4:17
Blue Cheer - New! Improved! (1969)
Blue Cheer - New! Improved! (1969)
Rock - Psychedelic - Blues-Rock
Year 1969 Label Philips
Type CD Catalog # AK 016
Year 2003 Label Akarma
The title is a bit misleading for, although this is certainly "new" Blue Cheer, it is hardly an "improvement." It is important as a document of a band with some influence and certain cult status. Now that the Velvet Underground have achieved true cult superstardom, it is bands like Blue Cheer that continue to get rediscovered by devotees of '60s music. Here, bassist Dick Peterson and drummer Paul Whalley present two distinctly different Blue Cheers. Side two works much better. It is 14 minutes and 43 seconds of three Randy Holden originals, "Peace of Mind," "Fruit & Iceburgs," and the brief "Honey Butter Lover." "Peace of Mind" is great, a lilting hard rock riff, and a refinement of the blistering Blue Cheer sound that launched them into the consciousness of the public. This is the stuff Grand Funk should've listened to — or better still, should have covered. Although both sides of this album were produced by Milan Melvin, Dot recording artists Burns Kellogg on piano and organ, and Bruce Stephens on guitars, sandblocks, and tortoise shell, cannot help Peterson lift the basement tape vibe of side one to a place where it can compete with Holden's contributions on the second side. Even covering Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry does not bring the effort anyway near the majesty of "Peace of Mind." Blue Cheer "As Different As Night and Day" would've been a better title for this disc. "Fruit & Icebergs" is heavy psychedelia. Black Sabbath's "Rat Salad" meets San Francisco's Big Brother & the Holding Company without Janis Joplin. The final track, "Honey Butter Lover," is a cute acoustic piece with more spirit than anything on side one, which makes this a real Dr. Jekyll and Mr. Hyde album of Blue Cheer in transition.
Musicians :
Dickie Peterson : Bass, Lead Vocals
Bruce Stephens : Guitar, Lead And Back-Up Vocals
Ralph Burns Kellogg : Keyboards
Norman Mayell : Drums, Percussion
Tracklist:
New! Improved! (32:07)
01 When It All gets old (03:01)
02 West Coast Child Of Sunshine (02:41)
03 I Want My Baby Back (03:19)
04 Aces 'N' Eights (02:47)
05 As Long As I Live (02:20)
06 It Takes A Lot To Laugh, It Takes A Train To Cry (03:16)
07 Peace Of Mind (07:22)
08 Fruit & Iceburgs (06:05)
09 Honey Butter Lover (01:16)
Rock - Psychedelic - Blues-Rock
Year 1969 Label Philips
Type CD Catalog # AK 016
Year 2003 Label Akarma
The title is a bit misleading for, although this is certainly "new" Blue Cheer, it is hardly an "improvement." It is important as a document of a band with some influence and certain cult status. Now that the Velvet Underground have achieved true cult superstardom, it is bands like Blue Cheer that continue to get rediscovered by devotees of '60s music. Here, bassist Dick Peterson and drummer Paul Whalley present two distinctly different Blue Cheers. Side two works much better. It is 14 minutes and 43 seconds of three Randy Holden originals, "Peace of Mind," "Fruit & Iceburgs," and the brief "Honey Butter Lover." "Peace of Mind" is great, a lilting hard rock riff, and a refinement of the blistering Blue Cheer sound that launched them into the consciousness of the public. This is the stuff Grand Funk should've listened to — or better still, should have covered. Although both sides of this album were produced by Milan Melvin, Dot recording artists Burns Kellogg on piano and organ, and Bruce Stephens on guitars, sandblocks, and tortoise shell, cannot help Peterson lift the basement tape vibe of side one to a place where it can compete with Holden's contributions on the second side. Even covering Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry does not bring the effort anyway near the majesty of "Peace of Mind." Blue Cheer "As Different As Night and Day" would've been a better title for this disc. "Fruit & Icebergs" is heavy psychedelia. Black Sabbath's "Rat Salad" meets San Francisco's Big Brother & the Holding Company without Janis Joplin. The final track, "Honey Butter Lover," is a cute acoustic piece with more spirit than anything on side one, which makes this a real Dr. Jekyll and Mr. Hyde album of Blue Cheer in transition.
Musicians :
Dickie Peterson : Bass, Lead Vocals
Bruce Stephens : Guitar, Lead And Back-Up Vocals
Ralph Burns Kellogg : Keyboards
Norman Mayell : Drums, Percussion
Tracklist:
New! Improved! (32:07)
01 When It All gets old (03:01)
02 West Coast Child Of Sunshine (02:41)
03 I Want My Baby Back (03:19)
04 Aces 'N' Eights (02:47)
05 As Long As I Live (02:20)
06 It Takes A Lot To Laugh, It Takes A Train To Cry (03:16)
07 Peace Of Mind (07:22)
08 Fruit & Iceburgs (06:05)
09 Honey Butter Lover (01:16)
Blue Cheer - Outsideinside (1968)
Blue Cheer - Outsideinside (1968)
1. Feathers From Your Tree 3:32
2. Sun Cycle 4:15
3. Just A Little Bit 3:31
4. Gypsy Ball 2:59
5. Come And Get It 3:17
6. (I Can't Get No) Satisfaction 5:10
7. The Hunter (Booker T. Jones) 4:37
8. Magnolia Caboose Babyfinger 1:32
9. Babylon (Dickie Peterson) 4:22
1. Feathers From Your Tree 3:32
2. Sun Cycle 4:15
3. Just A Little Bit 3:31
4. Gypsy Ball 2:59
5. Come And Get It 3:17
6. (I Can't Get No) Satisfaction 5:10
7. The Hunter (Booker T. Jones) 4:37
8. Magnolia Caboose Babyfinger 1:32
9. Babylon (Dickie Peterson) 4:22
Blue Cheer - Vincebus Eruptum (1968)
Blue Cheer - Vincebus Eruptum (1968)
1. Summertime Blues 3:44
2. Rock Me Baby 4:19
3. Doctor Please 7:49
4. Out Of Focus 3:54
5. Parchment Farm 5:46
6. Second Time Around 6:16
1. Summertime Blues 3:44
2. Rock Me Baby 4:19
3. Doctor Please 7:49
4. Out Of Focus 3:54
5. Parchment Farm 5:46
6. Second Time Around 6:16
Blodwyn Pig - Getting To This (1970)
Blodwyn Pig - Getting To This (1970)
1. Drive Me 3:19
2. Variations On Nainos 3:48
3. See My Way 5:04
4. Long Bomb Blues 1:07
5. The Squirreling Must Go On 4:22
6. San Francisco Sketches: a. Beach Scape; b. Fisherman's Wharf; c. Telegraph Hill; d. Close the door, I'm falling out of the room 8:12
7. Worry 3:43
8. Toys 3:04
9. To Rassman 1:29
10. Send Your Son To Die 4:25
11. Summer Day 3:48
12. Walk On the Water 3:42
1. Drive Me 3:19
2. Variations On Nainos 3:48
3. See My Way 5:04
4. Long Bomb Blues 1:07
5. The Squirreling Must Go On 4:22
6. San Francisco Sketches: a. Beach Scape; b. Fisherman's Wharf; c. Telegraph Hill; d. Close the door, I'm falling out of the room 8:12
7. Worry 3:43
8. Toys 3:04
9. To Rassman 1:29
10. Send Your Son To Die 4:25
11. Summer Day 3:48
12. Walk On the Water 3:42
Blodwyn Pig - Fillmore West August 1970 (1970)
Blodwyn Pig - Fillmore West August 1970 (1970)
Set 1:
1. It's Only Love 3:40
2. Ain't Ya Comin' Home Babe? 10:58
3. Dear Jill 5:17
4. Worry 9:49
5. San Francisco Sketches 15:46
Set 2:
1. It's Only Love 3:44
2. Change Song 4:54
3. Cat Squirrel 12:36
4. See My Way 8:38
5. Slow Down 6:25
6. Rock Me 4:10
Set 1:
1. It's Only Love 3:40
2. Ain't Ya Comin' Home Babe? 10:58
3. Dear Jill 5:17
4. Worry 9:49
5. San Francisco Sketches 15:46
Set 2:
1. It's Only Love 3:44
2. Change Song 4:54
3. Cat Squirrel 12:36
4. See My Way 8:38
5. Slow Down 6:25
6. Rock Me 4:10
Blodwyn Pig - Ahead Rings Out (1969)
Blodwyn Pig - Ahead Rings Out (1969)
1. It's Only Love 3:24
2. Dear Jill 5:13
3. Sing Me a Song That I Know 3:05
4. The Modern Alchemist 5:39
5. Up and Coming 5:24
6. Leave It With Me 3:49
7. The Change Song 3:48
8. Backwash 0:50
9. Ain't Ya Coming Home, Babe? 5:35
1. It's Only Love 3:24
2. Dear Jill 5:13
3. Sing Me a Song That I Know 3:05
4. The Modern Alchemist 5:39
5. Up and Coming 5:24
6. Leave It With Me 3:49
7. The Change Song 3:48
8. Backwash 0:50
9. Ain't Ya Coming Home, Babe? 5:35
Blind Faith - Blind Faith (1969)
Blind Faith - Blind Faith (1969)
Artist: Blind Faith
Album: Blind Faith
Released: 1969/2008
Genre: British blues, Psychedelic rock
Blind Faith is the self-titled album by the British supergroup Blind Faith, which consisted of Eric Clapton (The Yardbirds, Cream), Ginger Baker (Graham Bond Organisation, Cream), Steve Winwood (Spencer Davis Group, Traffic) and Ric Grech (Family). Their only album, Blind Faith was released in August 1969 (see 1969 in music).
There was an intense buzz about the band and its debut album Blind Faith, which on release topped Billboard's Pop Albums chart in America (as it did the UK charts) and peaked at #40 on the Black Albums chart, an impressive feat for a British rock quartet.
They began to work out songs early in 1969, and in February and March the group was in London at Morgan Studios, preparing for the beginnings of basic tracks for their album although the first few almost finished songs didn't show up until they were at Olympic Studios in April and May under the direction of producer Jimmy Miller. The music community was already aware of the linkup, despite Clapton's claim that he was cutting an album of his own on which Winwood would play. The rock press wasn't buying any of it, knowing that Baker was involved as well, and then the promoters and record companies got involved, pushing those concerned for an album and a tour.
The recording of their album was interrupted by such a tour of Scandinavia, then a U.S. tour from July 11 (Newport) to August 24 (Hawaii), supported by Free and Delaney & Bonnie and Friends. Although a chart topper the LP was recorded hurriedly and side two consisted of just two songs, one of them a 15-minute jam entitled "Do What You Like." Nevertheless the band was able to produce two classic hits; Winwood's "Can't Find My Way Home" and Clapton's "Presence of the Lord."
Tracklist:
1. Had To Cry Today
2. Can't Find My Way Home
3. Well Alright
4. Presence Of The Lord
5. Sea Of Joy
6. Do What You Like
7. Exchange And Mart [bonus track]
8. Spending All My Days [bonus track]
Artist: Blind Faith
Album: Blind Faith
Released: 1969/2008
Genre: British blues, Psychedelic rock
Blind Faith is the self-titled album by the British supergroup Blind Faith, which consisted of Eric Clapton (The Yardbirds, Cream), Ginger Baker (Graham Bond Organisation, Cream), Steve Winwood (Spencer Davis Group, Traffic) and Ric Grech (Family). Their only album, Blind Faith was released in August 1969 (see 1969 in music).
There was an intense buzz about the band and its debut album Blind Faith, which on release topped Billboard's Pop Albums chart in America (as it did the UK charts) and peaked at #40 on the Black Albums chart, an impressive feat for a British rock quartet.
They began to work out songs early in 1969, and in February and March the group was in London at Morgan Studios, preparing for the beginnings of basic tracks for their album although the first few almost finished songs didn't show up until they were at Olympic Studios in April and May under the direction of producer Jimmy Miller. The music community was already aware of the linkup, despite Clapton's claim that he was cutting an album of his own on which Winwood would play. The rock press wasn't buying any of it, knowing that Baker was involved as well, and then the promoters and record companies got involved, pushing those concerned for an album and a tour.
The recording of their album was interrupted by such a tour of Scandinavia, then a U.S. tour from July 11 (Newport) to August 24 (Hawaii), supported by Free and Delaney & Bonnie and Friends. Although a chart topper the LP was recorded hurriedly and side two consisted of just two songs, one of them a 15-minute jam entitled "Do What You Like." Nevertheless the band was able to produce two classic hits; Winwood's "Can't Find My Way Home" and Clapton's "Presence of the Lord."
Tracklist:
1. Had To Cry Today
2. Can't Find My Way Home
3. Well Alright
4. Presence Of The Lord
5. Sea Of Joy
6. Do What You Like
7. Exchange And Mart [bonus track]
8. Spending All My Days [bonus track]
Black Cat Bones - Barbed Wire Sandwich (1969)
Black Cat Bones - Barbed Wire Sandwich (1969)
UK Bluesrock
The Black Cat Bones was a blues-rock group from London founded in the late '60s by Paul Kossoff (guitar), Stuart Brooks (bass), and Simon Kirke (drums). Kossoff and Kirke left to form Free, and Brooks recruited Brian Short (vocals), Derek Brooks (guitar),
Incredible! This is how I see life. If you wanna feel the blue's, I mean really feel the blues. This recording here will get you. Death valley blues is incredible, the most powerfull blues song ive ever heard. The guitar work is far above stevie ray, or johnny winters or even B.B. King. No disrespect, I more than enjoy all of the above. But this is just a spellbound recording. Let it speak for itself and pick this up please.
Tracklist:
1. Chauffeur Listen
2. Death Valley Blues
3. Feelin' Good
4. Please Tell Me Baby
5. Coming Back
6. Save My Love
7. Four Women
8. Sylvester's Blues
9. Good Lookin' Woman
UK Bluesrock
The Black Cat Bones was a blues-rock group from London founded in the late '60s by Paul Kossoff (guitar), Stuart Brooks (bass), and Simon Kirke (drums). Kossoff and Kirke left to form Free, and Brooks recruited Brian Short (vocals), Derek Brooks (guitar),
Incredible! This is how I see life. If you wanna feel the blue's, I mean really feel the blues. This recording here will get you. Death valley blues is incredible, the most powerfull blues song ive ever heard. The guitar work is far above stevie ray, or johnny winters or even B.B. King. No disrespect, I more than enjoy all of the above. But this is just a spellbound recording. Let it speak for itself and pick this up please.
Tracklist:
1. Chauffeur Listen
2. Death Valley Blues
3. Feelin' Good
4. Please Tell Me Baby
5. Coming Back
6. Save My Love
7. Four Women
8. Sylvester's Blues
9. Good Lookin' Woman
Big Brother & The Holding Company - Cheap Thrills (1968)
Big Brother & The Holding Company - Cheap Thrills (1968)
Tracklist:
1. Combination Of The Two 5:47
2. I Need A Man To Love 4:54
3. Summertime 4:00
4. Piece Of My Heart 4:15
5. Turtle Blues 4:23
6. Oh, Sweet Mary 4:16
7. Ball And Chain 9:38
8. Roadblock [Studio Outtake] 5:33
9. Flower In The Sun [Studio Outtake] 3:05
10. Catch Me Daddy [Live] 5:31
11. Magic Of Love [Live] 3:58
Tracklist:
1. Combination Of The Two 5:47
2. I Need A Man To Love 4:54
3. Summertime 4:00
4. Piece Of My Heart 4:15
5. Turtle Blues 4:23
6. Oh, Sweet Mary 4:16
7. Ball And Chain 9:38
8. Roadblock [Studio Outtake] 5:33
9. Flower In The Sun [Studio Outtake] 3:05
10. Catch Me Daddy [Live] 5:31
11. Magic Of Love [Live] 3:58
Big Bertha Featuring Cozy Powell - Live Featuring Cozy Powell (1970)
Big Bertha Featuring Cozy Powell - Live Featuring Cozy Powell (1970)
Limited collector's release featuring thunderous, blues-based hard rock of a very high caliber. Almost certainly Cozy's earliest ever live recording with Big Bertha. A combined total of 11 tracks on two CDs, all taken from two sets performed by Powell with Dave Ball & Denny Ball on December 3rd, 1970 at a small club near Hamburg, Germany. UK blues rockers featuring Cozy Powell recorded live in 1970 on a double disc set. Zeppelin meets Cream styled heavy blues rock and features "Rhapsody in Blue","Set Me Free and "Ring of Fire","She's Not There" a lengthy version of "Crossroads" and more..
Tracklist:
CD1
1. Dave's Idiot Dance
2. Beast
3. Ring Of Fire
4. She's Not There
5. Munich City
6. Spoonful
CD2
7. Crossroads
8. Stumble
9. Never Gonna Let My Body T
10. Rhapsody In Blue
11. Set Me Free
Limited collector's release featuring thunderous, blues-based hard rock of a very high caliber. Almost certainly Cozy's earliest ever live recording with Big Bertha. A combined total of 11 tracks on two CDs, all taken from two sets performed by Powell with Dave Ball & Denny Ball on December 3rd, 1970 at a small club near Hamburg, Germany. UK blues rockers featuring Cozy Powell recorded live in 1970 on a double disc set. Zeppelin meets Cream styled heavy blues rock and features "Rhapsody in Blue","Set Me Free and "Ring of Fire","She's Not There" a lengthy version of "Crossroads" and more..
Tracklist:
CD1
1. Dave's Idiot Dance
2. Beast
3. Ring Of Fire
4. She's Not There
5. Munich City
6. Spoonful
CD2
7. Crossroads
8. Stumble
9. Never Gonna Let My Body T
10. Rhapsody In Blue
11. Set Me Free
Beefeaters - Meet You There (1971)
Beefeaters - Meet You There (1971)
Tracklist:
1. I´ll Meet You There
2. You Changed My Way Of Living
3. Night Train
4. Now I Know
5. Serenade To A Cuckoo
6. Stormy Monday
Tracklist:
1. I´ll Meet You There
2. You Changed My Way Of Living
3. Night Train
4. Now I Know
5. Serenade To A Cuckoo
6. Stormy Monday
Beefeaters - Beefeaters & Meet You There (1967)
Beefeaters - Beefeaters & Meet You There (1967)
Tracklist:
1. It Ain't Necessarily So 3:54
2. Crossroads 2:31
3. My Babe 3:35
4. I Want You 3:39
5. Hey Little Girl 2:17
6. Papa's Got A Brand New Bag 3:29
7. Let Me Down Easy 3:40
8. Shakin' Fingerpop 2:50
9. Night Flight 3:19
10. Summer Scene 4:29
11. I'll Meet You There 4:51
12. You Changed My Way Of Living 4:13
13. Night Train 4:25
14. Now I Know 4:55
15. Serenade To A Cuckoo 10:02
16. Stormy Monday 9:56
Tracklist:
1. It Ain't Necessarily So 3:54
2. Crossroads 2:31
3. My Babe 3:35
4. I Want You 3:39
5. Hey Little Girl 2:17
6. Papa's Got A Brand New Bag 3:29
7. Let Me Down Easy 3:40
8. Shakin' Fingerpop 2:50
9. Night Flight 3:19
10. Summer Scene 4:29
11. I'll Meet You There 4:51
12. You Changed My Way Of Living 4:13
13. Night Train 4:25
14. Now I Know 4:55
15. Serenade To A Cuckoo 10:02
16. Stormy Monday 9:56
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