John Kay - Forgotten Songs & Unsung Heroes and My Sportin' Life (1972-1973 us blues-country-classic rock with vocalist of Steppenwolf band - FLAC)

John Kay's distinctive voice cut through radio with hits like Steppenwolf's "Magic Carpet Ride" and "Born to Be Wild."

But on this LP there is none of the menacing growl found on his version of "The Pusher."

What you will find here is Hank Williams' classic "You Win Again" with Kent Henry on simulated steel guitar, Hugh O'Sullivan on electric piano, George Biondo on bass, and the drummer from Lou Reed's Rock & Roll Animal band, Pentti "Whitey" Glan.

The album was produced by the great Richard Podolor, who brought listeners Hoyt Axton and Three Dog Night's "Joy to the World."

There is no Hoyt Axton here, but there are tunes by Richard Farina, Robert Johnson, Hank Snow, Patrick Sky, and the aforementioned Hank Williams, along with four Kay originals.

To hear Kay droning "Christ will be our darling, and fear will be our name" on Farina's "Bold Marauder" is pretty chilling.

Henry's acoustic guitar takes a back seat to Kay's dulcimer, and producer Podolor is on jaw bone and tambourine.

This is a serious attempt by Kay to break away from the hard rock persona he established with Steppenwolf. That he pulls it off is impressive.

Two years prior to this, John Phillips had a Top 40 hit with "Mississippi" on this same label, Dunhill, so it's not like the elements weren't in place for the lead vocalist from a superstar act to branch out.

It's just that a six-minute composition like Kay's "Two of a Kind" was not going to get substantial AM radio airplay.

Having Podolor perform on mandolin and organ with Kay providing vocals and guitar suggests that they were having fun more than looking for a hit single.

If country radio had a tough time accepting Olivia Newton John, well, Steppenwolf's lead vocalist was not about to cross over as quickly as Brenda Lee.

With just Biondo on bass and himself on harp and bottleneck guitar, Kay delivers a great version of Robert Johnson's "Walkin' Blues."

This album is not what you'd expect, and that's part of what's so special about it. When Grace Slick does her own version of the Starship's No Protection on her Software album (and should be commended for such a bold move) and when Neil Young gives the world Trans, they shake things up. John Kay was not a star on the same level as Slick and Young, which makes his leap all the more admirable.

The best track on this excellent album just may be Kay's own composition "Somebody," featuring the full band and gospel-style vocals from Marsha Jo Temmer, Joan Sliwin, and Alexandra Sliwin. Hank "Singing Ranger" Snow's "I'm Movin' On" comes as close to Steppenwolf as this album gets. Kay says that his version is closer to Ray Charles than Snow, but this track gives the artist and his fans that trademark snarl and a nice dark production.

At three minutes and ten seconds, and with the nick of Three Dog Night's song "Liar" at the beginning, it's too bad radio didn't pick up on this fine work." (review by Joe Viglione - AMG)


I'm Movin' On:


Forgotten Songs & Unsung Heroes (1972):
1. Many a Mile
2. Walk Beside Me
3. You Win Again
4. To Be Alive
5. Bold Marauder
6. Two of a Kind
7. Walkin' Blues
8. Somebody
9. I'm Movin' On

My Sportin' Life (1973):
10. Moonshine (Friend of Mine)
11. Nobody Lives Here Anymore
12. Drift Away
13. Heroes and Devils
14. My Sportin' Life
15. Easy Evil
16. Giles of the River
17. Dance to My Song
18. Sing with the Children

Musicians:
See complete list in page one of booklet.


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The Misunderstood - The Legendary Goldstar Album/Golden Glass (1966/69 us/uk, garage blues psych, double disc edition - MP3 320k and FLAC)

The release of the 'Legendary Gold Star' album brings us a step closer to fill in the final missing pieces of the Misunderstood jigsaw. The group had formed in 1965 in Riverside, a town 30 or so miles south of Los Angeles and united by their common love of the blues and the British Invasion bands, had settled on a line up of Glenn Campbell (steel guitar), Rick Brown (lead vocals/harmonica), Steve Whiting (bass), Rick Moe (drums) and Greg Treadway (guitar).

Pretty quickly the quintet began to experiment away from the rigid twelve bars favoured by other Riverside outfits and started to incorporate unusual arrangements and guitar feedback into their live act. When disc jockey John Peel working his way across the US chanced upon them tearing people's heads off at a live show in a local shopping mall, the seeds were sown, that turned The Misunderstood from just another garage band into the stuff of legend. Peel was blown away and plans were hatched for them to go into the studio to lay down some tracks with the jock as producer.

Some time in the spring of 1966, they entered Gold Star in Hollywood, a studio already with a fast-rising reputation as the place Phil Spector cut a lot of his hits. Their repertoire was still blues-based, the combo taking its cue very much from The Yardbirds and Paul Butterfield Blues Band. Rumour has it that in addition to the tracks you're hearing here, they cut a rumbustious "Smokestack Lightning' and an epic version of 'I'm Not Talkin',' during which the band walked out of the recording room for a smoke in the corridor whilst their instruments just fed back.

Sadly tapes of the whole session mysteriously disappeared and have never been found. The tracks here, most of which have never been released before, have been taken from an acetate. The acetate was discovered in the early 80's in the attic of the uncle of their old roadie, Duane Bulmer in Riverside, scratched and dirty, but through the wonders of the Cedar system, the songs have been partly restored to their former glory.

Shortly after they cut it, Peel persuaded them to go to England, where they lost r and recruited ex-Answers' guitarist Tony Hill. Vibing off the nascent 'underground' vibes ii London and rubbing shoulders with the newly arrived Hendrix, the band developed at an alarming rate with Hill and Brown writing true psychedelic masterpieces like 'I Can Take You To The Sun', which became their debut 45 for Fontana Records (and can be found on the Cherry Red Album 'Before The Dream Faded').

Sadly Brown soon received his call-up papers for Vietnam and became a long-time draft dodger finally ending up as a diamond merchant in India! The band soldiered on and reputedly recorded some six songs for Philips in Paris in April 1967, before UK immigration officials packed the three remaining Californians off back home. Glenn later refloated the band and the further adventures ol Misunderstood II can be heard on the other disc of this set, 'Golden Glass'.

Fans still sit around wondering what might have been, had Uncle Sam not interfered in what promised to be one of the most exciting, most innovative bands of the 60's. The belated appearance of the Gold Star album offers a fascinating glimpse of the band at the most crucial stage in their development, as they waved goodbye to their roots and embraced the psychedelic culture wholeheartedly.
by Nigel Cross

Tracks
The Legendary Gold Star Album
1. Blues With a Feeling (Unknown) - 4:43
2. Who's Been Talking? (Burnett) - 2:58
3. You Got Me Dizzy (Abner, Reed) - 3:13
4. You Don't Have to Go Out (J. Reed) - 4:44
5. Goin' to New York (J. Reed) - 2:41
6. Shake Your Moneymaker (E. James) - 3:50
7. I Just Want to Make Love to You (Fulfon) - 3:16
8. I'm Not Talkin' (Traditional) - 5:33

Golden Glass
1. Never Had a Girl Like You (Campbell, Hoard) - 4:31
2. Golden Glass (Campbell, Hoard) - 7:40
3. I Don't Want to Discuss It (You're My Girl) (Beatty, Cooper, Shelby) - 4:59
4. Little Red Rooster (Burnett, Dixon) - 5:00
5. You're Tuff Enough (Daniels, Moore) - 3:28
6. Freedom (Campbell, Hoard) - 3:34
7. Keep on Running (Edwards) - 5:13
8. I'm Cruising (Campbell, Hoard) - 2:09

The Misunderstood
The Legendary Gold Star Album
*Glenn Ross Campbell - Steel Guitar
*Rick Brown - Lead Vocals, Harmonica
*Steve Whiting - Bass
*Rick Moe - Drums
*Greg Treadway - Guitar
Golden Glass
*Chris Mercer - Alto Sax
*Davy O'List - Rhythm Guitar
*Nick Potter - Bass
*Glenn Ross Campbell - Steel Guitar
*Guy Evans - Drums
*Remi Kabaka - Conga
*Steve Hoard - Lead Vocals

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Graham Bond Organisation - Live At Klooks Kleek (1964 uk mix os blues, rhythm and blues, jazz and rock - MP3 320K and FLAC)

Almost unbelievably it is now 35 years since Graham Bond, Jack Bruce, Dick Heckstall-Smith and Ginger Baker got up on stage at London's legendary Klooks Kleek club and the tape machine began recording this live session for posterity.



The Organisation were becoming, at that time, the Number One act on the British R&B club scene and this CD shows you why.



Beginning with the introduction, in which Graham Bond swaps amusing banter with the announcer, you can sense a kind of enthusiasm and drive powering them forward.



Some reviewers in the past have criticised this album for poor sound quality, but this is not really valid and such comments must not put you off.



There is a loss of clarity in one or two places, but the overall effect is compelling.



The CD is worth buying for just one track alone - 'Wade in the Water', which features Graham's stunningly powerful Hammond organ and Leslie speaker cabinet sound. But the rest is excellent too.



Don't buy this just because you are a Jack Bruce or Cream fan and want a complete collection - buy it because it's fantastic music from one of the most important bands ever.













Track List:

01.Wade In The Water (2:46)

02.Big Boss Man (5:20)

03.Early In The Morning (4:16)

04.Person To Person Blues (5:15)

05.Spanish Blues (3:01)

06.Introduction By Dick Jordan (2:05)

07.The First Time I Met The Blues (5:11)

08.Stormy Monday (4:14)

09.Train Time (4:17)

10.What I'd Say (5:27)





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The Aynsley Dunbar Retaliation - Dr. Dunbar's Prescription-Blue Whale-Remains To Be Heard (1969-1970 uk blues, progressive rock - 320K and WAV)

The first CD is a 2 for 1 that has Aynsley Dunbar Retaliation's second album Dr. Dunbar's Prescription and The Aynsley Dunbar's new band Blue Whale.



The Second CD is Aynsley Dunbar Retaliation's last album Remains To Be Heard



The Aynsley Dunbar Retaliation's second album was much the same as their first, offering competent late-'60s British blues, given a slightly darker cast than was usual for the style via Victor Brox's somber vocals.



Like their debut, it was dominated by original material, and as on its predecessor, the compositions were rather routine blues-rock numbers, though they benefited from arrangements by highly skilled players.



The best of these tracks were the ones that utilized Brox's gloomy, almost gothic organ, if only because it made them stand out more among the company of the many similar bands recording in the prime of the British blues boom.



Otherwise the main fare was straightforward blues-rock that was well played, but rather average and forgettable, the most distinguished ingredient being Dunbar's hard-hitting, swinging drums.



If only because it has some original songs that were better than anything on the first album ("Fugitive," "Till Your Lovin' Makes Me Blue," and "Tuesday's Blues," the last of which has some songwriting and guitar work quite similar to Peter Green's late-'60s style in those departments), it's a slightly better listen, though not up to the standards of somewhat similar groups like Fleetwood Mac and John Mayall & the Bluesbreakers.



Blue Whale veered more towards progressive rock with lots of improvisation. It includes four long tracks written by the band's vocalist Paul Williams and a version of Frank Zappa's Willie The Pimp. The best track is It's Your Turn.



Although the Aynsley Dunbar Retaliation broke up in late 1969 after their third album, singer Victor Brox was convinced by manager Bryan Morrison to assemble a posthumous fourth LP.



Unfortunately, Remains to Be Heard came close to being the Aynsley Dunbar Retaliation in name only.



For drummer-founder Dunbar is only on four of the ten tracks, and the rest include contributions by various musicians who weren't in the group, among them Brox's wife (singer Annette Brox), drummer Keith Bailey (who played with Graham Bond for a while), and some African drummers.



The material isn't up to the group's usual standards either, with three of the tracks being leftovers from their third LP, 1969's To Mum, From Aynsley and the Boys; cut by the quartet of Dunbar, Brox, guitarist Jon Morshead, and bassist Alex Dmochowski, the recordings had been left off that record since they were cut prior to Tommy Eyre (who appears on all of that LP's tracks) joining the band.



Sadly, even some of the tracks with Dunbar aboard aren't up to snuff; you know an outtake should remain an outtake when it begins with the lyric "be my monkey woman, I'm gonna be your monkey man" (as "Invitation to a Lady" does), though "Downhearted" is a worthy effort in the downer-blues-with-organ style that was perhaps the group's strongest suit.



Many if not all of the post-Dunbar recordings sound kind of like demos and/or unfinished songs in progress, and none sound especially worthy of future attention, except maybe for the brooding, jazzy "Toga" (with violin, wordless hummed vocals, and African-tinged percussion), though even this seems like a sketch with lyrics that have yet to be filled in.



It all adds up to a sad and unrepresentative end for a worthy group, desirable only for completist collectors.











Dr. Dunbar's Prescription/Blue Whale:

01. Change Your Low Down Ways

02. The Fugitive

03. 'Till Your Lovin' Makes Me Blue

04. Now That You've Lost Me

05. I Tried

06. Call My Woman

07. The Devil Drives

08. Low Gear Man

09. Tuesday's Blues

10. Mean Old World

11. Willing To Fight

12. Willie The Pimp

13. It's Your Turn

14. Days

15. Going Home



The Aynsley Dunbar Retaliation Personnel:

*Alex Dmochochshi - Bass

*Aynsley Dunbar - Drums

*John Moorshead - Lead Guitar, Vocals

*Victor Brox - Vocals, Guitar, Keyboards, Horns

*Tommy Eyre - Keyboards



Blue Whale Personnel:

*Aynsley Dunbar - Drums

*Peter Friedberg - Bass Guitar

*Ivan Zagni - Lead Guitar

*Paul Williams - Vocals

*Roger Sutton - Lead Guitar

*Charles Greetham - Saxaphone

*Edward Reay-Smith - Trombone







Remains To Be Heard :

01. Invitation To A Lady

02. Blood On Your Wheels

03. Downhearted

04. Whistlin' Blues*

05. Keep Your Hands Out

06. Sleepy Town Sister*

07. Fortune City*

08. Put Some Love On You*

09. Bloody Souvenir*

10. Toga*

11. Warning

12. Cobwebs



Personnel:

*Aynsley Dunbar - Drums (* Not Present on these tracks)

*Alex Dmochowski - Bass Guitar

*John Morshead - Lead Guitar

*Victor Brox - Piano, Organ, Vocals, Percussion

*Annette Brox - Vocals (tracks: A4, B1 to B5)



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The Aynsley Dunbar Retaliation - First Record - To Mum, From Aynsley And The Boys (1972 uk blue rock - 2 on 1 CD - 320K and WAV)

On their self-titled debut album, the Aynsley Dunbar Retaliation flashed a British blues-rock approach that was rather similar to that of John Mayall's Bluesbreakers circa 1967.

That was unsurprising considering that leader and drummer Dunbar had played on the Bluesbreakers' 1967 A Hard Road album, and that bassist Alex Dmochowski would later play with Mayall himself.

Although everyone in the Aynsley Dunbar Retaliation was a skilled player, the record ultimately comes off as rather second-division late-'60s British blues, though in a little heavier and darker a style than Mayall's.

That's not to say it's mediocre, but the material (mostly original) is only average, and not quite up to the level of the musicians' instrumental proficiency.

Too, Victor Brox isn't the greatest singer, though he's OK, and while Jon Morshead plays guitar well, his style sometimes seems quite influenced by Peter Green (listen especially to his work on the cover of Percy Mayfield's "Memory of Pain").

Additionally, some of the original material wasn't all that original; the work song-style "Watch 'N' Chain" certainly bears similarities to the tune that Donovan popularized under the title "Hey Gyp" (itself similar to a song that Lonnie Young, Ed Young, and Lonnie Young, Jr. had recorded under the title "Chevrolet" on Atlantic's 1960 Roots of the Blues LP of Alan Lomax field recordings).

It's not a bad record overall, however, with the players getting a chance to take extended solos on the instrumentals "Sage of Sidney Street" and "Mutiny."

Their third LP, To Mum, From Aynsley and the Boys, was truly the final proper full-length release by the original group.

Dunbar had expressed some interest in moving further afield from the blues-rock format around the time the record was done, and the addition of keyboardist Tommy Eyre (from the Grease Band) to the lineup was one step in that direction.

The enlistment of John Mayall as producer was perhaps another step in attempting to refine their sound.

Still, much of To Mum, From Aynsley and the Boys is pretty standard late-'60s British blues-rock, in line with the previous two albums by the band.

Eyre does inject some of the arrangements with a jazzy, more R&B feel, particularly on "Leaving Right Away" and the instrumental "Unheard," the latter of which sounds like a rock band trying to do modern jazz and finding themselves a bit out of their depth.

You also hear the quintet trying to stretch boundaries a little with the eerie, trumpet-overlaid intro to "Don't Take the Power Away," which has the downcast ambience typical of quite a bit of the Victor Brox-sung Aynsley Dunbar Retaliation material.

There's also some exceptionally funereal organ in the march-plodding instrumental "Journey's End." Otherwise, though, much of this is rather-run-of-the-mill, if always well played, British blues-rock.




My Whiskey Head Woman:


The Aynsley Dunbar Retaliation:
01. Watch 'N' Chain
02. My Whiskey Head Woman
03. Trouble No More
04. Double Lovin'
05. See See Baby
06. Roamin' And Ramblin'
07. Sage Of Sidney Street
08. Memory Of Pain
09. Mutiny

To Mum, From Aynsley And The Boys:
10. Don't Take The Power Away
11. Run You Off The Hill
12. Let It Ride
13. Journey's End
14. Down, Down And Down
15. Unheard
16. Sugar On The Line
17. Leaving Right Away

Personnel:
*Alex Dmochochshi - Bass
*Aynsley Dunbar - Drums
*John Moorshead - Lead Guitar, Vocals
*Victor Brox - Vocals, Guitar, Keyboards, Horns
*Tommy Eyre - Keyboards (OnTo Mum, From Aynsley And The Boys)

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Sleepy John - Sleepy John (1970 us blues, progressive & psychedelic rock - MP3 320K and WAV)

This album’s music was made in 1970 – it’s therefore not surprising that you don’t find raging power metal here, but rather relaxed yet still often unbound heavy rock with fiery guitars – and organ music – as evidenced by the totally exploding end part of “River”, the opening track.

The disc’s sound does not conform to today’s standards, but it is lively and honest, and you get the feeling that the band is standing right next to you.

Sleepy John was still operating on the threshold of the psychedelic bands of the 60’s to the hard rock of the 70’s.

Extensive, mind-bending jams and solos that rob you of your senses are as much part of the repertoire as are straight-line-like, aggressively driven moments of penetrating melodies.

Especially the often ecstatically whirling drummer is absolute ear candy, yet only a small part of the whole experience.

The pieces are playful, but flow forward naturally and stay reconstructable. A few freaky parts here and there do not interrupt the flow.

Even when the guitar does not sound badly distorted, the ardent way in which it is worked evokes a sense of immense power.

Every so often the fuzz box is turned on and a sizzling distorted sound sneaks in and cuts right into your belly.

After two hard rock pieces, every band needs a break, so a ballad, heavy on melancholy and furnished with rich organ arrangements is just the right thing.

Even here are moments where the band steps up the drama by increasing the volume, but these moments then give way again to softly floating passages.

Or, take note of the frenzied leads in the absolutely crazy instrumental middle passage of “Dragons” which produce an almost hypnotizing effect.

Hard rock is not the only style aid here; threads of softer, swinging songs with a somewhat fluid expression are also weaved in.

That’s the way it was back in 1969/70 – to not think and compose one-dimensional, but to create a salient point in the material to unify it.

When you compare this band to current mainstream rock music, you should – your face distorted with disgust – turn your naked ass to today’s modern, uninspired plastic shit, to say it bluntly.

Today, they either use demented screaming, bored droning on or whining. In contrast, take the almost floating “Seasons” where the middle part integrates passages which sound like Eastern European folk music and psychedelic heavy rock, and the band ability to change back and forth without missing a beat.

That song alone has more diverse passages than many bands have in their entire discography: It swells, becomes highly intensive and brings you toward ecstasy, flows into more floating moments, falls into playful parts with twisted bridges, then mysterious and dark, then rocks and culminates in a scream and fiddling guitar after the folk music-like middle. Wow, I gotta sit down.

The song “Losing my plow“. A song placed somewhere between Country and Slapstick, “Losing my plow”, follows. Hard-core rockers with blinders on are probably screaming now, but as a comedic interlude I find it rather refreshing.

In their playful way, Sleepy John fall in with high-class bands. They continually add ideas that make for very diverse material -- this naturally requires a certain level of immersion on the part of the listener.

I think it’s fair to say that for hard rock fans listening to this disc is like running a gauntlet.

There are bluesy interludes that are so mischievous that they take on a parodic character – yet, the band does this with such honesty and authenticity which makes it very believable People who dare go near such a multi-layered band with a like CD should add Sleepy John and their so-named debut-CD to their shopping list.

It’s truly great fun to listen to the four young men’s performance.

Unfortunately, Sleepy John never had the good forture of a regular publishing then, only in 2004 the US Label Gear Fab burnt the two recording sessions from the 70’s into a CD.

The result speaks for itself. Liner and booklet are nicely done, with band history and illustrations. And with 73 minutes it’s not too short.



River:


Track List:
01. River
02. Al Capa Strong
03. Nothing
04. Dragons
05. Prelude to a Dream
06. Seasons
07. Losing My Plow
08. Hard Workin' Woman
09. I Just Happen to Be (In Love With You)
10. Monday Blues
11. You Say
12. Trying to Fly
13. Blue Sky
14. Cowboy
15. Searching for the World

Personnel:
*David Lee - Hammond organ and Vocals
*Frank Trowbridge - Guitar and Vocals
*Jim Bartlett - Bass
*Tom Williams - Drums

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Clark-Hutchinson - A=Mh2 Exp (1969 uk blues, progressive & psychedelic rock - extended edition - MP3 320K and WAV)

As virtuoso musicians and members of Sam Gopal's Dream, Clark-Hutchinson (Andy Clark and Mick Hutchinson) were well-known to regulars at legendary London clubs such as UFO and Middle Earth when they decided to branch out as a duo.

Recorded in two intense overnight sessions in May 1969, A=MH2 is a scorching blend of jazz, raga, blues and psychedelia that has long been established as one of the key recordings to have emerged from the UK psychedelic underground.

It's presented here as a 2CD set, together with their March 1969 recording debut, an unreleased collection of acid blues that features some equally stunning musicianship.

The package comes complete with detailed notes and previously-unpublished photos, making it the most comprehensive edition of this groundbreaking music ever assembled.



Impromptu in 'E' Minor:


CD1:
01. Improvisation On A Modal Scale
02. Acapulco Gold
03. Impromptu In 'E' Minor
04. Textures In 3/4
05. Improvisation On An Indian Scale

CD2:
01. Bad Loser
02. Crow Jane
03. Can't Carry You
04. Seymour's Boogie
05. Put You Down
06. Someone's Been At My Woman
07. Make You
08. Summer Seemed Longer

Personnel:
*Mick Hutchinson – Lead, Bass, Rhythm Guitar, Bongos, Piano, Timpani and Flute
*Andy Clark – Bass Drum, Maracas, Bagpipe chanter, Piano, Organ, Tenor & Alto Sax, Gong, Rhytum Guitar, Flute and Voice

*With Walt Monahan (Bass) and Franco Franco (Drums) on Disc 2

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The Sensational Alex Harvey Band - Hot City (1974 scotland hard, blues and glam rock - unreleased album - MP3 320K and FLAC)

The Sensational Alex Harvey Band "Hot City - The 1974 Unreleased Album"
Full previously unreleased studio album by The Sensational Alex Harvey Band recorded in 1974 finally gets released 34 years later!

In early 1974, the Sensational Alex Harvey Band were planning to record their upcoming third album. The band, had been constantly touring and were well rehearsed when in late Janauary, they went into Advision studios in London with legendary US producer: Shel Talmy to record their biggest album to date.

By April, the sessions were finished and the album was mixed. However, after completion the band and management had some reservations about the overall sound and amazingly they decided to scrap the entire album. Shel Talmy the returned to Los Angeles with his tapes.

Most of the song titles eventually showed up on the official album ´The Impossible Dream´ later that year with a different producer on board and the songs changed dramatically.

You can now hear how the album sounded with the original versions of these songs. SAHB fans will be totally surprised and amazed at the different styles, delivery and lyric arrangements of well known SAHB songs such as Vambo & Man In The Jar.

There are also two versions of both Anthem and Tomahawk Kid and an previously unreleased song `Ace In The Hole´ which has not been heard even by the band since those sessions in 1974.

As SAHB became the biggest band of 1975, these recordings were quickly forgotten about. Now after 34 years, MLP have re-discovered the fully mixed unreleased album by a rock group on the verge of stardom. The recordings were re-assessed by both Shel and the band and an agreement was reached.

Now re-mastered and with the band´s full approval, you can hear how songs like Vambo, Man In The Jar, Anthem and Sgt Fury originally sounded.

This CD release features 11 tracks and comes in a deluxe package which includes a 20 page booklet with rare photos and extensive liner notes from the band with track/track comments and opinions (by Kaj Roth from http://www.melodic.net/?page=news&id=11313).


Man In The Jar (Hot City album version):


Track List:
01.Vambo
02.Man In The Jar
03.Hey You
04.Long Haired Music
05.Sergeant Fury
06.Tomahawk Kid Version 1
07.Ace In The Hole
08.Weights Made Of Lead
09.Last Train Version 1 (Aka - Anthem)
10.Tomahawk Kid Version 2
11.Last Train Version 2

The Sensational Alex Harvey Band:
*Alex Harvey - lead vocals
*Zal Cleminson - lead guitar
*Chris Glen - bass
*Hugh McKenna - keyboards
*Ted McKenna - drums

Guests:
*Big Buds Brass - sax, trombone, trumpet (02,05,08)
*Vicky Silva - vocals (09)
*The London Scottish Pipers - pipes (09)


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Beck, Bogert & Appice - Live (1973, uk/us blues hard rock 2CDs - Wave audio format)

Live in Japan is a 1973 rock album by the supergroup power trio Beck, Bogert & Appice.

The album although initially called Beck, Bogert & Appice Live was only issued in Japan (recorded May 18 & 19, 1973 at Koseinenkin Hall, Osaka) and is also known as Live in Japan.
The album is generally considered rare due to the fact of being only released in limited numbers in Japan.

Live in Japan was the last released album by Beck, Bogert & Appice and their only live album.
Within months of the album's release the band would dissolve after Jeff Beck suddenly decided to leave the band.

On this album, Beck can be heard heavily using a Heil Talkbox, two years before the release of Peter Frampton's landmark album, Frampton Comes Alive.

The album also contains renditions of songs originally recorded by the Jeff Beck Group, "Plynth", "Going Down" and "Morning Dew" and one Yardbirds number "Jeff's Boogie". (by wikipedia)

Track List :

CD 1 :
01.Superstition
02.Lose Myself With You
03.Jeff's Boogie
04.Going Down
05.Boogie
06.Morning Dew

CD 2 :
01.Sweet Sweet Surrender
02.Livin' Alone
03.I'm So Proud
04.Lady
05.Black Cat Moan
06.Why Should I Care
07.Plynth/Shotgun (Medley)

Personnel :
*Jeff Beck - guitar
*Tim Bogert - bass
*Carmine Appice - drums

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The Sensational Alex Harvey Band - The Impossible Dream / Tomorrow Belongs To Me (1974-1975 scotland hard, blues and glam rock - MP3 320K and FLAC)

Combining the Sensational Alex Harvey Band's third and fourth albums, The Impossible Dream and Tomorrow Belongs To Me, offers perhaps the archetypal vision of Alex Harvey, as his long-nurtured alter-ego, the comic book hero Vambo, finally burst out of imagination to take on a life of his own on stages across the world. Yet what would become the group's most successful albums also stand as their patchiest.

From The Impossible Dream, "River Of Love," "Long Hair Music," and "Weights Made Of Lead" seem particularly throwaway; casualties, perhaps, of the sheer volume of live work which the band was putting in.

Certainly there was nothing to rival its predecessors' "Faith Healer," "Next," or "Isabel Goudie," although when the album was good, it was great.

The sparkling "Sergeant Fury" and "Tomahawk Kid," a dramatic (if slightly off-kilter) tribute to Robert Louis Stevenson's Treasure Island were already live staples, while the impossibly moving, and so aptly-titled "Anthem" would allow Harvey to live out all his Scottish pride -- when SAHB toured the US in early 1975, he even arranged for a couple of bagpipers to join them on stage for the closing minutes of the song.

Tomorrow Belongs To Me is weaker still, despite the uniform excellence of its contents onstage.

Indeed, like Impossible Dream's "Hot City Symphony," the epic "Give My Compliments To The Chef" and "Tale Of The Giant Stone-Eater" were surely designed with live, as opposed to studio, dynamics in mind, while the bulk of the shorter pieces once more tend to be throwaways.

Again, however, there are exceptions -- one can readily imagine "Sgt. Fury" swaggering carelessly down through menacing shadows of "Action Strasse," while the almost religious intensity with which Harvey emotes the title track (from the stage show Cabaret) is virtually worth the price of admission alone.

One can also safely say that, linked on one CD, the two albums work better as a whole than they ever did alone -- again, testament to the sheer dynamic of SAHB-period live shows.

That the best of that show is preserved only on the criminally short album Live on the Test only adds to this set's vitality.

Live on the Test showcases the best, but you should hear the rest. (All Music Guide review by Dave Thompson).


Give My Compliments To The Chef:


CD1 - The Impossible Dream:
01."Hot City Symphony Part 1: Vambo"
02."Hot City Symphony Part 2: Man in the Jar"
03."River of Love"
04."Long Hair Music"
05."Hey"
06."Sergeant Fury"
07."Weights Made of Lead"
08."Money Honey"/"The Impossible Dream" (Jesse Stone, Mitch Leigh, Joe Darion)
09."Tomahawk Kid"
10."Anthem"

CD2 - Tomorrow Belongs To Me:
01."Action Strasse"
02."Snake Bite"
03."Soul In Chains"
04."The Tale of The Giant Stoneater"
05."Ribs and Balls"
06."Give My Compliments To The Chef"
07."Shark's Teeth"
08."Shake That Thing"
09."Tomorrow Belongs To Me" (Fred Ebb, John Kander)
10."To Be Continued...(Hail Vibrania!)"


The Impossible Dream:
*Alex Harvey - Lead vocals, rhythm guitar
*Zal Cleminson - Guitar
*Chris Glen - Bass guitar
*Hugh McKenna - Keyboards, synthesizer
*Ted McKenna - Drums
*Vicky Silva - Vocals on "Anthem"

Tomorrow Belongs To Me:
*Alex Harvey - Lead vocals, guitar, harmonica
*Zal Cleminson - Guitar, backing vocals
*Chris Glen - Bass guitar, backing vocals
*Hugh McKenna - Keyboards, synthesizer, backing vocals
*Ted McKenna - Drums, percussion, backing vocals
*Barry St. John, Liza Strike, Vicki Brown - Backing vocals on "Action Strasse" & "Soul In Chains"


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Dias De Blues - Dias De Blues (1972 uruguayan blues rock - MP3 320K and WAV)

After the break-up of Opus Alfa in 1972, the keyboard player returned to his job as sound engineer, the singer went solo and Bertolone, Barral and Graf formed the power trio Días de Blues. Live shows began immediately, endorsed by the excellent background reputations of the members.

Their music, an absolutely wild and raw mixture of hyper electric drug-induced progressive blues with social -concerned lyrics, was influenced by Cream, Led Zeppelin and Cactus.

Their only LP, recorded in Buenos Aires, Argentina, by the end of 1972, captures the roughness and vitality of their concerts like few groups ever managed to.

Conceived inside the typical parameters of the time, the album is an indisputable representative sample of progressive hard rock. It is absolutely recommended to understand the acid-progressive rock of that time.

Daniel Bertolone -who couldn't afford a guitar of his own- plays the hell out of his solos and riffs. He got a sound that most guitar players only dreamed of in those days. Jorge Barral, strongly influenced by Jack Bruce in the vocal and instrumental parts, lends a global sound to the group with his strong melodic sense. On the other hand, Jorge Graf, an astonishing effective drummer, contributes with his constant accurate solid meter.

The psychedelic blues "Amasijando los blues", the acid rock "Están desubicados" and pro drug assertions like "Dame tu sonrisa, loco" ("Smile to me, dude'') are great examples of the band effectiveness. The strange psycho-folk of "Esto es nuestro" or the brutal energy discharged on "Toda tu vida", round up this great album of inspired compositions. A must have record!

Burdened by the political and economic problems that shook the country, the band split and its members emigrated to Germany (Graf), Spain (Barral) and Australia (Bertolone), where he finally could buy himself a guitar!

The album was released in Uruguay and Argentina (Trova XT80054) with different covers. Both editions are extremely rare, particularly the Uruguayan. Beware of European counterfeits (both on vinyl and CD). Surprisingly, in 1977 Clave released a rare LP with one side by Días de Blues and one side by Opus Alfa (!).



Amasijando Los Blues:


Track List:
01.Amasijando Los Blues
02.Dame Tu Sonrisa Loco
03.No Podran Conmigo
04.Cada Hombre Es un Camino
05.Estan Desubicados
06.Esto Es Nuestro
07.Vuela

Personnel:
Daniel Bertolone - Guitar, Vocals
Jorge Barral - Bass, Vocals
Jorge Graf – Drums

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The Sensational Alex Harvey Band - Framed / Next (1972-1973 scotland mix of hard, blues and glam rock - 2002 remaster edition - MP3 320K and FLAC )

N.E.X.T. Next. What a way to start a song. As Alex Harvey spells out the letters of the title, before leering the word into the microphone, the band breaks into a tango beat to support him, which is perhaps one of the defining moments in the career of "The Sensational Alex Harvey Band" and its inspirational leader.

In 1972 Alex Harvey had reached the grand old age of 38, way too old in those hedonistic days of music to consider becoming a Pop Star.

But tragically, Alex's younger brother by some ten years, Leslie, had been killed in an electrical accident during a sound check with his group "Stone the Crows" at the Top Rank in Swansea. The cause was an unearthed microphone.

This tragic event spurred Alex on to have one more go at cracking the big time.

At the time Alex was earning a crust in the orchestra of James Rado's iconoclastic musical 'Hair', but was persuaded by his manager, friend, and mentor Bill Fehilly, to go up to his native Glasgow, Scotland, to check out a gritty Progressive outfit called Tear Gas.

The band was in the throws of giving up all dreams of stardom and going back to 'normal jobs'. They were so broke that in true Scottish tradition they had resorted to haggis hunting up the side of mountains to find sufficient nutrition to survive.

However, Alex, recognizing talent when he saw it, coerced the band to stick together and plant him in as lead singer and inspirational genius. Putting "Sensational" into the title of the band, they went into the studio and in six days had recorded their first album, released in early 1973, before starting to play live anywhere that would have them.

Not surprisingly, they quickly built up a reputation of one of the hottest acts on the live circuit.

Out front was Alex himself, skin tight jeans, dirty red handkerchief hanging from his back pocket, black and white looped T-shirt, with Alex's huge head sticking out the neck (with all the creativity going on in this head, it needed to be a big one), topped off by an unruly mop of unruly jet black hair, the perfect leader.

Next to him was Zal Cleminson in a green rubber jumpsuit with cake white clown's make-up, which exaggerated his gurning face as he cut loose during the solos, and becoming a complete maniac, the perfect foil.

On the other side of the stage on bass was a man who could of made a living as an Elvis impersonator, or at least one of Elvis' bouncers Mr. Chris Glen, the perfect man to have on your side if the chips were down.

On Keyboards, as befitting this lot, was Hugh McKenna, who looked more like a university music teacher than a Rock 'n' Roll star, the perfect musical director.

And keeping it in the family, on drums you had Hugh's brother, Ted, the perfect rock onto which to hoist your Rock 'n' Roll flag.

The first album was a reasonable commercial success, but for once the record company saw the potential in this group.

Later that year they booked a full month for the band to record their follow up album and brought in top Glam Rock producer Phil Wainman.


The results were 'Sensational'. Alex sung with such pathos you cannot help but love him. Nobody else at the time could of gotten away with singing the title track, the J. Brel tribute to European Brothels, or `Gang Bang' poking fun, of an unmentionable subject.

Zal Cleminson's guitar playing throughout is nothing short of brilliant, and the band supports them note for note.

All of the songs here were to stay in the band's stage act in one way or another until the end, especially 'The Faith Healer' with its throbbing Tooltelbug drone opening, which was to become the band's standard bearer and opening song. (The sight of Alex staggering to the front of the stage screaming "can I put my hands on you" used to send the audience into raptures.)

`Vambo Marble Eye' became a saga that Alex was going to take to higher plains on the live stage. Final number 'The Last Of The Teenage Idols' was inspired by an event way back in 1957, when Alex Harvey won a Daily Record organized competition to find the Scottish Tommy Steele (true - I promise!), which brings the album to a fitting rocking climax before we are lulled away by a final burst of do-wop.

In another year, "The Sensational Alex Harvey Band" was the biggest touring band in Europe, quite a turn around from Haggis chasing. Unfortunately, the work load was just too much and after suffering declining health, Alex left the band in 1978, after which the band imploded.

Later in 1982, Alex would die of a heart attack while on tour in Europe, a day before his 47th Birthday. Although Alex's career did not really catch fire until late, but when it finally did, it sure burned bright. If "The Sensational Alex Harvey Band" is a mystery to you, pay attention.

Alex Harvey was one of the greatest ring masters to have ever strode across the field of Rock 'n' Roll.

The first two "Sensational Alex Harvey Band" albums, "Framed" and "Next", have just been released as a special 2-for-1 box set, a bargain not to be missed (by Kim Fletcher).

Midnight Moses:


Faith Healer:


Faith Healer lyrics:
If your body's feelin' bad
And it's the only one you have
You want to take away the pain
Go out walkin' in the rain
You watch the flowers go to bed
Ask the man inside yah head
Your spirit never has to grieve
All yah got to do's believe

The faith healer
The faith healer

All yah got to do is feel
Your body's going to start to heal
Fingertips and holy fire
Everlasting sweet desire
It don't matter what the doctor said
The healer man will sail away
Immortality for two
The miracles, can come to you

The faith healer
The faith healer

Can I put my hands on you?
Can I put my hands on you?

The faith healer
The faith healer

Faith, and hope and charity
It's simple relativity
He can make you understand
All make up to take his hand
Remember when somebody said
Ask the man inside yah head
The fingertips of holy fire
Everlasting sweet desire

The faith healer
The faith healer
Can I put my hands on you? Ahhh...(6 times)
The faith healer....(3 times)

CD-1:
01.Framed
02.Hammer Song
03.Midnight Moses
04.Isobel Goudie (My lady of the night/Coitus interruptus/Virgin and the hunter)
05.Buff's Bar Blues
06.I Just Want To Make Love To You
07.Hole In Her Stocking
08.There's No Lights On The Christmas Tree Mother
09.St Anthony

CD-2:
01.Swampshake
02.Gang Bang
03.Faith Healer
04.Giddy Up A Ding Dong
05.Next
06.Vambo Marble Eye
07.Last Of The Teenage Idols (parts 1-3)



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Roy Buchanan - Second Album (1973 us blues rock - Wave audio format)

After Roy Buchanan's sefltitled recorded, the emphasis is once again on a variety of approaches to traditionals and originals alike.

Erskine Hawkins' "After Hours" is given a formidable workout, while Buchanan's own "Five String Blues" is a seminal example of the artistry that he brings to his craft, as the guitar alternately cries and rejoices at his touch.
"I Won't Tell You No Lie" is a funkier number, recalling a mid-tempo interpretation of Bill Withers' "Ain't No Sunshine".

From here, the Snake Stretchers disbanded as new producers incorporated their own musicians and vocalists.

Sadly, few (if any) of Buchanan's subsequent efforts would reveal the thoroughly solid ensemble work that Roy Buchanan and Second Album so flawlessly demonstrate. (by Lindsay Planer from amg)

Track List :
01.Filthy Teddy
02.After Hours
03.Five String Blues
04.Thank You Lord
05.Treat Her Right
06.I Won't Tell You No Lies
07.Tribute To Elmore James
08.She Once Lived Here

Personnel :
*Roy Buchanan - lead and acustic guitar, vocals
*Dick Heintze - keyboards
*Don Payne - bass
*Jerry Mercer - drums
*Teddy Irwin - rhythm guitar
*Chuck Tilley - vocal on Treat Her Right
*Ned Davis - drums on She Once Lived Here

[ Rip and Scans by DR BELL OTUS ]
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Roy Buchanan - Live In Japan (1978 us blues rock - Wave audio format)

I was wondering if this would ever be released on cd.
"Live In Japan" was released by Polydor only in Japan in 1978.
"Live In Japan" documents Buchanan's tour of Japan in 1977 and was his gift to his Japanese fans.

This disk was supposed to be Roy's favorite among all of his releases.
Buchanan's live disks tend to be much more explosive than his studio albums.

The standout cut is a great live rendition of "Hey Joe" with "Foxy Lady" as a coda.

The disk begins with an excellent cover of Booker T. & the MGs instrumental "Soul Dressing".
The disk also includes the upbeat "Sweet Honey Dew" a cover of Larry Williams' "Slow Down" and an inspired version of "My Baby Says She's Gonna Leave Me".

"Sweet Dreams" one of Roy's personal favorites is also included.

Roy's playing shines throughout and if you are a fan this release along with the new "American Axe" another live set from 1974 are essential.

My only regret is that the disk is only about 46 minutes long.
A number of other songs were played during Roy's tour of Japan including a smokin' cover of Cream's "Sunshine Of Your Love".
Maybe at some point this will be released stateside in an expanded edition with some of the outtakes from this tour!

Until then enjoy the master of the Telecaster! (by J. E FELL "boogaloojef" from Amazon)

Dr Bell Otus review in portuguese language :

Leroy Buchanan, mais conhecido como Roy Buchanan, nasceu em 23 de Setembro de 1939 em Arkansas e morreu tragicamente enforcado em uma cela de prisão, em 14 Agosto de 1988.

Foi um mestre da "Telecaster" (Fender), e influenciou gente como Jeff Beck e Steve Gibbons dos ZZ Top e também partilhou um estúdio com Jimmy Nolen (mais tarde o guitarrista James Brown) e Johnny 'Guitar' Watson.

Jerry Garcia descreveu-o como “An original country style rock’n’roll guitar player who had a nice tone, amazing chops and was much neglected” e Les Paul (Gibson Guitar), comparou Roy com Hendrix, pois também foi um inovador no uso de sons incomuns, especialmente os notáveis acordes como um choro de um bebê.

Na década de 50, teve a sua própria banda, The Heartbeats, que acompanhou durante muito tempo Dale Hawkins.

Nos anos 60, mudou-se para o Canadá, onde começou a tocar com outra estrela de rockabilly, Ronnie Hawkins, e onde estudou com o baixista da banda The Hawks (a banda que acompanhava Ronnie Hawkins), que era nem mais nem menos, Robbie Robertson, que, após a saída de Roy, ocupou o seu lugar como guitarrista e se tornou o líder da banda que iria mudar o nome para os famosos The Band.

Roy era um músico de grande talento, mas não gostava das confusões comerciais no mundo do rock, e sobretudo, não queria converter-se em estrela no mundo da musica.

Por tudo isso e muito mais é que tem o título de "The Greatest Unknow Guitarist In The World", frase esta que está escrita neste disco.

There are only two guitar players who can put me tears in my eyes when I hear them, Roy Buchanan and Jimi Hendrix, so take your conclusions
(by Dr Bell Otus)

Track List :
01.Soul Dressing
02.Sweet Honey Dew
03.Hey Joe
04.Slow Down
05.Lonely Days Lonely Nights
06.Blues Otani
07.My Baby Says She's Gonna Leave Me
08.Sweet Dreams

The Band :
*Roy Buchanan - guitar
*John Harrison - bass
*Malcolm Lukens - keyboards
*Byrd Foster - drums, vocals

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Billy T.K & Powerhouse - Move On Up: The Unreleased Tapes (1972-75-80 new zealand latin-tinged blues & funk rock - 2009 edition MP3 320K and FLAC)

After three years and three albums delivering electrifying riffs as part of cult progrock trio Human Instinct, Billy T.K was ready to explore more melodic themes.

Powerhouse experimented with Latin-tinged blues and funk rhythms with lush layers of vocal harmonies, brass and percussion all woven together with Billy's relentless but unmistakeable riffs and extended solos.

Like so much of New Zealand's early recorded history it was feared the debut album from Billy T.K & Powerhouse had been lost forever, or worse taped over, leaving little recorded evidence of this influential guitar-driven rhythmic big band.

This CD compilation of the lost Move On Up album recorded at EMI studios in 1972, with selections form the live concert at Wellington's St James Theatre in 1975 and a single recorded with session musicians in Hollywood in 1980, delivers a solid overview of post-Human Instinct Billy T.K. for the first time.


Southern Man:


Track List:
01.Bottle Of Red Wine
02.Move On Up (Pts. 1 & 2)
03.Hum Along And Dance
04.Into The Mystic
05.Marbles
06.Guajira
07.Goodbye Post Office Tower Goodbye
08.Southern Man
09.Dance With The Spirit
10.Rhythm Of Your Love
11.Heaven's Melody (Live)
12.Beyond The Material Sky (Live)
13.Race Into The infinite (Live)

Billt T.K:
*Billy T.K : Lead Guitar, Vocals
*John Bilderbeck : Guitar
*Steve Webb : Drums
*Gav Collinge : Bass
*Ara Mete : Rhythm Guitar
*Jamie Tait-Jamieson : Keyboards, Saxophone
*Arnold Tihema : Congas & Lead Vocals
*Mahia Blackmore : Vocals & Percussions
*Dick White : Saxophone


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