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
Showing posts with label Blues Rock. Show all posts
Showing posts with label Blues Rock. Show all posts
Thursday, September 27, 2012
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
Subscribe to:
Posts (Atom)