Great concert with two Legends : Kim Simmonds & Mark Doyle (Jukin' Bone, Free Will, Doyle Whiting Band) .... . Great show as always by our hero and his traveling companions. Similar setlist to the excellent shows posted by analog4011 and fubb (thanks again guys), but hi, NO Hellbound Train OR Tell Mama and YES Louisiana Blues## and Jack The Toad@@!! Skipping Tell Mama, brave move, but nobody seemed to mind. Kim came out of the gates all over the stage and cranking out the power chords. He even clammed it up once or twice amidst his enthusiasm (and joked about it later). Kim caught fire during the solo in Looking In and stayed hot the rest of the night. She Got The Heat is normally a slide workout, but he couldn't find the slide (and didn't feel like looking for it) so he played it "Chuck Berry style." Joe Whiting's sax playing is a real good addition. He doesn't play much, but when he does it enhances rather than getting in the way. Check out the way he ups the ante on I'm Tired after Kim's amazing acoustic guitar solo. Anyway, yeah, great band line-up, the new album (Oct. 11 he says) is gonna be amazing - can't wait. All the new songs killed me. I was several tables back - hard to judge distance. There was a bit of chatter, but nothing close - this recording came out well, there is pleasure to be gained from listening to it (By Realomind). . Credits: Kim Simmonds - Guitar, Lead Vocals* Jumpin' Joe Whiting - Lead Vocals, Saxophone Pat DeSalvo - Bass Garnett Grimm - Drums
Tracks Listing: 01. Meet The Blues Head On 02. Looking In 03. Natural Man 04. Streetcorner Talkin'* 05. Little Red Rooster 06. She Got The Heat 07. Train To Nowhere* 08. Gypsy 09. I'm Tired 10. Jack The Toad 11. Wang Dang Doodle 12. Voodoo Moon 13. Louisiana Blues* 14. --Crowd-- 15. Leaving Again
Track Listing 1. "Wheel of Fortune" 7:50 2. "Fountain" 7:22 3. "Wind of Change" 7:15 4. "River" 6:50 5. "The Preacher" 3:59 6. "On the Way Home" 7:39 Credits Tony Kaye - keyboards, mellotron, Moog synthesiser Brian Parrish - guitar, Vocals Dave Foster - bass guitar, vocals Roy Dyke - drums
Badger were one of those seventies bands that are barely remembered outside the circle of hard-core Yes fans. Only in existence for a couple of years, they managed to produce two albums, White Lady, the 1974 studio album which was a fairly mellow, soul-influenced affair featuring ex-Apple Records artist Jackie Lomax, and the altogether more interesting progressive rock debut One Live Badger. Formed in mid 1972, the roots of the band stretch back a few years earlier when Tony Kaye linked up with David Foster who was getting material together for a prospective solo album. Foster, a former band mate of Jon Anderson in The Warriors, was first introduced to the Yes camp when he co-wrote Sweet Dreams and Time And A Word with the vocalist with for the band's second album. Although the solo album was eventually scrapped, Foster and Kaye kept in touch and following Kaye's departure from Yes and brief involvement with Flash, set about remixing and reworking the original material. .
Deciding to form a band to play and record the songs, drummer Roy Dyke was recruited from the recently disbanded Ashton, Gardener and Dyke who recommended that guitarist Brian Parrish, who had recorded a largely ignored album with Adrian Gurvitz, should complete the line-up. After intensive rehearsals, the band made their debut at "The Rainbow Theatre" in December 1972 supporting Yes at the infamous concerts that spawned the sprawling Yessongs live album. Atlantic Records, to whom both groups were signed, decided that as the equipment was in place they should make the most of their financial outlay and record the support group's set as well. In a bold move that seems rather extraordinary by today's standards, it was these recordings that formed the basis of One Live Badger.
And what a great album it is, the material is strong and the group sound as if they have been playing and writing together for years. The production, by the group, Jon Anderson and Geoffrey Haslam, is crisp although somewhat more raw and aggressive than the resulting Yes recordings from the same concerts. As expected, Kaye's signature Hammond organ sound is to the fore on most of the tracks (and in particular on the album closer On The Way Home), although he does use other keyboards to add different textures: the chorus of Wind of Change features the mellotron, The River utilises an electric piano to great effect and a Moog synthesiser is evident on other tracks. Guitarist Brian Parrish plays some great solos, although nothing too flash (excuse the pun!) or overburdened with technical virtuosity. The solid and efficient rhythm section are quite prominent in the mix, as one would expect from a live recording, Foster's bass in particular being particularly clear - the dynamic mix of driving bass, riffing guitar and wailing Hammond during On The Way Home is superb and probably something that could only be got away with on a live recording. The closest comparison would be akin to a rockier Traffic.
Overall, a wonderful live album and worthy of inclusion in the collection of any fan of 1970s rock music, not just those drawn by the Yes connections. My only complaints are with the quality of the packaging. Roger Dean's cover artwork is poorly reproduced (the band name and album title are hard to see in detail), the booklet (four sides with only the front and rear artwork in colour) contains no extra information aside from the original sleeve notes and just reproduces the four colour photographs from the tray inlay in black and white. There are probably no bonus live recordings that could have been added to the album, 40 minutes would no doubt have been the length of the support act's set, and the inclusion of any existing rehearsal or demo cuts would have been incongruous, but one does feel that the addition of a few extra photos, a potted history of the band and even some reminiscences from the group members themselves would have helped justified what is effectively a full-price release. Still, it is the music that matters and on that score you can't complain at all.(From ChrisGoesRock)
This is the least Yes-sounding album on this page, as Badger went full-tilt into soul. Parrish and Foster left the group, and were replaced by one-time Apple records artist Jackie Lomax (vocals, guitar), former Steeler's Wheel guitarist Paul Pilnick and bassist Kim Gardner. Lomax is White Lady's key figure; he not only writes all the songs, but has a fine smooth soul voice. Allen Toussaint recorded the album in New Orleans, and he gave the band the full contemporary R&B/soul sound - horns, backing singers, prominent rhythm section. Unlike One Live Badger or other English bands who explored American soul (Clapton or Traffic at times), Badger was far more interested in grooves than soloing (or even soloing over the grooves). Dyke and Gardner usually kickstart the tracks with a catchy rhythm ("Don't Pill the Trigger"), then Lomax swoons in, while everyone plays along. Pilnick sticks to rhythm , so they brought in Barry Bailey in on slide, with an appearance by Bryn Haworth as well. There are a few nods towards the Allman Brothers intertwined guitars (the ode-to-drugs title track with Jeff Beck playing lead, "Listen to Me"), but overall White Lady is really a group effort. Lomax is almost too low-key at points, and when he gets excited he has a tendency to get frog-voiced, but he is still the focal point. But this is about the grooves, and in conjunction with the excellent production they have plenty (the opening "A Dream of You" is great, "Be With You", "Lord Who Give Me Life"). Quite the guilty pleasure as such, but it failed to chart and the group broke up soon afterwards. Kaye subsequently joined Badfinger.
Tracks: 01. A Dream Of You - 4:13 02. Everybody - Nobody - 3:19 03. Listen To Me - 4:55 04. Don't Pull The Trigger - 4:01 05. Just The Way It Goes - 4:39 06. White Lady - 4:44 07. Be With You - 3:38 08. Lord Who Give Me Life - 3:03 09. One More Dream To Hold - 4:01 10. The Hole Thing - 6:07 Personnel: - Tony Kaye - keyboards, mellotron - Roy Dyke - drums - Kim Gardner - bass - Jackie Lomax - rhythm guitar, vocals - Paul Pilnick - lead guitar + - Barry Bailey - slide guitar (4-8) - Jeff Beck - guitar solo (6) - Carl Blouin - baritone saxophone, flute - Lester Caliste - trumpet - Mercedes Davis - backing vocals (1-3,5-8) - Joan Harmon - backing vocals (1-3,5-8) - Bryn Haworth - slide guitar (3) - Teresipa Henry - backing vocals (1-3,5-8) - John Lango - trombone - Bobby Montgomery - backing vocals (2-9) - Jessie Smith - backing vocals (2-9) - Alvin Thomas - tenor saxophone - Allen Toussaint - piano (3-4), organ (9), congas (1-3,10)
Canned Heat's second long-player, Boogie With Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet -- consisting of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), and Bob "The Bear" Hite (vocals) -- follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" -- which became the combo's first, and arguably, most significant hit -- as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite's update of Tommy McClennan's "Whiskey Headed Woman." The Creole anthem "Marie Laveau" is nothing like the more familiar cut by Bobby Bare, although similarities in content are most likely derived from a common source. The side, as rendered here, is arguably most notable for the driving interaction between guitarists Wilson and Vestine as they wail and moan over Hite's imposing leads. Saving the best for last, the Heat are at the height of their prowess during the lengthy audio biography on "Fried Hockey Boogie." Each member is introduced by Hite and given a chance to solo before they kick out the jams, culminating in Hite's crescendo of " ... Don't forget to boogie!" In 1999 the French label, Magic Records, issued an expanded edition of Boogie With Canned Heat supplemented by half-a-dozen sides, such as the 45 RPM edits of "On the Road Again," "Boogie Music" and "Goin' Up the Country." Also included are the once difficult-to-locate 45-only "One Kind Favor," as well as the seasonal offering "Christmas Blues" and "The Chipmunk Song" -- with guest shots from none other than Alvin, Simon, Theodore, and David Seville of the one and only Chipmunks. For enthusiasts as well as listeners curious about the oft-overlooked combo, this is an essential, if not compulsory platter. ~ Lindsay Planer,(All Music Guide)
Tracks listing
01-"Evil Woman" (Larry Weiss) – 2:59
02-"My Crime" (Canned Heat) – 3:57
03-"On the Road Again" (Floyd Jones, Alan Wilson) – 5:01
The last record by Rockets in 1983 . A great live album hard to find .... Vinyl rip & scans by myself ... Enjoy !!!
Jim McCarty - Guitar, Background Vocals John "Bee" Badanjek - Drums, Background Vocals David Gilbert - Lead Vocals Donnie Backus - Keyboards, Synthesizer, Background Vocals Bobby Neil Harrelson - Bass Chuck Perraut - Sax Shaun Murphy - Background Vocals Suzi Jennings - Background Vocals Mary Kay Lalla - Background Vocals
Recorded at the Royal Oak Music Theatre near Detroit
01- Rollin' By The Record Machine 02- Desire 03- Can't Sleep 04- Sally Can't Dance 05- Takin' It Back 06- Open The Door To Your Heart 07- Oh Well 08- Turn Up The Radio 09- Born In Detroit
Top Drawer is without a doubt one of those bands that has been long forgotten about. If it wasn’t for this wonderful compilation record, I don’t know if I ever would have stumbled upon these guys. This obscure band hailed from the rural center of the United States, coming right out of Kentucky. There aren’t many facts to be said about the band, considering they were around back in 1969-1970 and they only have one album that I am aware of. Their one and only album, titled “Solid Oak”, was recorded back in 1969 at Fultz Recording Studio over in Kentucky, and if you have one of these original records in mint condition, it could sell for well over a hundred dollars. The album is constantly being sought out due to it’s rarity. According to the record sleeve of the compilation I mentioned above, the album was only repressed one time back in 1980 on Akarma Records from Italy, and has never been pressed since. On top of that, none of the band’s original members have ever surfaced to talk about the music, and it’s not looking like they’re about to show up anytime soon. This song was included on the compilation in hopes that the band members would take notice of the praise that their almost-perfect record “Solid Oak” has continually received over the years. Then perhaps the band members can give us their side of the story on what it was like to be twenty-something years old in the middle of America and release a psychedelic masterpiece, and then vanish back into normal life without a trace. Listen to the first track of their forgotten masterpiece right here on YouTube. This track is the main reason the album is so sought out, with its monumental guitar soloing and the constant loop of the keyboard, this song undeniably flirts with perfection. That’s enough from me, now it’s time to find out for yourself. Check out the amazing “Solid Oak” with the link below…and…oh yeah…
Imagine a talented high quality psychedelic mix of Cream and Grateful Dead with great songs and near progressive structures that remain firmly in Psych land. Perhaps the best privately released Heavy psych album around. Amazing album. Top Drawer was a organ/guitar driven Hard psych/late 60's style psych band that released this great album in 1969. It is late 60's underground hardrock/psych, but the lead guitar and organ is way psychedelic and wasted with a vibe similar to Bolder Damns way out there psychedelic leadguitar style (I hope ya know what I mean). Both albums have a great underground vibe and talent and songwriting skills you'd expect from the best out there. Both albums are keepers. Enjoy them and share your views!
Tracklist 01 Song Of A Sinner - 8:42 02 What Happened Before They Took The People Away - 5:19 03 Middle Class America - 4:55 04 Time Passes Much Too Quickly - 3:30 05 Messed Up - 3:46 06 Baker's Boogie - 3:39 07 What's In Store - 4:26 08 Sweet Memories - 4:56 09 Lies - 5:10
Credits Alan Berry - Bass Guitar John Baker - Guitar, Vocals Ron Linn - Organ, Harpsichord, Rhythm Guitar Ray Herr - Percussion, Vocals Steve Geary - Trumpet, Vocals
Sam Apple Pie recorded their second album East 17 in 1973, with Sam Sampson and Bob Rennie from the first album supported by Andy Johnson and Denny "Pancho" Barnes on guitars, and Lee Baxter Hayes on drums. East 17 is a bit more polished and diverse than their first album but probably lacked a real killer track to get them wider publicity and recognition. Flying is my favourite track reminding me of Wishbone Ash in dual guitar mode. All tracks are worth a listen - exciting and memorable live band who deserved more success than they achieved.
Tracklist
01.Good Time Music 02.Louise 03.Out On The Road 04.Route 66 05.She's The Queen 06. Old Tom 07.Flying 08.Call Me Boss 09.Another Orpheus
Credits: Sam "Tomcat" Sampson - Harmonica, Vocals Bob "Dog" Rennie - Bass Andy Johnson - Guitar Denny "Pancho" Barnes - Guitar Lee Baxter Hayes - Drums
Steel guitarist, Glenn Fernando Campbell, was the star behind this band. He'd joined them from The Misunderstood. Their vinyl zenith is usually considered to be their first album which contained a number of tight, well constructed songs, including a fine cover of Bo Diddley's Who Do You Love?, which also took them into the 45 Charts. It came on the now highly collectable spiral Vertigo label in an attractive gatefold sleeve. Sadly it was downhill thereafter, their fortunes were hardly helped by several personnel changes. Paul Williams, ex-Zoot Money, came in on vocals, replacing Roy Owen on the second album, but the result was a disappointment. None of the original line-up survived for their fourth and final effort, Pieces. The line-up for this included Andy Pyle, whilst he took a brief break from Savoy Brown. The final verdict must be that they failed to achieve their early promise.
Saucy blues-rockers Juicy Lucy formed in 1969 from the ashes of cult-favorite garage band the Misunderstood, reuniting vocalist Ray Owen, steel guitarist Glenn "Ross" Campbell and keyboardist Chris Mercer; with the additions of guitarist Neil Hubbard, bassist Keith Ellis and drummer Pete Dobson, the group immediately notched a UK Top 20 hit with their reading of the Bo Diddley perennial "Who Do You Love," with their self-titled debut LP falling just shy of the Top 40. Ex-Zoot Money singer Paul Williams, guitarist Mick Moody and drummer Rod Coombes replaced Owen (who exited for a solo career), Hubbard and Dobson for 1970's Lie Back and Enjoy It, with bassist Jim Leverton assuming Ellis' duties for the follow-up, 1971's Get a Whiff a This. The constant turnover clearly took its toll on the group both creatively and commercially, with co-founders Campbell and Mercer both exiting prior to the fourth Juicy Lucy album, 1972's Pieces, which was recorded by a makeshift lineup of Williams, Moody, keyboardist Jean Roussel and the former Blodwyn Pig rhythm section of bassist Andy Pyle and drummer Ron Berg. Juicy Lucy finally disbanded shortly thereafter.
Following his sojourn with Savoy Brown, Stan Webb's next recorded output was with Broken Glass. This featured Robbie Blunt on guitar, and also Miller Anderson. This was recorded in 22 days in November 1975 and released the following month.
Track listing: Standing on the Border It's Alright Keep Your Love Can't Keep You Satisfied Jersey Lightning It's Evil Ain't No Magic Crying Smiling Take the Water Broken Glass
Line-up: Stan Webb (lead & rhythm guitars, acoustic guitars, vocals) Robbie Blunt (rhythm guitars, background vocals) Tony Ashton (piano, organ) Rob Rawlinson (bass) Mac Poole (drums) Miller Anderson (electric & acoustic guitars, dobro, additional vocals)
Disc One
01. Nature's Way
02. Same Old Naturally (Radio Man)
03. Chairman Mao (China Doll)
04. Victim Of Society
05. Miami Blues
06. Reeling In The Night
07. Like A Rolling Stone
08. Animal Zoo
09. 1984
10.Miami Jam
11.Prelude/ Nothing To Hide
12.Midnight Train
13.It's All The Same
14.I Got A Line On You
Disc Two
01. Miss This Train
02. All Along The Watchtower
03. Nature's Way
04. Make It Up To You (Hollywood Dream)
05. Hey Joe
Randy California
Ed Cassidy
John Turlep
Another great concert by Spirit in 1976 ... Enjoy !!!
Named after the 19th Century mariner and novelist, this Glaswegian band made just one privately-pressed LP. Its back cover announces that ‘Captain Marryat is a Scottish band, and have been playing together for just under a year. They already have a sizeable following in the pubs n’ clubs circuit and this, their first LP, is a sample of the music that brought them success’. The line-up was Tommy Hendry (vocals, acoustic guitar), Ian McEleny (lead guitar, acoustic guitar), Allan Bryce (organ, vocals), Hugh Finnegan (bass, vocals) and Jimmy Rorrison (sic) (drums, vocals). They were originally intending to record a single, but the engineer at the Glasgow studio they’d booked told them that there was time enough to make a whole album. They therefore taped five tracks they’d already written (‘Blindness’, ‘It Happened To Me’, ‘A Friend’, ‘Songwriter’s Lament’ and ‘Changes’) and finished the LP with an improvised jam (‘Dance Of Thor’). The result came in a drab flipback sleeve, and according to one dealer is ‘a progressive rock rarity with psych flourishes – doom-laden organ plus acid guitar riffs and strong male vocals’. The 250 copies pressed were sold at gigs, and two that surfaced on eBay in late 2008 went for around £3000 each. (Galacticramble.com)
Fantastic concert by Little Joe with special guests John Cipollina & Paul Butterfield .Enjoy !!! This show is well known as the Butter jam, but actually are Little Joe with John and Paul guesting. This is also the complete show, since a partial version of it is often circulated.
JOHN CIPOLLINA
GREG ELMORE GREG DOUGLASS BOBBY VEGA with special guest PAUL BUTTERFIELD
DISC ONE : 1. HIDEWAY 2. MONA 3. ALL WORTH THE PRICE YOU PAY 4. WHY DO YOU ACT LIKE THAT ? 5. MYSTERY TRAIN 6. MANNISH BOY DISC TWO : 1. DRUMS AND BASS 2. STEPPIN OUT 3. DRUMS 4. DOWN IN THE BOTTOM 5. RIDE IN YOUR AUTOMOBILE 6. DRIFTIN BLUES 7. HE GOT ALL THE MONEY
Terry & the Pirates were led by guitarist/singer Terry Dolan, a Connecticut native who relocated to San Francisco during the area's notorious Summer of Love in 1967. Dolan played out locally during this time, performing at coffeehouses, clubs, and festivals alongside such renowned national acts as Elvin Bishop, B.B. King, Taj Mahal, and Blue Cheer, among others. (Dolan's merging of both folk and rock tended to confuse some at the time as Dolan refused to be pigeonholed solely to either of the styles.) He befriended another local outfit, Country Weather, from which he would often borrow members for his own recordings and performances throughout the years (while their guitarist, Greg Douglass, would eventually leave the group to permanently focus on working with Dolan). Country Weather backed Dolan for demos he laid down in the summer of 1970, which were aired on local radio stations KSAN and KMPX. Two years later, the aforementioned demos led to a recording contract with Warner Bros., which included an all-star supporting cast that included John Cipollina, Douglass, David Weber, Spencer Dryden, Lonnie Turner, Neal Schon, Prairie Prince, Kathi McDonald, Mic Gillette, and the Pointer Sisters, plus featured a side produced by longtime Rolling Stones associate Nicky Hopkins. But for reasons unknown, the album was shelved. Although understandably disappointed, Dolan carried on, forming Terry & the Pirates in the summer of 1973. The group saw Dolan joined by various other musicians who would come and go throughout the years, although both Cipollina and Douglass remained alongside Dolan through it all. The group issued several recordings from the late '70s through the early '80s, including such titles as Too Close for Comfort (1979), The Doubtful Handshake (1980), Wind Dancer (1981), and Rising of the Moon (1982). Terry & the Pirates remained together until 1989, until the death of Cipollina spelled the end of the group for a while. But a few years later, in 1994, Dolan resurrected Terry & the Pirates with a whole new lineup, resulting in the 1998 release Still a Pirate. 2001 saw the release of Comanche Boots (a self-described "vaults compilation"), as well as a reissue of Too Close for Comfort with an expanded track listing. In 2007, a reissue of Return to Silverado, plus a bonus disc of rare, live, and previously unreleased material, came out.
Fantastic concert with the keyboards sorcerer Mr Stu Blank and guitars on fire by John Cipollina & Barry Melton , it's one of my favourite concert with JC ...
