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49th Parallel – 49th Parallel (1967-70 canada, outstanding garage beat psych, 2006 bonus tracks edition)

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Calgary's torch bearers in the great sixties garage punk sweepstakes were the 49th Parallel, whose 1969 chart success 'Twilight Woman' garnered them a few deserved rays of limelight. Unfortunately, plagued by personnel changes since their inception in 1966 (as the Shades of Blond), the lads were unable to capitalize on their minor hit, and by 1970, not long after the release of this self-titled LP, had decided to pack it in.

Starting off as a six-piece, the Shades of Blond landed a record deal with Ontario-based RCA subsidiary Gaiety Records, re-christened themselves the 49th Parallel and released a couple of mildly successful forty-fives, the spry 'Labourer' (RCA 3428) and the sunshine pop of 'She Says' (RCA 3447). A switch to the Venture label in 1968 saw more success with the curious 'Blue Bonnie Blue' b/w 'Missouri' (the former penned by a then unknown Delaney Bramlett about his equally obscure muse, Bonnie). 

At this point keyboardist Dave Petch left to be replaced first by Alf Cook and then by Dennis Mundy, with bassist Mick Woodhouse yielding to Dave Downy. By the time of their second Venture seven-incher, the radio-friendly pop-rocker 'Twilight Woman', the band's fortunes seemed to be lifting with some chart activity south of the border. With MGM affiliate Maverick agreeing to handle US distribution, the band recorded their sole full-lengther The 49th Parallel, an oddly schizophrenic mix of sunshine pop, Anglo lysergia and the gruffer acid-rock sounds of the era.

The gentlest and ultimately most successful tracks on The 49th Parallel were written by a mysterious D. Hockett, like the blithe and sugary opener 'Now That I'm a Man', with shades of Curt Boetcher at work in the summery orchestration, or the blurry Tomorrow-esque psych of 'Lazerabder Filchy'. The lysergic 'Missouri' showcases a breezy farfisa that sallies along behind a more caustic - and at times intrusive - guitar solo. Add to these the soulful AM fare of 'Twilight Woman'. Unfortunately, these tracks lie buried somewhat amidst some rather hefty acid-rock riffs. The record heats up on these tougher tracks when driven by Danny Lowe's caustic guitar or, especially, Mundy's abrasive Hammond B-3 licks (as on 'People') but often founders when the machismo is left unchecked.

The disparate The 49th Parallel often comes off more like a cobbled-together collection of singles than a unified album - hardly a surprise given the cachet of LPs back in the days of free-form radio. 
by Michael Panontin


Tracks
1. Now That I'm A Man (Hockett) - 2:22
2. Get Away (Stallings) - 2:26
3. Eye To Eye (Abbott) - 2:45
4. Missouri (Abbott, Carlson) - 3:17
5. Lazerander Filchy (Hockett) - 2:52
6. (Come On Little Child) Talk To Me (Lowe) - 3:00
7. (The) Magician (Hockett) - 3:33
8. Twilight Woman (Abbott) - 2:23
9. Close The Barn Door (Cook, Lowe, Abbott, Carlson, Bare) - 3:11
10.The People (Lowe, Velker, Bare) - 2:45
11.All Your Love (As The Shades Of Blond) (Lowe, Abbott) - 2:10
12.Laborer (Carlson, Lowe, Petch, Abbott, Woodhouse, Bare) - 2:25
13.You Do Things (Carlson, Lowe, Petch, Abbott, Woodhouse, Bare) - 2:23
14.She Says (Carlson, Lowe, Petch, Abbott, Woodhouse, Bare) - 1:57
15.Citizen Freak (Carlson, Lowe, Petch, Abbott, Woodhouse, Bare) - 1:36
16.Blue Bonnie Blue (Alternate Mix) (Bramlett, Davis) - 2:30
17.Up To No Good (Bramlett, Davis) - 2:19
18.I Need You (Lowe, Downey , Beatie, Velker, Bare) - 4:21
19.Goodtime Baby (Lowe, Downey, Beatie, Velker, Bare) - 2:46
20.Missouri (Single Mix) (Abbott, Carlson) - 2:20
21.Blue Bonnie Blue (Single Mix) (Bramlett, Davis) - 2:24

Band
*Dennis Abbott - Vocals
*Dan Lowe - Guitar
*Bob Carlson - Guitar
*Dave Petch - Organ
*Mick Woodhouse - Bass
*Terry Bare - Drums
*Dave Downey - Bass
*Alf Cook - Bass
*Dennis Mundy - Organ
*Jack Velker - Organ
*Dorn - Doran Beattie - Vocals

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String Cheese - Strings Cheese (1971 us, wonderful psych folk rock with west coast aroma)

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On first listen, String Cheese bares an incredible resemblence to the cultish San-Fran psych-folk outfit, “It’s a Beautiful Day”. Both bands have hopeful lyrics carried by angelic voices soaring over lush arrangements and spacious rhythms. In a word: magical.

As the album progressed, I began to hear resemblences to Jefferson Airplane and their quirky forbear, The Great Society.

I can hear both Marty Balin and Grace Slick in the vocals of Sally Smaller, and I am guessing she was only beginning to develop her repertoire. Unlike her female counterparts Pattie Santos and Linda LaFlamme of It’s a Beautiful Day, Sally’s voice hints at much darker qualities. This together with the more electric approach of String Cheese means that had they survived, they may have ventured off into harder-edged musical territory.

Considering the optimism of their lyrics, and the similarities to label mates like Jefferson Airplane, it’s surprising that String Cheese didn’t move from their home base of Chicago to join the Haight-Ashbury scene in San Francisco.

The tight-knit musical community there must have appealed to Greg Bloch, and so he left String Cheese to replace David LaFlamme in It’s a Beautiful Day in 1973. Unfortunately, this move was poisoned by the fact that LaFlamme was forced out of the band he founded due to royalty issues. Other Haight bands like the Grateful Dead were experiencing similar financial problems at the time, and with the Summer of Love fading into the distance, the idealism of the 1960s was losing its momentum – even in San Francisco.

I’d be quite reluctant to say that another “Summer of Love” is just around the corner, but there definitely seems to be hope that musicians are beginning to understand the importance of community again. Here in Toronto, multi-instrumental collaborations are on the rise, and musicians often play in several bands simultaneously – partially for experimentation, but also to pay the bills.

Albums like String Cheese offer up a taste of the magic that is possible for those who are committed to their craft.

The open rhythm of Louis Constantino on bass guitar and John Maggi on drums lays a basic foundation for the lush melodies of Bloch, Smaller, Larry Wendelken (vocals, 12-string guitar), and the sea of instruments played by William Dalton: organ, piano, celeste, electric guitar, harpsichord, keyboards, sitar (acoustic and electric), classical guitar, and orator.

What happened to the rest of String Cheese remains a mystery. Bloch went on to play with Mark-Almond (John Mayall’s former rhythm section), but the rest of the band appears to have just drifted into total obscurity. If you have any details, please feel free to post them as comments. 
By Rugrat from The Basement Rug


Tracks
1. For Now (Wendelken) - 3:46
2. Crystal (Wendelken) - 5:16
3. We Share (Wendelken, Scott) - 2:59
4. Here Am I / Empty Streets (Wendelken, Scott) - 6:27
5. Forage (Wendelken) - 3:00
6. Soul Of Man (Wendelken) - 5:04
7. Certain Kind Of Day (Wendelken, Scott) - 3:59
8. Woke Up This Morning (Wendelken) - 4:30
9. Coming (Dalton) - 1:42

String Cheese
*Lawrence W. Wendelken – 12-String Guitar, Vocals
*Sally Smaller – Vocals
*Gregory Bloch – Electric Violin
*William Dalton – Electric Guitar, Classical Guitar, Electric Sitar, Celeste, Piano, Organ, Harpsichord
*Louis Constantino – Bass
*John Maggi – Drums

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Fleetwood Mac - Show Biz Blues (1968-1970 uk, astonishing classic rock blues, 2002 double disc digi pack with unissued material)

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'Show-Biz Blues' is a compilation which consists entirely of previously unissued works from Peter Green's Fleetwood Mac. Included here are new songs as well as alternate versions of previously released tracks, and detailed in this booklet is the background to every track on this second 2-CD collection of early Fleetwood Mac blues. Also to be found in this booklet is new info and interviews for devotees of the original Peter Green line-up of the band, and for anyone interested in the 1960s British music scene - the time during which blues progressed into rock. 

The great thing about doing retrospectives which revisit that blues-rock period is that although the 1960s are well dead and gone, back in this dot.com present fresh info is there daily and important new stuff comes to light from time to time which allows you then to dig a bit deeper. So there can be no such thing as the 'definitive' story of the original Fleetwood Mac - it is an ever-unfolding saga. 

Since The Vaudeville Years collection came out, three things have been made available which add new slants to the Fleetwood Mac Story and to the Peter Green Story. First, an interview with hitherto low-profile Jeremy Spencer on Marty and Lisa Adelson's Fleetwood Mac website /penguin/qa. 

Second, an evocative and often poetic autobiography has been written by Dinky Dawson, the original Fleetwood Mac's sound engineer 'Life On The Road' (Billboard Books - ISBN 0-8230-8344-6). It is essential reading for Mac fans. 

The third chunk of info is not directly to do with early Fleetwood Mac but even so speaks volumes about the climate of those times and about how the pressures of fame and stardom could weigh heavy on a sensitive artist and cutting-edge guitarist. And so, watching Christopher Olgiati's television documentary about Jimi Hendrix - The Man They Made God - broadcast on BBC2's Hendrix Night in 1999, it was impossible not to see some parallels with Peter Green and Fleetwood Mac. In amongst much new archive footage from that time there is Eric Burdon's chilling assertion that "the business killed Jimi". What's more, Band of Gypsies' conga player Juma Sultan recounts bad memories of how Hendrix's creative direction towards the end - or rather a lack of it - was far more 'influenced' by management carrying shooters under their slick suits than by his own musical genius. 

Ironically, Hendrix's show-biz blues towards the end came to him from his fan base many of whom only wanted to hear what they knew. He was booed at the Isle of Wight Festival for musically wanting to move on. Being aware of this, management wanted Hendrix to be a keep-playing-the-old-hits cash cow rather than an inventive musician pushing back barriers. And so, in Juma Sultan's words. "they milked the cow to death". Burdon's and Sultan's comments are stark reminders that if there was something in the air in the late-1960s and 1970 in the music business then it was not the notion of artistic freedom - something Peter Green was also discovering around that time. In 1968 Hendrix told a journalist: 

"We've been playing Purple Haze, The Wind Cries Mary, Hey Joe and Foxy Lady.....we've been playing all these songs - which I really think are groovy songs - but we've been doing all these songs for two years. So quite naturally we start to improvise here and there and there's other things we want to turn on to the people, you know." 

And just two years later Green - by then, with three hits under his belt - commented: 

"Sometimes I think I've played this song 25,000 times - I've got to do something different with it. It's almost like being dictated to." 

So, a couple of years after Jimi Hendrix, the original Fleetwood Mac - led by a blues visionary - were also poised to conquer the world with a futuristic take on the blues. To get an idea of Green's musical vision listen now to his improvisational skills on a promotional recording of Green Manalishi - Disc 2 - track 7 - extended live version. Playing at his very best, none the less he soon had to quit the business for his freedom - to escape being dictated to by his fans, and also by his band who felt safer playing accessible blues-rock as opposed to the free-form direction of Underway - Disc 2 - track 3. There lies a crucial difference between Green and Hendrix: Green got out just in time, Hendrix got trapped. 

Peter Green's sudden exit came as a big shock to the band he left behind and to the business. But wasn't it a wise move in retrospect. At least he got away with his life. This was his and Fleetwood Mac's Show-Biz Blues, as he recently explained to Harry Shapiro in the Vol. 2 Issue 35 of the indispensable British Blues Connection magazine Blueprint (www.blueprint.blues.co.uk) 

"You can't really say what it was all about - it's just Show-Biz Blues (a track on 'Then Play On'). That's the song that says it all. The rest of them looked like clowns and I'm part of the circus. Whatever Fleetwood Mac had become I just didn't want to play whatever it was." 

The sad irony of Peter's comment is focused when listening to this collection with its many gems, and then imagining what might still have been to come. 

Everybody's got the show-biz blues. 
fom CD Liner-notes


Tracks
Disc one
1.  Soul Dressing (Booker T. Jones, Steve Cropper, Al Jackson, Lewie Steinberg) – 3:47
2.  If You Want to Be Happy  (Frank Guida, Carmela Guida, Joseph Royster) – 2:28
3.  Outrage  (William Allen Jr., Cropper, Jackson, Steinberg) – 2:47
4.  The Sun is Shining  (Elmore James) – 3:02
5.  Don't Be Cruel  (Otis Blackwell, Elvis Presley) – 1:40
6.  I'm So Lonely and Blue (Jeremy Spencer) – 3:53
7.  How Blue Can You Get?  (Leonard Feather) – 3:36
8.  My Baby's Sweeter  (Sonny Boy Williamson) – 3:38
9.  Long Grey Mare  (Peter Green) – 1:58
10. Buzz Me Baby  (Fleecy Moore, Dave Dexter, Jr.) – 3:33
11. Mind of My Own  (Danny Kirwan) – 2:59
12. I Have to Laugh (Otis Rush, Dave Clark) – 3:27
13. You're the One  (Buddy Holly, Slim Corbin, Waylon Jennings) – 2:05
14. Do You Give a Damn for Me (Green) – 3:58 
15. Him and Me  (Green) – 4:02 
16. Showbiz Blues  (Green) – 4:06
17. Fast Talking Woman Blues  (Green) – 3:22 
18. World in Harmony  (Kirwan, Green) – 3:24
19. Leaving Town Blues  (Green) – 3:49
Tracks 1-3 are performed by The Peter B's, an early band featuring Peter Green and Mick Fleetwood with Peter Bardens and David Ambrose.


Disc two
1.  Black Magic Woman  (Green) – 7:39
2.  Jumpin' at Shadows  (Duster Bennett) – 5:24
3.  Rattlesnake Shake / Underway  (Green) – 14:06
4.  Stranger Blues  (Elmore James, Morris Levy, Clarence Lewis) – 4:15
5.  World in Harmony  (Kirwan, Green) – 3:32
6.  Tiger  (Ollie Jones) – 3:22
7.  The Green Manalishi (With The Two-Prong Crown)  (Green) – 15:15
8.  Coming Your Way  (Kirwan) – 7:32
9.  Great Balls of Fire  (Blackwell, Jack Hammer) – 2:32
10. Twist and Shout  (Phil Medley, Bert Russell) – 7:45

Fleetwood Mac
* Peter Green – Guitar, Vocals
* Jeremy Spencer – Guitar, Vocals
* Danny Kirwan – Guitar, Vocals
* John McVie – Bass
* Mick Fleetwood – Percussion, Drums

1967-71  Live At The BBC
1968-71  The Best Of Peter Green's Fleetwood Mac
1969  Shrine '69

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Sam The Sham And The Pharaohs - The MGM Singles (1965-73 us, awesome garage roots 'n' roll, 2011 digi pack release)

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These days, Sam the Sham and the Pharaohs are best remembered for such infectious ’60s hits as “Wooly Bully” and “Lil’ Red Riding Hood,” and for the sartorial splendor of turbaned frontman/organist Sam the Sham (née Domingo Samudio) and his bandmates. But the one-of-a-kind Memphis-by-way-of-Texas quintet produced a large and highly original body of R&B/blues/Tex-Mex/garage tunes that established them as one of the greatest singles bands of the 1960s. While the band’s wacky humor and flamboyant visual image may have threatened to brand them as a novelty act, their raw exuberance, rootsy grit and playfully subversive streak made it clear that Sam and his Pharaohs were the genuine article.

Throughout the second half of the ’60s, Sam the Sham and the Pharaohs turned out a lengthy string of killer seven-inchers. Many of those singles boasted non-album B-sides that were as memorable as their better-known A-sides. Now, for the first time ever, Sundazed Music has gathered both sides of every one of the band’s original MGM Records singles on these lovingly packaged compact disc collection. The sizzling set includes such immortal Pharaohs classics as “Wooly Bully,” “Lil’ Red Riding Hood,” “Ju Ju Hand,” “Ring Dang Doo,” “Red Hot,” “The Hair on My Chinny Chin Chin,” “How Do You Catch a Girl” and “(I’m in With) The Out Crowd,” along with an amazing assortment of rare non-album B-sides, solo efforts and side projects. These long-out-of-print gems have been sourced from the original MGM masters and sound better than ever!!! 

Formed in Dallas and led by a dynamic turban-wearing lead singer and organist named Domingo Samudio, Sam the Sham & the Pharaohs were a garage bar band gone huge (it has been long rumored that they could play six hours straight without repeating a tune), and by mixing blues, R&B, and Tex-Mex together with a loopy sense of humor and sly lyrics, they stomped into pop history with the iconic party anthem “Wooly Bully,” which hit the number two spot on the pop charts right in the middle of the British Invasion in 1965. 

Aside from that record, though, and “Li’l Red Riding Hood” a year later in 1966, the group wouldn’t have that kind of chart success again, and Samudio and his band went down into most people’s annals as a one-hit wonder. This irresistible set, which collects all of the Pharaohs’ singles and B-sides for MGM Records between 1965 and 1968, plus Samudio's 1973 comeback single for the label (he had left MGM for Atlantic in 1970, only to return for that one release), proves there was a lot more to the story. 

Tracks like “Ju Ju Hand” (from 1965), “(I’m in With) The Out Crowd” (also 1966), “Banned in Boston” (1967), and “Old MacDonald Had a Boogaloo Farm” (1968) all display a delightfully subversive joy in being wryly silly, and they don’t get in the way of dancing, either. Oh, and then there's the wonderful kiss-off single "I Couldn't Spell !!*@!" from 1968 -- no, Sam the Sham was far from being a one-hit wonder and the romping, stomping proof of that is collected here. 
by Steve Leggett


Tracks
1. Wooly Bully (Domingo Samudio) - 2:22
2. Ain’t Gonna Move (Davidson, Kesler) - 2:05
3. Jujuhand (Domingo Samudio) - 2:06
4. Big City Lights (Davidson, Kesler) - 2:39
5. Ring Dang Doo (Tubert, Byers) - 2:22
6. Don't Try It (Domingo Samudio) - 2:21
7. Red Hot (William Emerson) - 2:16
8. A Long Long Way (Paul Gibson) - 1:58
9. Li'l Red Riding Hood (Ronald Blackwell) - 2:41
10.Love Me Like Before (Domingo Samudio) - 2:44
11.The Hair On My Chinny Chin Chin (Ronald Blackwell) - 2:35
12.(I'm In With) The Out Crowd (Domingo Samudio) - 2:15
13.How Do You Catch A Girl (Ronald Blackwell) - 2:19
14.The Love You Left Behind (Domingo Samudio) - 2:30
15.Oh That's Good, No That's Bad (Dewayne Blackwell) - 2:18
16.Take What You Can Get (Domingo Samudio) - 2:16
17.Black Sheep (Bob McDill) - 2:48
18.My Day's Gonna Come (Davidson, Kesler) - 1:59
19.Banned In Boston (John Morier) - 2:56
20.Money's My Problem (Carabetta, Gerace) - 2:23
21.Yakety Yak (Lieber, Stoller) - 2.02
22.Let Our Love Light Shine (Malone-Scott) - 2:36
23.Old Macdonald Had A Boogaloo Farm (Dallas Frazier) - 2:44
24.I Never Had No One (Domingo Samudio) - 2:42
25.I Couldn't Spell !!*@* (Wayne Thompson) - 2:22
26.The Down Home Strut (Carabetta, Samudio) - 2:14
27.Fate (Domingo Samudio) - 3:34
28.Oh Lo (Domingo Samudio) - 2:57

Musicians
Tracks 1-8
*Samuel Domingo - Vocals, Keyboard
*Ray Stinnet - Guitar
*Dave Martin - Bass
*Butch Gibson - Saxophone
*Jerry Patterson - Drums
Tracks 9-26
*Samuel Domingo - Vocals, Keyboard
*Tony "Butch" Gerace - Bass, Vocals
*Billy Bennett - Drums, Percussion
*Andy Kuha - Guitar, Vocals
Tracks 27,28
*Lorraine Gennaro
*Jane Anderson
*Fran Curcio

Related Act
1971  Domingo "Sam" Samudio - Hard And Heavy

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Al Kooper, Mike Bloomfield - The Lost Concert Tapes, Filmore East (1968 us, brilliant blues rock)

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You could tell the way the concert started, how it was gonna be. Bill Graham, took great pleasure in introducing each act, from the side of the stage, in shirtsleeves.When we were all in place, the crew gave him the nod. Michael said: "Wait a second—I wanna say something!" Where upon, our pianist, Paul Harris replied to Graham"Michael wants to say something..." In that instant, Michael had traversed the stage and grabbed the microphone right out of Bill Graham's grasp and proceededinto one of those Bloomfieldian speeches of his. Graham just stood there perplexed,eventually grinning at Michael's bluecollar blurb. 

When Michael finished, he politely dumped the microphone back in Graham's hands and headed back to his guitar. Graham introduced us in one sentence and we were off and running. Now 33 years later, it's my turn for the introductions. This was atypical Bloomfield-Kooper gig. Michael showed up sick as a dog withthe flu, two days before the show. I had put the band together this time. Jerry Jemmott was a master NYC session bassist and wasbest known for his recent work with Aretha Franklin. Pianist Paul Harris was my homey from Queens, who inherited all my studio work when I joined The Blues Project. John Cresci, was introduced to me by my good friend Charlie Calello and had played drums on the last two sessions for my first solo album, "I Stand Alone." I didn't know John very well, but he seemed like the right choice. 

We rehearsed for two days, and Michael managed to give Paul his flu. It started to become noticeable that Cresci might not have been the proper choice, as he seemed to not have logged much previous time playing Chicago-style blues, which is mostly what we performed. He & Jerry Jemmott kinda musically fought for where the groove belonged and that sort of subliminal feuding doesn't make for the best band chemistry. It was, however, just too late to make any personnel changes, and so I just hoped for the best. 

Prior to the first set the first night, Michael burst into the dressing room with this really wild looking guy in tow. His name was Johnny Winter, and Michael had heard him play in Chicago a coupla years before and knew he was good. Steve Paul, owner of the musician-hangout-club The Scene on West 46th Street, had just started managing Johnny, and I had heard good things about him, but had never met him til just then. Michael planned to bring him onstage to jam and I trusted his decision without having heard Johnny before. So we went out, Michael made his first speech of the night and we played "OneWay Out." 

I noticed right away how "on" Michael was, and I was excited because we were recording this show for a possible live album. Jerry & Johnny seemed to be doing okay and it looked like clear sailing. Right after the first song, Michael grabbed the mic again and introduced Johnny as Johnny 'Winters' and brought him right out to play. The opening-night audience, peppered with press and Columbia Records brass, had no idea who this wild-looking, long-haired, extremely white Texan albino was and it got tense real quick. Michael patiently counted out a slow Chicago blues groove and Cresci & Jemmott were at odds right at beat two of the first bar. 

Michael began playing his opening solo and Winter stood there, almost coiled up like a skinny Texas rattlesnake, waiting to strike. After Michael's solo, Winter stepped up to the mic and began to sing in an amazing voice that just didn't go with his frail body. After the first line of the verse ("It's My Own Fault, Baby"—a B.B. King chestnut) he fired off a sharp staccato blast of vintage Chicago-style guitar. The crowd leaned forward, and rows of jaws began to drop. This was the largest, most important audience young Winter had ever performed in front of, and he was virttually playing for his life. 

By the time he had sung a few verses and spun out a blistering guitar solo, the crowd was his. He graciously stepped back and gave Bloomfield the nod to solo. Michael stepped up in a very competitive situation, and slowly began to play his little heart out. But he didn't play any of the traditional licks that Winter had just strutted out for six minutes—he played pure vintage Bloomfield. Drummer Cresci, probably bored out of his gourd after playing over six minutes of slow blues, moved into a completely inappropraite % time waltz groove and pretty much extinguished Michael's momentum. 

Winter, gingerly tried to help by playing harmony with Michael, but it was too late. Michael stepped back and Winter sang the last verse, played a brilliant two minute cadenza and left the stage to a standing ovation. This was a Friday night. On Monday morning, Columbia Records brass who had attended the show offered him a lucrative recording contract which he eventually signed, and the rest, as they say, is history. 

Meanwhile, back at The Fillmore East, we were only on our third tune. Michael was having an amazing night. We played Simon & Garfunkel's "59th Street Bridge Song," Michael's slow blues "Tell Me Partner," Albert King's "Don't Throw Your Love On Me So Strong," Steve Winwood's version of "Til The End Of Time," Arthur "Big Boy" Crudup's Elvis cover "That's All Right, Mama" and a ragged version of Donovan's "Season Of The Witch," originally tweaked by Stephen Stills on the original Super Session album. 

Recording at the Fillmore was always risky business. Bill Graham rarely allowed a proper recording truck outside the premises, so gear had to be set up under the stage, a less than ideal acoustical location for recording. Crude spy cameras and monitors afforded the engineers a narrow view of what was actually going on up there, and spontanaiety was the engineers enemy. When Johnny Winter appeared unannounced, his guitar was nervously chosen to share the piano track in this eight channel world that existed in 1968. Interminable ground loops persisted, causing buzzes worse than the largest beehive. 

When the original sessions were concluded, the tapes laid, unplayed, in the Columbia vaults for 32 years. It was decided between the engineering gaffes and the Cresci/Jemmott battles, that this show was not fit for human consumption. As of 20 years ago, the tapes sunk into the "missing" category. Many attempts to locate them over the years proved futile. In 1999, I began workin on a box set that would come to be known as Rare & Well Done. In the course of raiding the Columbia vaults under various namechecks: Kooper, Bloomfield, Kooper-Bloomfield, etc., the masters miraculously re-appeared. I couldn't believe it. Time had cut into my memories and I couldn't recall whether we nad recorded the show where B.B. King guested or Johnny Winter was introduced. I soon found out. 

These tapes have been on a long, strange, journey. When we first re-discovered them, they had to be baked in an oven, an unceremonious but effective way to keep the Old oxide from peeling off all over the capstans of the playback machines. Then they were sent to the studios of Malcolm Cecil to be digitally debuzzed of all the ground hums, clicks and audio abberations picked up under the stage of The Fillmore East. Then I did some judicious editing to select the usable performances. Then the clarion call was sounded to my dear friend and uber-engineer Bill Szymczyk, who hosted us in Charlotte, North Carolina while he mixed this hornets nest of troubles & blessings at Reflection Sound. Finally, the mixed tapes found their way to Foothill Digital Studios in New York City, where the talented and erudite Allan Tucker, waved his mastering wand over it all and made that quantum leap to palatability. 

So here we are. I have to say, some of this is as good as it gets for Bloomfield afficionados, and the rest still smokes most of the players alive today. After all, this is the man they learned from! The drama of Johnny Winter(s) playing for his life out there on the Fillmore East stage is almost visual and. an audible rare treat to be heard; not to mention, a historical one. Paul Harris, who is largely lost in the audio miasma does a fine job and pops up with a couple of fine blues solos. I didn't particularly have a great night, but I left it as it was  cause this is all about Michael. Jerry Jemmott does his level best to hold down the groove, while Johnny Cresci tries to figure out what the hell he is doing onstage with these ragamuffins. 

This show contains dashes of humor, virtuosity, animosity and sheer joy at various random moments – sometimes all four at the same time! It ain't by any means perfect, but it sure is real and it's a pleasure to finally release it and make it possible to hear it as best as it can be heard. May the blues keep you kalm in these troubled times.
by Al Kooper, November 2002


Tracks
1. Introductions - 1:27
2. One Way Out (E. James, M. Sehorn, S. Williamson) - 4:21
3. Mike Bloomfield's Introduction of Johnny Winter - 0:59
4. It's My Own Fault (B.B. King, J. Taub) - 10:57
5. 59th Street Bridge Song (Feelin' Groovy) (P. Simon) - 6:16
6. (Please) Tell Me Partner (M. Bloomfield) - 10:11
7. That's All Right Mama (A. Crudup) - 3:40
8. Together Till The End Of Time (F. Wilson) - 4:30
9. Don't Throw Your Love On Me So Strong (A. King) - 14:01
10.Season Of The Witch (Donovan) - 8:59

Band
*Mike Bloomfield - Guitar, Vocals
*Johnny Winter - Guitar, Vocals (track 3)
*Al Kooper - Organ, Piano, Vocals
*Jerry Jemmott - Bass
*Paul Harris - Piano
*Johnny Cresci - Drums

Mike Bloomfield
1966-68  The Paul Butterfield Blues Band - Strawberry Jam
1967  Electric Flag - The Trip
1968-69  Electric Flag - An American Music Band / A Long Time Comin'  
196?-7?  The Electric Flag - Live
1969  Mike Bloomfield And Al Kooper - The Live Adventures
1969  Michael Bloomfield with Nick Gravenites & Friends - Live At Bill Graham's Fillmore West
1969  Nick Gravenites - My Labors
1973  Bloomfield, Hammond, Dr.John - Triumvirate (Japan remaster)
1976  KGB - KGB
1976-77  Michael Bloomfield - Live at the Old Waldorf

Al Kooper
1969  The Kooper Sessions With Shuggie Otis
1970  Easy Does It 
1973  Naked Songs
with Blues Project
1966  Live At The Cafe Au Go Go
1966  Projections
1967   Live At Town Hall
1973  Reunion In Central Park
with Blood, Sweat And Tears
1968  Child Is Father To The Man

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Bobby Whitlock - Where There's a Will There's a Way (1972 us, incredible classic rock melted with funky vibes, 2013 remaster)

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Whitlock’s story is a remarkable one. Born to a hardscrabble existence, raised in abject poverty, abused by his preacher father and was sent out to pick cotton in the fields. Moving from one railroad town to another, Whitlock was quite literally from the wrong side of the tracks.

Yet thanks to his singing and piano playing, music was Whitlock’s escape. Winding up in Memphis, Whitlock hooked up with Stax Records, who signed him as the first white artist to their new pop label HIP. But it was soul music, not pop, that was in Whitlock’s heart – and his break came when Delaney & Bonnie asked him to join their band, The Friends.

Following Delaney & Bonnie from Stax to Elektra Records, Whitlock found his life starting to intertwine with ‘60s rock royalty. Delaney & Bonnie took him on tour with Blind Faith, where Eric Clapton was impressed with Whitlock’s playing and the camaraderie he saw in The Friends. Soon, Whitlock joined Clapton, Jim Gordon and Carl Radle in Derek & The Dominos, the crack unit that backed George Harrison on much of the seminal All Things Must Pass and recorded the classic rock album Layla And Other Assorted Love Songs.

During the recording of those albums, Whitlock tentatively made his first steps as a solo artist. Though drugs were already beginning to tear Derek & The Dominoes apart, Whitlock was able to call on some high profile friends (and “Friends”) to play on his album, including Clapton, Harrison, session bassist Klaus Voorman (John Lennon, Carly Simon, et al), drummer Jim Gordon, Chris Wood (of Traffic) and others. “I really loved my first record and everything that was behind it,” says Whitlock now. “And for the love that was brought to the room by everyone each time we recorded. I know that you can hear it in Eric’s solo on "The Scenery Has Slowly Changed.”

When Bobby presented his album to Atlantic Records they rejected it, citing a different vision for his debut record. So Bobby bought himself out of his contract. Soon after, The Dominos split up following troubled second album sessions. Bobby just kept moving: first back to his rural home in England, then to France, where the Rolling Stones were recording Exile On Main Street. He found a deal for his debut album (via producer Jimmy Miller) and a follow-up too. 

That second album, Raw Velvet, featured the Edwin Hawkins Singers, the L.A. Symphony, Eric Clapton, Jim Gordon and Bobby’s new band members: Rick Vito on guitar, Keith Ellis on bass and Don Poncher on drums. Andy Johns co-produced the self-titled debut (with Whitlock) and Jimmy Miller produced the Raw Velvet LP. Andy was the recording engineer of Exile on Main Street and later produced Television’s Marquee Moon. Miller, of course, produced Exile On Main Street!


Tracks
1. Where There's a Will (Bonnie Bramlett, Bobby Whitlock) - 3:44
2, Song for Paula - 3:16
3. A Game Called Life - 4:15
4. Country Life - 3:06
5. A Day Without Jesus (Don Nix, Bobby Whitlock) - 3:24
6. Back in My Life Again - 3:31
7. The Scenery Has Slowly Changed - 3:52
8. I'd Rather Live the Straight Life - 2:29
9. The Dreams of a Hobo - 3:23
10.Back Home in England - 2:51
11.Tell the Truth (Eric Clapton, Bobby Whitlock) - 3:50
12.Bustin' My Ass - 3:31
13.Write You a Letter - 2:29
14.Ease Your Pain (Hoyt Axton) - 3:03
15.If You Ever - 3:18
16.Hello L.A., Bye Birmingham (Delaney Bramlett, Mac Davis) - 3:56
17.You Came Along - 3:04
18.Think About It - 3:09
19.Satisfied - 2:56
20.Dearest I Wonder - 3:49
21.Start All Over - 3:24
All songs by Bobby Whitlock except where indicated

Musicians
*Bobby Whitlock - Vocals, 12 String, Rhythm, Acoustic, Electric Guitar, Keyboards, Organ, Piano
*Chris Wood - Flute
*Bonnie Bramlett - Vocals
*Delaney Bramlett - Guitar, Vocals
*Eric Clapton - Bass, Electric Slide Guitar
*Keith Ellis - Bass
*Jim Gordon - Drums, Tabla
*George Harrison - Guitar
*The Edwin Hawkins Singers - Vocals
*Jim Keltner - Drums
*Bobby Keys - Saxophone
*Los Angeles Symphony Orchestra - Strings
*Jerry McGee - Guitar
*Don Poncher - Drums
*Jim Price - Trombone, Trumpet
*Carl Radle - Bass
*Rick Vito - Guitar, Slide Guitar
*Klaus Voormann - Bass

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The Attack - Magic In The Air (1967-69 uk, exciting freakbeat garage, psych)

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You can say that the Attack were in fact, at least a couple different groups for the fact that vocalist Richard Sherman had to regroup Attack from almost scratch 3 times.

The Attack's beginnings lie in a group called The Soul System. With members coming and going, once a stabilized 5 piece arouse, the band came attention to Don Arden, a top agent who signed them, found their first single (Try It, a Standells tune), and changed their name to Attack. Issued in January 1967, the single didn't do much on the charts.

However with it's heavy garage sound, it is considered a minor Freakbeat classic. The flip side We Don't Know is a rather strange jazz/soul and freakbeat hybrid with some silly lyrics. This same lineup stayed for the recording of their next single Hi-Ho Silver Lining before disbanding due to the lack of success with both 45's. Hi-Ho Silver Lining was met with fierce competition as Jeff Beck, who presumably heard The Attack's version and rushed out his own version as his first single after only a few days of The Attack's single.

The result was Jeff Beck getting the hit with Hi-Ho. The B side to Hi-Ho was an awesome piece of freakbeat, Any More Than I Do. This number, apart from being featured in recent compilations of the years, was used by John Peel for a radio jingle for the pirate Radio London. The guitarist responsible for the powerful riffing on Any More Than I Do, David O'List left to join the Nice in breaking new ground for a while, whilst drummer Alan Whitehead went back to the Marmalade and the others faded into obscurity.

Richard Sherman, now the only one left, regrouped The Attack with Scottish organist George Watt, drummer Chris Allen, guitarist Geoff Richardson and bassist Kenny Harold. Their follow up to Hi-Ho was another kinda cheeky and very English affair, Created By Clive. In a very ironic coincidence, two versions of Created By Clive were released the same day, by The Attack and The Syn!

The result was neither got any attention that the song was meant for which was probably better off as the liner notes of their posthumous compilation Magic In The Air notes "Clive, a fashion designer who specialized in dressing debs in see-through mini-dresses, would have probably sued anyway".

The new guitarist Geoff Richardson penned their B side, the slow tamped raga Colour Of My Mind. With the single just barely in the shops, a new guitarist John DuCann was added and the drummer and keyboard player were replaced too. With this lineup, The Attack went about playing all the venues available, Middle Earth, Tiles, the Speakeasy etc.

However personnel changes shifted once more in the summer of 1967, and Geoff Richardson and Kenny Harold left being replaced by Jim Avery. The recorded the two sides of their next single, Magic In The Air/Lady Orange Peel but the A side was rejected by Decca for being too heavy and the band were sent in to record the harmless Neville Thumbcatch.

Two more tracks were recorded in October 1967, covers of Morning Dew and Loving You Is Sweeter Than Ever, but the single that was eventually released in January 1968 was Neville Thumbcatch backed with Lady Orange Peel.

Thumbcatch was very similar to Cream's Pressed Rat And Warthog with it's narrative verses and trumpet melodies. With this single, the group disbanded again. DuCann and Sherman kept Attack alive, recruiting bassist Roger Deane and drummer Keith Hodge and continued on as a four piece.

This last lineup recorded tracks for a future album and single, all left in the can. Before their split in mid 1968, the group recorded many songs, including Winding Up Clocks, Feel Like Flying, Strange House, Just Waiting, Freedom For You, etc. Unfortunately, not all of these tracks survived when the Magic In The Air album was being compiled.

But featuring all their singles (with one exception, Created By Clive) and a handful of unreleased tracks from their 1968 album sessions, the compilation gives a better look at who The Attack were really about.

Tracks like Magic In The Air, Strange House, Freedom For You & Colour Of My Mind justify their high place in British freakbeat/psych history. Perhaps with a more stable lineup, the band would have reached farther than they did.


Tracks
1.Magic In The Air (John DuCann) - 3:39
2.Colour Of My Mind (Richard Sherman) - 2:29
3.Mr. Pinnodomy's Dilema (John DuCann) - 4:28
4.Hi Ho Silver Lining (English Weiss, Lancer) - 2:30
5.Try It (Levine, Ballack) - 2:03
6.Freedom For You (John DuCann) - 2:35
7.Any More Than I Do (O'List, Sherman) - 2:04
8.Strange House (John DuCann) - 4:11
9.Neville Thiumbcatch (Smith, Bain) - 3:03
10.Feel Like Flying (John DuCann) - 2:37
11.Lady Orange Peel (Richard Sherman) - 2:24
12.We Don't Know (O'List, Sherman) - 2:50
13.Too Old (John DuCann) - 3:08
14.Go Your Own Way (John DuCann) - 2:45

Musicians
*John DuCann  - Guitar
*Richard Sherman - Vocals
*George Watt - Organ
*Chris Allen - Drums
*Jim Avery - Bass Guitar
*Geoff Richardson - Guitar
*Kenny Harold - Bass Guitar
*Keith Hodge - Drums
*Roger Deane - Bass Guitar
*Gerry Henderson - Bass
*Davey O'List - Guitar
*Bob Hodges - Organ
*Alan Whitehead - Drums

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Steve Miller - Children Of The Future (1968 us, superb psych blues rock, 2012 digipack remaster with bonus track)

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The 1968 debut of the Steve Miller Band begins with a shattering cacophony, followed by an acoustic strum emerging like a beacon of light amidst the darkness and clatter.  The album’s title track “Children of the Future” is far removed from the ironic detachment of “The Joker” or the sleek majesty of “Fly Like an Eagle,” later hits that proved the group could go “pop” while still showing off their versatility and impeccable musicianship.

Though the blues-rock guitarist from Wisconsin rose through the ranks in the fertile Bay Area psychedelic rock scene, Miller’s first album was recorded by producer Glyn Johns at London’s Olympic Studios.  Miller and his band (originally Boz Scaggs on guitar/lead and background vocals, Lonnie Turner on bass/background vocals, Jim Peterman on mellotron and organ/background vocals, and Tim Davis on drums/lead and background vocals) married blues guitar licks to hazy, lysergic melodies.  The centerpiece of Children of the Future is the side-long suite which opened the LP, primarily written by Miller.  

It’s bookended by the title song (“We are children of the future…wonder what in the world we are going to do…When they get high, they can see for miles and miles/When we get high, I can see myself for miles…You know I’ve got something that you can use”) and the B.B. King-influenced closer “The Beauty of Time is That It’s Snowing (Psychedelic B.B.),” an instrumental with only the “We are children of the future” mantra for lyrics.  What Mr. King thought of it, I don’t know.  Miller did, indeed, get high, as his lyrics went, and was busted and imprisoned for marijuana possession while recording the album.  The suite’s lyrics combine optimism with hippy-dippy cosmic belief redolent of the period (“In my second mind, I can see you grow/Feel you flow/It moves my soul, yeah”) though traditional love song sentiments and blues tropes are also present.

The second side is more traditional, though songs still flow into one another.  Boz Scaggs, on the verge of coming into his own as a solo artist, contributes two tracks to Side Two.  His pretty, ethereal pop song “Baby’s Callin’ Me Home” (with Ben Sidran on harpischord) segues into the electric rock of “Steppin’ Stone” (not the Monkees hit).  Long before “Jet Airliner,” Miller contributed the folk-rock “Roll with It” (“There’s a plane goin’ down the runway…Believe I better go with it/There’s a train goin’ by the highway…believe I better roll with it”) with its wailing guitar solo.  

The album is rounded out by Jim Pulte’s “Junior Saw It Happen” and a couple of R&B covers, “Fanny Mae” (with its striking R&B harmonica and a riff that was also semi-appropriated for The Beach Boys’ “Help Me, Rhonda”) and the slow-burning “Key to the Highway.”  The new reissue adds one bonus track, the shimmering non-LP single “Sittin’ in Circles,” written by another well-regarded tunesmith, Barry Goldberg of the Electric Flag.
by Joe Marchese


Tracks
1. Children Of The Future – 2:59
2. Pushed Me To It – 0:35
3. You've Got The Power – 0:53
4. In My First Mind (Miller, Jim Peterman) – 7:31
5. The Beauty Of Time Is That It's Snowing (Psychedelic B.B.) – 5:24
6. Baby's Callin' Me Home (Boz Scaggs) – 3:24
7. Steppin' Stone (Scaggs) – 3:00
8. Roll With It – 2:29
9. Junior Saw It Happen (Jim Pulte) – 2:29
10.Fanny Mae (Buster Brown) – 3:09
11.Key To The Highway (Big Bill Broonzy, Charlie Segar) – 6:16
12.Sittin' In Circles (Barry Goldberg) - 3:06
All songs by Steve Miller unless as else stated

Band
*Steve Miller – Vocals, Guitar, Harmonica
*Boz Scaggs – Guitar,  Vocals  
*Lonnie Turner – Bass, Vocals
*Jim Peterman – Hammond Organ, Mellotron. Vocals
*Tim Davis – Drums, Vocals
With
*Ben Sidran – Harpsichord

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The Attack - About Time (1967-68 uk, solid mod freakbeat, 2006 remaster with unreleased material)

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The Attack where a band formed in 1966 around singer Richard Shirman (born 26 April 1949, London). 

The first line-up featured drummer Alan Whitehead from Marmalade, guitarist David O'List (later of The Nice) and John Du Cann. Their first single "Try It" had also been recorded by The Standells and Ohio Express. They also released a version of "Hi Ho Silver Lining", a few days earlier than Jeff Beck. Richard Shirman was invited to be singer with Andromeda but he declined.

They had more energy than an H-bomb after flash, and they hit the senses and the soul with a long awaited wake up call.  Led by ex Ready Steady Go dancer Richard Shirman, aka Jivin'K. Boots (!), and future Nice guitarist David O'List, the Attack recorded four singles for Decca, plus a number of unreleased tracks and a radio session, all included here. 

A definitive collection, which includes such stand outs as - ‘Try It’ "bugged out insanity,with sexual overtones blowing the Standells version into oblivion"; ‘We Don't Know’"a tight explosion of mod-soul" ; ‘Anymore Than I Do’, a freak beat classic! Plus of course their pre-Jeff Beck version of ‘Hi Ho Silver Lining’. 

This gorgeous package by Phil Smee and with full involvement of Richard Shirmani ncludes all four Decca singles and previously unreleased material.


Tracks
1. Anymore Than I Do (O'List, Shirman) - 2:06
2. Feel Like Flying (Aka Making It) (John DuCann) - 2:37
3. Created By Clive (Radio Session) (Pattison) - 2:45
4. Try It (Levine, Ballack) - 2:07
5. Go Your Way (John DuCann) - 2:45
6. Too Old (John DuCann) - 3:05
7. Colour Of My Mind (Richard Shirman) - 2:30
8. Lady Orange Peel (Richard Shirman) - 2:28
9. Sympathy For The Devil (Jagger, Richards) - 4:49
10.Neville Thumbcatch (Smith, Bain) - 3:03
11.Strange House (John DuCann) - 4:10
12.Created By Clive (Pattison) - 2:41
13.Mr Pinnodmy's Dilemma (John DuCann) - 4:27
14.Come On Up (Previously Unreleased) (Felix Cavaliere) - 2:49
15.Freedom For You (John DuCann) - 2:36
16.Hi Ho Silver Lining (English Weiss, Lancer) - 2:30
17.Magic In The Air (Aka Watch With Mother) (John DuCann) - 3:38
18.Anything (Previously Unreleased) (Richard Shirman) - 2:08
19.We Don't Know (O'List, Shirman) - 2:44

Musicians
*John DuCann  - Guitar
*Richard Shirman - Vocals
*George Watt - Organ
*Alan Whitehead - Drums
*Jim Avery - Bass Guitar
*Geoff Richardson - Guitar
*Kenny Harold - Bass Guitar
*Keith Hodge - Drums
*Roger Deane - Bass Guitar
*Chris Allen - Drums
*Gerry Henderson - Bass
*Davey O'List - Guitar
*Bob Hodges - Organ

1967-69  The Attack - Magic In The Air

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Mother Earth - Living With The Animals (1968 us, enormous blues rock with folk and jazz touches, original vinyl edition)

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Though Mother Earth is often remembered as a vehicle for Tracy Nelson, Living With the Animals is a true group effort, combining memorable vocal performances with tight R'n'B-derived playing with excellent guitar work from Michael Bloomfield. Side one is a showcase for Nelson's blues belting and piano, particularly on "Down So Low" and "Mother Earth." Not to be overlooked is the blues shuffle "I Did My Part" and R.P. St. John's sardonic "Living With the Animals" and "Marvel Set," which features him on lead vocals. 

Side two offers some stellar moments here as well, including "Cry On" and "Goodnight Nelda Grebe," with fine horn section work and excellent Nelson vocals. Written and fronted by St. John, "The Kingdom of Heaven Is Within You" is a brilliant closer; it's nocturnal, moody, and spacy and showcases beautiful muted trumpets and reeds with a gorgeous flute solo by Link Davis Jr. 
by J.P. Ollio and Thom Jurek


Tracks
1. Marvel Group (Saint John) - 3:17
2. Mother Earth (Memphis Slim) - 6:16
3. I Did My Part (Neville) - 2:51
4. Living With The Animals (Saint John) - 4:57
5. Down So Low (Nelson) - 3:51
6. Cry On (Toussaint) - 4:36
7. It Won't Be Long (McFarland) - 3:39
8. My Love Will Never Die (Dixon) - 4:59
9. Goodnight Nelba Grebe, The Telephone Company Has Cut Us Off  (Caldwell, Nelson) - 2:42
10.The Kingdom of Heaven (Is Within You) (Saint John) - 5:05

Musicians
*Tracy Nelson - Vocals, Piano, Keyboards
*Martin Fierro - Vocals, Flute, Saxophone, Altohorn, Tenorhorn, Synthesizer
*Powell St.John - Vocals, Harmonica
*Bob Salisbury - Vocals, Saxophone, Baritone Horn
*Losella Funque,Sylvia Caldwell,Shalimar Samuelson,Bob Arthur - Vocals
*Michael Bloomfield,  John Andrews, Makal Blumfeld - Guitar
*Spencer Perskin - Violin
*Ron Taormina - Saxophone, Baritonehorn
*Frank Morin - Saxophone, Tenorhorn
*George Rains - Saxophone, Drums
*Link Davis - Saxophone
*Luis Gasca - Trumpet
*Link Davis Jr. - Altohorn
*Mark Naftalin - Piano, Organ, Keyboards
*Danny Goldberg, Barry Goldberg - Organ
*Jose Rodriguez, Jose Emilio Rodriqueziii - Drums
*Earthettes - Background Vocals

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Steppenwolf - 7 (1970 canada, classic hard bluesy rock, 2013 japan SHM remaster)

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This album benefited greatly from Larry Byrom’s creative surge and contributions from George Biondo (who replaced Nick St. Nicholas on Bass) - . Larry and George had worked together in the group ‘T.I.M.E.” and were not only fine players but also excellent singers. 

We put their vocal talents to good use on the songs “Foggy Mental Breakdown”, “Who Needs Ya” and “Fat Jack” on which George also sang co-lead or solo. Those tracks as well as “Renegade” and “Hippo Stomp” were some of my favorites and featured some of Larry’s finest playing along with Jerry Edmonton’s imaginative arrangement ideas. I found that these tracks stimulated my lyric/melody writing and I was quite pleased with our finished collaboration. 

Since I was busy working on vocal parts for tracks the guys were laying down, I found myself playing guitar only on “40 Days and 40 Nights” and “Snowblind Friend”, however Larry more than picked up the slack in that department. During these sessions, I developed an ear infection and remember doing vocals with one ear out of commission. All in all “7” remains as one of my favorite Wolf albums to this day.


Tracks
1. Ball Crusher (L. Byrom, J. Kay) - 4:53
2. Forty Days And Forty Nights (B.Roth) - 3:04
3. Fat Jack (L. Byrom, G. Biondo) - 4:52
4. Rengade (L. Byrom, J. Kay) - 6:07
5. Foggy Mental Breakdown (L. Byrom, J. Kay) - 3:54
6. Snow Blind Friend (H.Axton) - 3:55
7. Who Needs Ya (L. Byrom, J. Kay) - 3:00
8. Earschplittenloudenboomer (L.Byrom) - 5:01
9. Hippo Stomp (L.Byrom, J. Kay) - 5:45
10.Screaming Night Hog (John Kay) - 3:18
11.Snow Blind Friend (Mono Single Version) (H.Axton) - 3:20
12.Hipop Stomp (Mono Single Version) (L.Byrom, J. Kay) - 3:22

Steppenwolf
*John Kay - Guitar, Vocals,   Harmonica
*Larry Byrom - Guitar, Vocals
*Goldy Mcjohn - Keyboards
*George Biondo - Bass, Vocals
*Jerry Edmonton - Drums

1968  Steppenwolf / The 2nd 
1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
1969  Monster (2013 japan SHM issue)
1970  Live (2013 Japan SHM edition)
1971  For Ladies Only (Japan SHM 2013 remaster)
Related Acts
1968  John Kay and the Sparrow
1972  John Kay – Forgotten Songs and Unsung Heroes
1968  Mars Bonfire

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Al Kooper - I Stand Alone / You Never Know Who Your Friends Are (1968-69 us, outstanding art psych jazz rhythm 'n' blues folk rock, 2008 double disc remaster with extra tracks)

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Another in the excellent  reissue, this is a musically sprawling double disc collection of two albums with bonus tracks by keyboard player Kooper who brought his particular genius to Bob Dylan's Like A Rolling Stone single, Dylan's Highway 61, Blonde on Blonde and New Morning albums, and by the Seventies was working as a producer for artists as diverse as The Tubes, Nils Lofgren and Lynyrd Skynyrd.

During his Dylan period in the late Sixties he helped form Blood Sweat and Tears, but also recorded the jamming album Super Session with Stephen Stills and Mike Bloomfield. He played on the Stones' Let It Bleed sessions and with Hendrix for Electric Ladyland, and along the way recorded his own albums.

The two collected here come from '68 and '69 -- and might be a trap for young players: they are "period pieces" we might say.

The first opens with a sound collage of noises, orchestration and jazz bits by Kooper credited to Spooner Oldham, and in other places there are horn sections (in the manner of BS&Tears), a Sgt Pepper's/She's Leaving Home-styled cover of Harry Nilsson's MOR pop ballad One ("is the loneliest number") which Three Dog Night would later turn into a chart-topper . . . as well as Bill Munroe's country classic Blue Moon of Kentucky where he channels Elvis '56.

Oh, and his own psychedelic organ piece Soft Landing on the Moon, barnyard noises, and Isaac Hayes' soul-funk on Toe Hold. Hmmm. You suspect the drugs were just kicking in.

Moments of great beauty too however, notably the string embellished Song and Dance for the Unborn, Frightened Child which once more reinforces how much of an influence the Beatles' trippy Sgt Pepper was having, even a year later in a fast-moving world.

The second disc/album is equally diverse, but you can perhaps add to the influences Brian Wilson/Beach Boys (Lucille), more straight-ahead soul (Norman Whitfield's Too Busy Thinking About My Baby), country-rock pre Elton's Tumbleweed Connection, more Nilsson (Kooper would record a whole album of Nilsson songs) and soul-blues. And more.

The lasting impression is that Kooper was a great sideman (all those Dylan sessions), a real lateral thinker (BS&Tears, the production work) and an ADHD kinda guy when it came to his own albums: too much musical information floating around inside him that couldn't be contained so just came flooding out.


Tracks
Disc 1
1. Overture (Spooner Oldham) - 4:39
2. I Stand Alone (Al Kooper) - 3:37
3. Camille (Al Kooper, Tony Powers) - 2:55
4. One (Harry Nilson) - 2:53
5. Coloured Rain (C. Wood, J. Capaldi, S. Winwood) - 3:00
6. Soft Landing on the Moon (Al Kooper) - 4:01
7. I Can Love a Woman (Al Kooper) - 3:27
8. Blue Moon of Kentucky (Bill Monroe) - 2:15 
9. Toe Hold (D. Porter, I. Hayes) - 3:53
10.Right Now for You (Al Kooper) - 2:33
11.Hey, Western Union Man (J. Butler, K. Gamble, L. Huff) - 3:30
12.Song and Dance for the Unborn, Frightened Child (Al Kooper) - 4:33


Disc 2
1. Magic in My Socks (Al Kooper) - 3:54
2. Lucille (Al Kooper) - 3:22
3. Too Busy Thinking About My Baby (N. Whitefield, J. Bradford, B. Strong) - 3:19
4. First Time Around (Al Kooper) - 2:46
5. Loretta (Union Turnpike Eulogy) (Al Kooper) - 3:46
6. Blues, Pt. 4 (Al Kooper) - 4:36
7. You Never Know Who Your Friends Are (Al Kooper) - 2:52
8. Great American Marriage/Nothing (Al Kooper) - 4:44
9. I Don't Know Why I Love You (D. Hunter, L. hardaway, S. Wonder, P. Riser) - 3:21
10. Mourning Glory Story (H. Nilsson) - 2:14
11. Anna Lee (What Can I Do for You) (Al Kooper) - 3:17
12. I'm Never Gonna Let You Down (Al Kooper) - 4:36
13. Piano Solo Introduction (Al Kooper) - 2:00
14. I Got a Woman (Ray Charles) - 4:29
15. Buckskin Boy (Al Kooper, Charlie Calello) - 3:09
16. Sad, Sad Sunshine (Al Kooper) - 5:04
17. God Sheds His Grace on Thee (Al Kooper, Charlie Calello) - 2:07
18. Brand New Day (From the Landlord) (Al Kooper) - 3:15
19. Love Theme (From the Landlord) (Al Kooper) - 3:12

Musicians
I Stand Alone
*Al Kooper: Piano, Organ, Ondioline, Guitars, Vocals
*Stephen Miller - Keyboards
*Wayne Moss, Jerry Kennedy,"Big" Charlie Daniels - Guitar
*Charlie McCoy - Bass, Harmonica
*Ken Buttrey - Drums
*The Blossoms - Vocal

You Never Know Who Your Friends Are...Plus
*Al Kooper - Piano, Organ, Guitar, Ondioline, Vocals
*The Al Kooper Big Band under the direction of Charlie Calello
*Ralph Casale, Stu Scharf,  Eric Gale - Guitars
*Ernie Hayes, Paul Griffin,  Frank Owens - Piano, Organ
*Walter Sears - Moog Synthesizer
*Chuck Rainey, Jerry Jemmott,  John Miller - Bass
*"Pretty" Purdie, Al Rodgers - Drums
*Bernie Glow, Ernie Royal and Marvin Stamm - Trumpets
*Ray Desio, Jimmy Knepper, Bill Watrous,  Tony Studd - Trombones
*George Young, Sol Schlinger, Seldon Powell,  Joe Farrell - Saxophones
*Hilda Harris, Connie Zimet, Albertine Harris, Lois Winter, Mike Gately - Voices
*Lou Christie, Robert John, Charlie Calello - Voices

1969  The Kooper Sessions With Shuggie Otis
1970  Easy Does It 
1973  Naked Songs ( Japan remaster)
with Blues Project
1966  Live At The Cafe Au Go Go (2013 Japan SHM double disc set)
1966  Projections (2013 Japan SHM two disc set)
1967   Live At Town Hall (Japan SHM edition)
1973  Reunion In Central Park (Japan SHM edition)
with Blood, Sweat And Tears
1968  Child Is Father To The Man
with Mike Bloomfield
1969  Mike Bloomfield And Al Kooper - The Live Adventures
1968  The Lost Concert Tapes, Filmore East

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The Steve Miller Band - Brave New World (1969 us excellent psych rock, 2012 digipack remaster)

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By the time the prolific Miller set up shop to record 1969’s Brave New World, the line-up had been slimmed down.  Scaggs and Peterman had departed as 1968 came to a close, but Miller welcomed some very special guests to the new album: returning friend and Miller’s sometimes co-writer Ben Sidran (who had played on Children of the Future), Nicky Hopkins, and Paul Ramon, a.k.a. Paul McCartney!  

Though the songs are tighter and a bit more pop-oriented than on the first two LPs, Miller’s blazing guitar rocked harder than before, and the album’s songs were the group’s most consistent yet.  Produced by Glyn Johns in Hollywood in the midst of his work on The Beatles’ Get Back, Brave New World offered group harmonies on Miller’s optimistic, catchy title track (originally written for an abortive sci-fi concept album; also see the album’s “Space Cowboy”) and Miller and Sidran’s “Celebration Song,” with its “Sha-la-la” refrain.  Their “Seasons” is also one of Miller’s loveliest pieces of music.  

Tim Davis’ breakneck “Hey Baby, Can You Hear Your Daddy’s Heartbeat” is Hendrix-style blues-rock, while the band went back to basics on the bluesy riffs of “Got Love ‘Cause You Need It” and Lonnie Turner’s “LT’s Midnight Dream.”  Nicky Hopkins’ glistening piano chords added a new dimension to the group’s sound on “Kow Kow,” with a familiar-sounding Miller melody set to an absurdist lyric.  

McCartney played bass and drums and sang background vocals on the album closer, the rousing and raucous “My Dark Hour.” Synthesizing blues, rock, pop and psychedelic soul influences into one cohesive LP, Brave New World augured for the band’s more commercial future.
by Joe Marchese


Tracks
1. Brave New World (Steve Miller) – 3:27
2. Celebration Song (Miller, Ben Sidran) – 2:33
3. Can't You Hear Your Daddy's Heartbeat (Tim Davis) – 2:30
4. Got Love 'Cause You Need It (Miller, Sidran) – 2:28
5. Kow Kow (Miller) – 4:28
6. Seasons (Miller, Sidran) – 3:50
7. Space Cowboy (Miller, Sidran) – 4:55
8. Lt's Midnight Dream (Lonnie Turner) – 2:33
9. My Dark Hour (Miller) – 3:07

The Steve Miller Band
*Steve Miller – Guitar, Harmonica, Lead Vocals
*Glyn Johns – Guitar, Percussion, Vocals
*Lonnie Turner – Bass Guitar, Guitar, Vocals
*Ben Sidran – Keyboards
*Tim Davis – Drums, Vocals
Additional musicians
*Nicky Hopkins – Piano
*Paul McCartney (as "Paul Ramon") – Drums, Bass, Vocals


The Glass Family - Electric Band (1969 us, trippy psyhedelic rock with prog drops, 2012 Kismet isssue with extra tracks)

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Attempts to get into contemporary songwriting are being fostered here by a newly organized W.B.-Seven Arts writers workshop. Two 16-year-old writers plus a trio of writers/performers called the Glass Family, have been signed to the workshop by Raul Abeyta, recently hired to oversee the workshop effort. Abeyta was formerly a contract writer with the company for three years. 

He now holds the title of general professional manager of special projects, reporting to Billy Sherman, the office's general professional manager. Abeyta has been scouting for writers and artists in the Southern California area. He found the Glass Family on Catalina Island. The group has been to record an LP of its own compositions for W-7 Records. Their compositions will be published by Tamerlane Music. W-7's BM1 firm. Abeyta critiques the new writers works and seeks lo pair composers with lyricists Sherman says the projeci can involve up to 12 persons. 

The workshop primarily functions in the evenings at the publishing company's Hollywood offices where a piano and tape recorder are made available to the fledgling writers. The Adrisi Brothers, who have been with Sherman five years, were originally brought into the Tamerlane fold when Valiant Records was still operating. Valiant was subsequent sold to Warner Bros.
B/brd November 16th 1968

'Astonishingly perceptive album. This is progressive rock, but with variations. House Of Glass hinges on its perceptive lyrics.Sometimes You Wander is melodic, and about as easy listening as you can get. Agorn (Elements Of Complex Variables) is interesting, largely because of the drum work. Very good LP. Highly electronic'
B/brd, February 15th 1969


Tracks
1. House of Glass - 3:12
2. Born In the U.S.A. - 2:30
3. Once Again - 2:36
4. Sometimes You Wander (Henry'sTune) - 2:59
5. The Means - 4:10
6. Do You Remember? - 3:22
7. I Want To See My Baby (Capilouto, Green, Parrett) - 3:43
8. Lady Blue - 2:48
9. Passage #17 - 2:32
10. Mr. Happy Glee - 2:35
11. Guess I'll Let You Go - 2:44
12. Agorn (Elements of Complex Variables) (Capilouto, Green, Parrett) - 4:12
13. Teenage Rebellion - 1:41
14. David's Rap - 2:05
15. Guess I'll Let You Go (45 Mix) - 2:5
All titles by Ralph Parrett except where noted

Glass Family
*Ralph Parrett – Vocals, Guitar
*David Capiloato – Keyboards, Bass
*Gary Green – Drums Percussion

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Steve Miller Band - Sailor (1968 us, spectacular psych bluesy rock, 2012 digipack remaster)

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Most definitely a part of the late-'60s West Coast psychedelic blues revolution that was becoming hipper than hip, Steve Miller was also always acutely aware of both the British psychedelic movement that was swirling in tandem and of where the future lay, and how that would evolve into something even more remarkable. 

The result of all those ideas, of course, came together on 1968's magnificent Sailor LP. What was begun on Children of the Future is more fully realized on Sailor, most notably on the opening "Song for Our Ancestors," which begins with a foghorn and only gets stranger from there. Indeed, the song precognizes Pink Floyd's 1971 opus "Echoes" to such an extent that one wonders how much the latter enjoyed Miller's own wild ride. 

Elsewhere, the beautiful, slow "Dear Mary" positively shimmers in a haze of declared love, while the heavy drumbeats and rock riffing guitar of "Living in the U.S.A." are a powerful reminder that the Steve Miller Band, no matter what other paths they meandered down, could rock out with the best of them. And, of course, this is the LP that introduced many to the Johnny "Guitar" Watson classic "Gangster of Love," a song that would become almost wholly Miller's own, giving the fans an alter ego to caress long before "The Joker" arose to show his hand. 

Rounding out Miller's love of the blues is an excellent rendering of Jimmy Reed's "You're So Fine." At their blues-loving best, Sailor is a classic Miller recording and a must-have -- especially for the more contemporary fan, where it becomes an initiation into a past of mythic proportion. 
by Amy Hanson


Tracks
1. Song For Our Ancestors (S. Miller) – 5:57
2. Dear Mary (S. Miller) – 3:35
3. My Friend (Tim Davis, Boz Scaggs) – 3:30
4. Living In The U.S.A. (S. Miller) – 4:03
5. Quicksilver Girl (S. Miller) – 2:40
6. Lucky Man (Jim Peterman) – 3:08
7. Gangster Of Love (Johnny Guitar Watson) – 1:24
8. You're So Fine (Jimmy Reed) – 2:51
9. Overdrive (Boz Scaggs) – 3:54
10.Dime-A-Dance Romance (Boz Scaggs) – 3:26

Band
*Steve Miller – Guitar, Harmonica, Lead Vocals
*Boz Scaggs – Guitar, Backing Vocals
*Lonnie Turner – Bass Guitar, Backing Vocals
*Jim Peterman – Keyboards, Background Vocals
*Tim Davis – Drums, Backing Vocals

1968  Children Of The Future (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)

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Dave Mason - Certified Live / Let It Flow (1976-77 uk, splendid classic steady rock, 2011 double disc edition)

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Back in the mid-seventies Dave Mason had a really nice run.  In 1976 he had a nice hit record with this release, Certified Live, and then he followed that up a year later with one of, if not the most popular album of his solo career, Let it Flow.

Certified Live was another double live album. They were the rage in the mid-70s.  You can thank Frampton Come Alive for that.  If you were a decent selling artist in that period that did OK but needed a little kick to break out, you released a double live album.  It not only worked for Frampton, but it also was the formula that triggered hits for Lynyrd Skynyrd, The Outlaws, REO Speedwagon, Rush, UFO, Thin Lizzy, Pat Travers, Ted Nugent and even Genesis.  It really worked.  I should know, I bought all of those and a few more as well.

When I went back and listened to Certified Live the first thing that jumped out at me was how damn good his drummer was!  The opening track is “Feelin’ Alright,; You know the song, think Joe Cocker.  His name is Rick Jaeger. I’m not familiar with him but he’s really good. He’s got the Bernard Purdie high hat riff down!!

Dave runs through quite a bit of his best stuff here. Besides ‘Feelin’ Alright” you also get great versions of “Show Me Some Affection”, “World in Changes”, “Look at You and Look at Me” and of course, “Only You Know and I Know.”

Dave also takes on some interesting cover tunes here as well.  He tackles The Eagles “Take it to the Limit”, Bob Dylan’s “All Along the Watchtower” and  the Spencer Davis Band’s “Gimme Some Lovin.”  You may not know this but Dave’s entry into the big time music scene was as the road manager in his early 20s for the Spencer Davis Band. There he met “Stevie” Winwood and would eventually join with him and form Traffic.

This album did OK on the charts. I was not another Frampton Comes Alive by any means.  It peaked at #78 on the Billboard Top 200 Albums chart.  It did however, give him time to work on that Let it Flow album that did quite well.
by Larry Carta

Let It Flow was the biggest selling album that Dave Mason had while on Columbia, as it contained his biggest hit, "We Just Disagree," as well as "Let It Go, Let It Flow." Everything here is similar in character to the latter song, though not all of it is as catchy or hook-driven. And there is a great deal else to recommend this record, including the horn-and-string ornamented "Mystic Traveler"; the soaring, soulful "Spend Your Life with Me"; the funky "Takin' the Time to Find"; and the soulful "What DO We Got Here?" 

Only the two hits off this album ended up on Sony/Legacy's compilation of Mason's work, Long Lost Friend: The Best of Dave Mason, so it is still a relevant purchase for those curious about Mason's work in the '70s. 
by Bruce Eder


Tracks
Certified Live
1. Feelin’ Alright (D. Mason) - 6:21
2. Pearly Queen (S. Winwood, J. Capaldi) - 3:41
3. Show Me Some Affection (D. Mason) - 4:36
4. All Along the Watchtower (Bob Dylan) - 4:46
5. Take It to the Limit (R. Meisner, D. Henley, G. Frey) - 3:34
6. Give Me a Reason Why (D. Mason) - 4:12
7. Sad and Deep as You (D. Mason) - 3:12
8. Every Woman (D. Mason) - 2:36
9. World in Changes (D. Mason) - 5:25
10.Goin’ Down Slow (St. Louis Jimmy Oden) - 6:43
11.Look at You, Look at Me (D. Mason, J. Capaldi) - 12:50
12.Only You Know and I Know (D. Mason) - 4:45
12.Bring It on Home to Me (Sam Cooke)- 5:05
14.Gimme Some Lovin’ (S. Davis, S. Winwood, M. Winwood) - 8:14

Musicians
*Mike Finnigan - Keyboards, Vocals
*Dr. Rick Jaeger - Drums
*Gerald Johnson - Bass
*Jim Kruegar - Guitar
*Dave Mason - Guitar, Vocals


Let It Flow
1. So High (Rock Me Baby And Roll Me Away) (Mentor Williams, Jack Conrad) - 4:07
2. We Just Disagree  (Jim Krueger) - 3:00
3. Mystic Traveler  (Dave Mason) - 5:00
4. Spend Your Life With Me  (Angeleen Gagliano) - 3:22
5. Takin' The Time To Find   (Dave Mason) - 4:31
6. Let It Go, Let It Flow  (Dave Mason) - 3:15
7. Then It's Alright   (Dave Mason) - 4:14
8. Seasons  (Angeleen Gagliano) - 4:50
9. You Just Have To Wait Now  (Dave Mason) - 3:09
10.What Do We Got Here? (Jim Krueger) - 4:21

Musicians
*Mike Finnigan - Keyboards, Vocals
*Dr. Rick Jaeger - Drums
*Gerald Johnson - Bass
*Jim Kruegar - Guitar
*Dave Mason - Guitar, Vocals
*Stephen Stills - Vocals
*Yvonne Elliman - Vocals
*Ernie Watts - Saxophone

1970  Dave Mason - Alone Together (Japan remaster)
1972  Dave Mason - Headkeeper (Japan SHM remaster)

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The Association - The Association (1969 us, wonderful melt of psych rock, country, folk and blue eyed soul 2013 deluxe expanded edition

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“Where have I gone, where have I gone?” pondered Terry Kirkman on the haunting opening track to The Association’s 1969 long-player.  Though the group’s fifth album, it was simply titled The Association, signifying an artistic rebirth.  Gone were the session players and ornate Bones Howe production that marked their previous album, 1968’s Birthday.  Taking the production reins themselves in tandem with John Boylan, The Association – Kirkman, Russ Giguere, Brian Cole, Jim Yester, Larry Ramos, Ted Bluechel., Jr. and the just-returned Jules Alexander – created one of their most beguilingly eclectic collections.  The Association, also known as “The Stonehenge album” for its spacey cover, didn’t contain any hit singles.  But it showed off the group’s trademark harmonies in gleaming form as each man’s songwriting continued to grow in maturity. 

The Association addressed the heady, rapidly-changing times with the very first song as Kirkman pondered over an ethereal chorale, “Oh, it’s a hard way down to the time I raised my hand and swore I’d gladly die for my God and Uncle Sam/There was so much I didn’t know, and what I know, I didn’t understand/Look at me, look at me/Where have I gone, where I have gone?”  But soon, Kirkman turned his questioning outward, too, with “Look at Me, Look at You.”  The voices were familiar but the accompaniment, flecked with Doug Dillard’s banjo, acknowledged country-rock.  

Jim Yester leaned in that direction, too, with “What Were the Words.”  This look back from relationship’s end was originally written for The Dillards, and incorporates twangy instrumentation alongside those lush voices.  Jules Alexander wrote his own country-rock song with the reflective “Dubuque Blues.”  This was, doubtless, an earthier Association, although folk influences had been a major component of the band since their earliest days.  On The Association, the multi-layered vocals hadn’t lost the sheer and exhilarating beauty of “Everything That Touches You” or “Cherish,” but frequently hinted at a darker place.

Even the love songs took on a more subtle air.  Alexander’s “Love Affair,” yearningly sung by Yester, paints a picture of “kids to the world of the old” with “dreams that we’re living [which] they will never know…you in your Levis and I in my hair…”  The imagery is spare yet potent, and very much of a window into the time though its author opines in reissue producer Steve Stanley’s comprehensive new liner notes that it “was about a woman I was going with at the time…nothing more than that, really.”  Bluechel co-wrote the ambitious “The Nest,” juxtaposing downbeat solo verses (“Without love, home’s an empty house/And you might be the one who’s left within it”) with a more optimistic group-sung chorus in which the famed sunshine pop purveyors were at least hinting at a ray of sunshine.

The most commercial track on The Association was producer Boylan’s “Yes I Will.” Warner Bros. correctly selected the track for single release, but it couldn’t rise above a disappointing No. 120 on the pop chart.  Still, it’s one of the band’s stronger rock-inflected songs, packing a simple yet powerful punch, even if it feels somewhat out of place on this more subtly reflective set.  “Goodbye Forever,” written by Kirkman, Alexander and Rita Martinson, was originally submitted as a title song to the 1969 film Goodbye Columbus, but was rejected in favor of Jim Yester’s stab at a title song for the movie.  It was retitled for The Association’s recording, and boasts a catchy melody if rather silly lyrics playing on the film’s then-risqué, hip and contemporary themes:    “Not just another pretty bottom/But a genuine blue boobie/Not just another pretty bottom/But a genuine cheap groovy…”

Larry Ramos and Tony Ortega’s frenetic soul rocker, “Are You Ready,” has a tough guitar riff and some horns arranged by Bones Howe’s frequent collaborator Bob Alcivar.  Brian Cole and Jules Alexander’s “I Am Up for Europe” (“…or any other place where I don’t speak the language or recognize a face”) emphasizes heavy guitars to a restless and searching lyric espousing a “gentle revolution.”  Russ Giguere’s only songwriting contribution is the jokey “Broccoli,” about, well, broccoli.  Kirkman closed out the album on a suitably poetic note, though, with “Boy on the Mountain,” co-written with arranger Richard Thompson (not of Fairport Convention fame).
by Joe Marchese


Tracks
1. Look At Me, Look At You (T. Kirkman)
2. Yes, I Will (J. Boylan)
3. Love Affair  (J. Alexander)
4. The Nest (T. Bluechel, Jr., S. Carmel)
5. What Were The Words (J. Yester)
6. Are You Ready (L. Ramos, Jr., T. Ortega)
7. Dubuque Blues (J. Alexander)
8. Under Branches (J. Alexander, S. Carmel)
9. I Am Up For Europe (B. Cole, J. Alexander)
10. Broccoli (R. Giguere)
11. Goodbye Forever (T. Kirkman, J. Alexander, R. Martinson)
12. Boy On The Mountain (T. Kirkman, R. Thompson)
13. Just About The Same (Stereo 45) (R. Edgar, M. Fennelly, L. Mallory, D. Rhodes, J. Stec)
14. Six Man Band (Mono 45) (T. Kirkman)
15. Enter The Young (Withdrawn 1968 45) (T. Kirkman)
16. Yes, I Will (Mono 45) (J. Boylan)
17. Are You Ready (Mono 45) (L. Ramos, Jr., T. Ortega)
18. Dubuque Blues (Mono 45) (J. Alexander)
19. Under Branches (Mono 45) (J. Alexander, S. Carmel)
20. I Am Up For Europe (Mono 45) (B. Cole, J. Alexander)
21. Look At Me, Look At You (Mono Mix) (T. Kirkman)
22. Boy On The Mountain (Mono Mix) (T. Kirkman, R. Thompson)
The Original Stereo Album 1-12
Bonus Tracks 13-22

The Association
*Russ Giguere - Vocals, Guitar
*Brian Cole - Vocals, Bass
*Terry Kirkman - Vocals, Brass, Woodwinds
*Jim Yester - Vocals, Guitar, Keyboards
*Jules Alexander - Vocals, Guitar
*Larry Ramos, Jr. - Vocals, Bass, Guitar
*Ted Bluechel Jr - Vocals, Drums

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Butterfingers - Butterfingers (1970 us, rough fuzzy psych rock, Shadoks release)

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Another mystery group with a hideously rare private press to their credit. Butterfingers are thought to have come from Texas, as their album is rarely sighted far from the Houston area. Musically, this band will have wide appeal amongst readers of this book - wild psychedelic guitar on every cut, that druggy underground vibe that was so prevalent in the 'States during this era but seldom was captured on vinyl (and was never allowed on radio). The lead vocalist has an obnoxious "soulish" vocal technique that irritates, however and overall the band come across as one-dimensional.

Several collectors are quite certain that Butterfingers were a black group, but they sound simply hillbilly to me. Adding Texas to the equation makes the latter interpretation more likely, although still speculative.
Despite what may appear as a lukewarm review, many collectors rate this album highly, and the reissue is certainly recommended.
from Fuzz, Acid and Flowers


Tracks
1. Key - 2:24
2. Has the Buggerman Got You - 2:19
3. Look out Now - 2:09
4. 5 o' Clock Trip - 2:07
5. In the Shade of Night - 2:22
6. High Walkin' - 2:42
7. I Feel Like An Elephant - 2:36
8. Were Ya Gonna Hide - 4:56
9. Why Get High - 3:56
10.Bootleg - 5:39

Butterfingers
Members Unknown

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Guess Who - Wheatfield Soul / Canned Wheat / Share The Land (1968-70 canada, awesome classic rock, 2010 remaster three disc box set)

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It's been a strange and chequered career for Canadian classic rockers The Guess Who. They were the very first Canadian rock group to have a number one hit in the United States and they even found themselves performing at the White House in front of an audience that included President Nixon and Prince Charles.

And yet ask most run-of-the-mill rock fans what they know about the band and it would possibly be that one-time guitarist Randy Bachman went on to form Bachman Turner Overdrive and have a hit with perennial drive time classic 'You Ain't Seen Nothin' Yet'. 

And yet as these, three of the band's first four albums from the time when they were known simply as The Guess Who as opposed to The Guess Who? (more of which later) show that Canada was just as adept at coming up with a classic rock sound as its North American cousins just south of the border.

The Guess Who's early years are a jumble of local Winnipeg-based '60s bands. Primarily we start with The Silvertones, a band formed in the early '60s by singer Chad Allan. By 1962 they'd become Al and The Silvertones and also featured future Guess Who band members Randy Bachman, Jim Kale, Garry Peterson and Bob Ashley. The very same year they became Chad Allan and The Reflections and two years after that Chad Allen and The Expressions.

It was when this latter act recorded a cover of Johnny Kidd & The Pirate's 'Shakin' All Over' that the band's Canadian record label took it upon themselves to label the British-invasion style sounding single as The Guess Who?, either in the hope of implying to an unsuspecting record buying public that they were either a well-known British band akin to The Beatles, The Who or The Kinks, all of whom were fast-gaining favour in North America, or maybe even a collection of well-known UK musicians banding together under a different name.

Whether the actual ruse worked with the public, the single was a success, hitting number one in Canada and 22 in America. However owing to DJ's insistence at referring to the band as Guess Who?, even when they knew it was actually Chad Allen & The Expressions meant that the band were pushed headfirst into changing their name.

Although between 1965 and 1966, the band were variously known and even credited as The Guess Who? and Chad Allen & The Expressions.

Allen himself left the band in 1966, initially to return to college, although he woul crop up as a presenter on the Canadian TV show Let's Go, whose house band jus happened to be The Guess Who? But by the time of the band's 1968 album 'Wheatfield Soul', they would finally be known as The Guess Who. It wasn't just the change to the name that was apparent by the time of 'Wheatfield Soul'.

With new singer Burton Cummings and guitarist Randy Bachman coming to the fore as the band's main songwriters, the musical emphasis had shifted away from the earlier UK inspired sound towards a more classic rock entrenched style.

The move almost immediately paid dividends, with the album's opening cut, the balladic 'These Eyes', cracking the US Top Ten, and whilst that particular style was evident throughout the album, on which the song 'Lightfoot' was a tribute to fellow Cabadian musician Gordon Lightfoot, the 11 minutes plus "Friends Of Mine" showed the band stretching out in a cavalcade of colourful neo-psychedelic and progressive flourishes.

1969's 'Canned Wheat' was even better, with the band finding their feet and proving themselves to be a solidly good heavy rock band.

Cumming's Paul Rodgers' style vocals were really starting to sound at home within the band's framework whilst Bachman's guitar tone proved he could mix jazzy touches with a basic hard rock style to maximum effect, not least on 'Undun', which proved to be the album's biggest hit.

Although not included within this set, 1970's 'American Woman' represents The Guess Who at their finest and was also Bachman's final recorded album with the band until a 1983 reformation.

The hard rocking and much covered title track gave The Guess Who their first ever US number one single, whilst the album reached number nine, remaining on the US album charts for over a year.

The band even found themselves performing before President Nixon and Prince Charles at the White House, although legend has it that Nixon's wife Pat requested the overtly sarcastic 'American Women' be dropped from the band's set.

With Bachman at odds with the band he quit following a show at New York's Fillmore East in May 1970. He was replaced not by one but two guitarists, Kurt Winter and Greg Leskiw for The Guess Who's second album of 1970, 'Share The Land'. The third of this packages albums.

However, if anyone thought that the departure of Bachman would severely dent The Guess Who's progress they were in for a surprise. 'Share The Land', which followed in the hard rocking vein of 'American Woman', not only continued to give the band hit singles with the title track and 'Hand Me Down World', but also proved a remarkably durable album, being the band's biggest selling, post-'American Woman'.

Following 'Share The Land', however, the band's fortunes took a nosedive, as Bachman's BTO career began to take off with 1974's 'Not Fragile' and the smash hit 'You Ain't Seen Nothin' Yet', and singer Cummings folded The Guess Who in 1975. It will probably come as no surprise to discover there have been several reunions over the years.

The first took place in 1977 without Cummings and Bachman, which led to bassist Jim Kale discovering the band's name had never been registered - he immediately acquired the rights and also tours and records with Jim Kale's The Guess Who to much less acclaim than any of the bigger reunions, in 1983 the 'American Woman' line-up reunited for some Canadian shows and recorded a live album, 'Together Again'.

Variations on the classic line-ups that recorded the three albums you have here have continued to reunite and play live shows for various causes over the years, whilst continuing to concurrently run their own solo projects.

Most recently Cummings and Bachman, been performing together under the title Bachman-Cummings. Jim Kale now co-owns the rights to the band's name with drummer Garry Peterson, also tour extensively in North America as The Guess Who.

So a chequered career as we said. But there's no denying the most fruitful era of The Guess Who, one of Canada's most successful classic rock acts, is represented by the material you have on these three discs. Enjoy 
by Jerry Ewing


Tracks
Wheatfield Soul 1968
1. These Eyes - 3:45
2. Pink Wine Sparkles in the Glass - 2:13
3. I Found Her in a Star  (Cummings) - 2:36
4. Friends of Mine - 10:04
5. When You Touch Me  (Bachman, Cummings, Matheson) - 3:38
6. A Wednesday in Your Garden (Bachman) - 3:20
7. Lightfoot (Bachman, Cummings, Matheson) - 3:07
8. Love and a Yellow Rose - 5:05
9. Maple Fudge - 1:49
10. We're Coming to Dinner - 2:43
All songs written by Randy Bachman and Burton Cummings except as noted.

The Guess Who
*Randy Bachman – Guitar, Sitar, Background Vocals
*Burton Cummings – Vocals, Organ, Harmonica, Piano, Guitar, Keyboards, Flute
*Jim Kale – Bass, Background Vocals
*Garry Peterson – Drums, Percussion, Tabla, Background Vocals


Share the Land 1970
1. Bus Rider – 2:57
2. Do You Miss Me Darlin'? – 3:55
3. Hand Me Down World – 3:26
4. Moan For You Joe – 2:39
5. Share the Land – 3:53
6. Hang on to Your Life – 4:09
7. Coming Down Off the Money Bag / Song of the Dog (Leskiw)/(Cummings) – 3:54
8. Three More Days – 8:55
9. Palmyra (Bonus Track) – 5:44
10.The Answer (Bonus Track) – 4:05
All songs written by Burton Cummings and Kurt Winter except as noted.

The Guess Who
*Burton Cummings – Vocals, Organ, Piano, Flute, Harmonica, Keyboards
*Jim Kale – Bass
*Greg Leskiw – Guitar
*Garry Peterson – Drums
*Kurt Winter – Guitar


Canned Wheat 1969
1. No Time - 5:37
2. Minstrel Boy - 3:18
3. Laughing - 3:05 
4. Undun (Bachman) - 4:17 
5. 6 A.M. or Nearer (Bachman) - 5:24
6. Old Joe (Cummings) - 3:07
7. Of a Dropping Pin - 3:42  
8. Key - 11:24
9. Fair Warning - 1:44
10.Species Hawk (Bonus Track) - 5:06
11.Silver Bird (Bonus Track) - 1:44  
All songs written by Randy Bachman and Burton Cummings except as noted.

The Guess Who
*Randy Bachman – Guitar, Sitar, Background Vocals
*Burton Cummings – Vocals, Organ, Harmonica, Piano, Guitar, Keyboards, Flute
*Jim Kale – Bass, Background Vocals
*Garry Peterson – Drums, Percussion, Conga, Tabla, Background Vocals

Guess Who for more
1965-66  Shakin' All Over / Hey Ho (What You Do To Me) / It's Time
1966-68  The Guess Who - This Time Long Ago
1967-68  Let's Go
1972  The Guess Who - Live At The Paramount

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Levee Camp Moan ‎– Levee Camp Moan Plus Peacock Farm Free Concerts (1969 uk, great raw wild heavy garage blues)

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Levee Camp Moan's self-tilled LP, released in 1969 on the County Recording Service label (SVVS 132), is without a shadow of doubt one of the UK s rarest and most prestigious private pressings to emerge out of Britain's thriving underground blues scene of the late 60's.

In fact this extraordinary platter, albeit housed in a rather drab looking custom-built, heavy-duty cardboard sleeve complete with a pasted on snap of the group, is now so scarce that only those prepared lo part with four-figure sums are ever likely to stand a chance of securing a copy.

Interest in this recording has been long standing. In 1993 Audio Archives reissued the album on CD tor the first time, including, into the bargain, two live tracks that were taken from another Levee Camp Moan related album called 'Peacock Farm'. (Which is another story, but one we will turn to shortly).

Taking their name from the old blues number. Le Camp Moan were formed in the late 60's when the five members, manager and assorted roadies took up the residence in a country farmhouse on the Bracknell Delta. The name of this sprawling farmstead was
Peacock Farm.

It was here that Levee Camp Moan were able to leave their equipment permanently set up and. Being relatively isolated, the band could rehearse as often, and as loudly, as they liked without fear of disturbing anyone. In this rural setting, the teenage blues-rocker-, sel about honing their gritty renditions of blues standards that encompassed influences from the urban blues of Otis Rush. Buddy Guy & Junior Wells together with Muddy Waters and Skip James. 

The more or less contemporary white blues of the time. Canned Heat. Savoy Brown and Paul Buttcrfield etc. also provided a great source of inspiration. From their Berkshire roots the band quickly built up a following on the British Blues Circuit, frequenting the likes of the Marquee. Crawdaddy, Klooks Kleek. Eel Pie Island and Rikki Tik clubs.

On the college circuit they toured extensively with Chickenshack. Canned Heat and Muddy Waters with performances being of sufficient appeal and merit so as lo attract record company interest. Sadly all ensuing proposed deals never got off the ground resulting in the band having to rely on themselves alone if they wanted to make a record. And so it was in early "69 that ihey entered Virgin Sound in Windsor to lay down eight tracks, recorded on a four track machine, for Ilieir debut album. 

At the time of its creation the term private pressing would have had little or no relevance in music circles and would have offered little insight into the nature of the project. As already outlined, the LP, as perceived by today's standards, was every bit the archetypal private pressing. Unrefined and. moreover, free from record company interference, the band were able to retain thrillingly raw edge making sure that Levee Camp Moan remained a primitive yet vital effort full aggression and spirit.

Very few copies of 'Peacock Farm' appear to have survived and oven less with the cartoon insert that was meant to be stapled into the middle of the gatefold sleeve One has to remember that, in the main, both LPs were available only to local audiences which greatly contributed to their scarcity. Collectors should also be aware that 'Peacock Farm' is not a second LP by Levee Camp Moan as incorrectly stated in various rare record books and articles, but a 'various artists' LP featuring Levee Camp Moan, amongst others.

This record was aptly labelled 'Live Recordings made at Peacock Farm Concerts' and was issued by Bracknell's County Recording Services COUN LP 158/9). More importantly, the missing disc did actually make it  to the acetate stage although how many were cut it’s  anybody's guess probably just a handful.

Amazingly Levee Camp Moan kept performing, albeit intermittently, until 1975 long after singer Frank Woodward had left leavin Sal Bristow to front the outfit.

Despite other material having been recorded, the whereabouts of which is unknown, what we are left today are 2 desperately rare LPs that nobody has a realistic chance of obtaining and, now. this updated CD of our second release from close to a decade ago.

Interestingly some of the members of LCM have in the music scene to this day. Leader Ian Campbell carried on performing with, amongst others. Nashville Teens, Arthur Brown's band and Mungo Jerry and released several albums in the 80's with his own outfit, the Ian Campbell Blues band.

Drunmmer Malcolm Ashmore continued to pick up the sticks for various pub Blues bands whilst bassist David Stubbs played with a host of others including gigs in Eric Clapton's band and lengthy world tours with Uli John Roth (ex Scorpions). Frank Woodward sadly died in 1987 and Sal Bristow retired from the music business upon the band's demise.
by Pete Sarfas, Spring 2002


Tracks
1. Walking By Myself - 2:54
2. Flood In Houston - 4:44
3. Damp - 3:47
4. Mr Backlash - 4:02
5. Sweet Little Angel - 6:15
6. Linin' Track - 1:18
7. Disgusted Of North Acton - 4:09
8. Just Can't Keep From Crying - 3:54
9. De Boogie - 10:50
10.Whiskey Tumble - 6:50
11.John Thomas Blues Band – Weary Baby - 5:08
12.Thomas Houlihan – Trouble, Had It All My Days - 4:15
13.Frank Gillibrand – Carpicho Arabe - 3:38
14.St. James Infirmary – Sunshine Help Me - 5:32
Tracks 9-14 taken from 'Peacock Farm' Free Concerts

Levee Camp Moan
*Frank Woodward - Harmonica, Vocals
*Sal Bristow - Vocals
*Ian Campbell - Guitar
*Malcom Ashmore - Drums
*Dave Stubbs - Bass

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