Denny King - Evil Wind Is Blowing (1972 us, acid blues rock, Captain Beefheart's sideman, 2010 edition - MP3 320k and FLAC)

Born Dennis Gordon Ottenbacher in Wisconsin in 1942, singer / guitarist Denny King started out on the Milwaukee local music scene in the early 60s. By the early 70s he was based in the small town of Lancaster I (in California's Mojave desert) at the time his sole album was made.



A bluesman, he quickly became a lynchpin of the local scene, playing with numerous local musicians. Two of those were Alex St. Claire (guitar, trumpet) and Doug Moon (harmonica), who had played in the early incarnation of Captain Beefheart's Magic Band, and accompanied King on his sole LR which appeared on Little Richard's Specialty label (as SPS 5003) in the summer of 1972. A good-humored set of odd electric blues, St Claire produced it, and also takes a co-writing credit on Desert Sand, making it a considerable curio for Beefheart completists.



Famed critic Barry Hansen (better known as Dr. Demento) wrote the enthusiastic sleevenotes, HR which promise that "you'll soon know why they call that place the high desert!", but sales were predictably small, and the extracted 45 (Bessie Mae / Go Down Moses) was also a slow seller. King later set up a booking agency, with the aim of helping bands getting a start playing in bars, and later specialised in opening music venues in Asia, and organizing entertainment for US forces in Korea.



By all accounts a humble and religious man, King died in April 2000. At that time he had been playing in a band called The Watchmen, with members of his church.

Tracks

1. Evil Wind Is Blowing - 3:00

2. Bottle Blues - 3:00

3. Desert Sand - 3:48

4. Sunday Driver - 2:57

5. Boogie Man - 5:18

6. Bessie Mae - 3:12

7. Lucille - 3:11

8. Home Cooking - 4:05

9. Go Down Moses - 2:28

10. Putting Away The Blues - 2:24



Musicians

*Denny King - Vocals, Guitar, Bass

*Alex St. Claire - Guitar, Trumpet, Bass, Slide Guitar

*Jesse Briones - Bass

*Greg Hampton - Drums

*Al Carr - Congas

*Douglas Moon - Harmonica

*Peter Dolan - Flute



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Canned Heat - Boogie With Canned Heat - (1968 Us blues rock, hard blues and boogie CD digipack edition - Wave audio format)

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)





Canned Heat - Evil Woman





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

04-"World in a Jug" (Canned Heat) – 3:29

05-"Turpentine Moan" (Canned Heat) – 2:56

06-"Whiskey Headed Woman No. 2" (Bob Hite) – 2:57

07-"Amphetamine Annie" (Canned Heat) – 3:56

08-"An Owl Song" (Wilson) – 2:43

09-"Marie Laveau" (Henry Vestine) – 5:18

10-"Fried Hockey Boogie" (Larry Taylor) – 11:07

Bonus Tracks

11-"On The Road Again"- 3:22

12-"Boogie Music" - 2:46

13-"Goin' Up The Country" - 2:51

14-"One Kind Favor" - 4:54

15-"Christmas Blues" - 2:35

16-"The Chipmunk Song" - 2:49



Personnel

Bob Hite – Vocals, Harmonica

Alan Wilson – Slide Guitar, Vocals, Harmonica

Henry Vestine– Lead guitar

Larry Taylor – Electric Bass

Fito de la Parra – Drums



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Savoy Brown - Street Corner Talking - (1971 uk blues rock - MP3 320K & FLAC)

At the end of 1970, Kim Simmonds found himself deserted by the other members of Savoy Brown, the band he had founded and nutured through five albums. Starting from scratch, he recruited a crackerjack new band, featuring ex-Idle Race vocalist Dave Walker and super keyboardist Paul Raymond to reinvent the band. Four twelve-hour marathon sessions produced Street Corner Talking, the last of SB's major classics. "Tell Mama" is the rare (for Savoy Brown) hit that opens the session, a great rocker. One of SB's most underrated songs, "Let It Rock" features Kim and Dave (or is it Paul?) singing their hearts out in an ode to the music's glory days. "I Can't Get Next To You" is a cover of the Temptations classic, lowdown and funky at half speed. Then, "Time Does Tell" features Dave at his most soulful and philosophical. "Street Corner Talking" combines great lyrics and a hypnotic, insistent riff by Kim that stays in the mind long after the song is completed. "All I Can Do Is Cry" has been a concert staple for years and features great guitar/keyboard interplay between Kim and Paul. It's a long classic in the mode of "Leaving Again" from Looking In. Finally, "Wang Dang Doodle" is SB's best blues cover ever, as Dave Walker growls the Willie Dixon tune with authority. As a bonus, the single version of "Tell Mama" closes the set. In short, Savoy Brown's best party album and one that is sure to start everyone talking at your next gathering.(By Chris Meesey Food Czar)





Savoy Brown - Wang Dang Doodle





Tracks Listing

01 - Tell Mama

02 - Let It Rock (Rock And Roll On The Radio)

03 - I Can't Get Next To You

04 - Time Does Tell

05 - Street Corner Talking

06 - All I Can Do

07 - Wang Dang Doodle

08 - Tell Mama (Single Version)



Credits

Kim Simmonds - Lead Guitar

Dave Walker - Vocals

Paul Raymond - Keyboards - Guitar - Vocals

Dave Bidwell - Drums

Andy Sylvester - Bass



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Keef Hartley - Lancashire Hustler (1972 uk, blues rock with jazz and funky vibes, 2009 esoteric remaster - MP3 320k and FLAC)

If the last Keef Hartley Band album, 1972's Seventy Second Brave, had seen some changes in musical direction, then the following year's Lancashire Hustler saw a greater shift away from the blues rock origins of the band. After the last KHB album, Hartley had rejoined John Mayall for a European tour and when he returned to the UK, became involved in a number of different musical projects, including playing on a few tracks by Vinegar Joe.



Not having the time to run and organise the band, the group had drifted apart with main musical foil, bassist Gary Thain, heading off into new musical territories by joining heavy rockers Uriah Heep. Decca, Hartley's label, were hustling for a new album which was owed to the label under the drummer's contract so the only option was to get together a studio band comprised of friends and colleagues purely to record the album. Hence, the sole attribute to Keef Hartley. And what a combination of friends and colleagues Hartley was able to call on! Junior Kerr (guitar, vocal) and Mick Weaver (organ, Moog) were recalled from the last incarnation of the KHB and a suitable replacement for Thain was found in Philip Chen, who John Burns, the album's producer, had come across at a Rod Stewart session. Jim Mullen, the jazz-rock guitarist, was also enticed along through some mutual contacts. However, it was in the vocal department that Hartley really hit big time.



Having long admired Jess Roden, who Hartley had known since the time he was a member of The Artwoods (one of the earliest bands to feature Deep Purple's Jon Lord) and Roden had sang with The Alan Bown Set, a quick phone call and an initial get together to run through some ideas, secured Roden's commitment to the album. Then, in return for playing on the Vinegar Joe albums, both Robert Palmer and Elkie Brooks agreed to provide backing vocals and brought with them pianist Jean Rouselle.



The Vinegar Joe connection didn't end with having Brooks and Palmer adding their magnificent voices to the album, but went further with the opening track, Circles, being a fine cover of the Palmer-penned song from the debut VJ album. Jess Roden steals the show on this fabulous, gospel tinged version that is a real 'feel good' track. Throughout the whole album Brook and Palmer make a significant contribution adding tremendous power to tracks like Circles and You & Me.



Shovel A Minor was based on a jam with Mullen providing some tasty guitar licks before a terrifically funky brass middle section takes over which Hartley rightly opines "could be from an American cop show"! Australian Lady, as with the two previous tracks, were composed by Hartley, although John Mayall gets a co-credit on the antipodean female song as Hartley had stolen the main riff from Mayall during a tour of Australia where the titular female was encountered (so maybe Mayall should also be credited for putting Hartley in a position where he could meet the lady that became the muse!). The song is quite beautiful but is raised to something a bit special by the trombone playing of Don Lusher and Derek Wadsworth.



Action and Know Something were both written by John Burns, presumably the producer and engineer of the album, but that is not confirmed in the reissue. Both tracks fit in well with the rest of the album with fine band performances. Chen proves that he was an apt replacement for Thain providing a fine rhythm section along with Hartley, particularly on the instrumental section of Action, and Kerr gets to flex his fingers throughout Know Something.



Jennie's Father is rather unique for Hartley as it is the only song that he decided to add a string accompaniment to. Arranged by Pete Gage, husband of Elkie Brooks and guitarist in Vinegar Joe, the string section is not overpowering but simply adds a lot of colour to the track, particularly the use of pizzicato. Again, it is a lovely song, exceedingly well played and sung.



The big surprise is the cover of the Sly And The Family Stone's big hit Dance To The Music. It's a real tour de force, with Weaver having a field day on organ and Moog, Miller Anderson making a welcome return to the fold, Brooks providing the perfect vocal foil to Roden's lead, some over the top brass and Mullen enjoying himself so much wailing away on his six string that at the end of the song you can hear him say "Got any tape left? I'll carry on"!



I was pleasantly surprised by this album as it is completely different from any of the albums that were released by the Keef Hartley Band. There is an immense feeling of the musicians having great fun and really enjoying the sessions and playing music for music's sake. I suppose as the album was a contractual obligation and there were no plans, or need, to go out and tour to promote the release that took a lot of pressure off.



What is ironic is that a further album was recorded with essentially the same players pretty soon after Lancashire Hustler. However, Hartley went off on another tour with Mayall shortly after recording was complete and by the time he returned the album had been forgotten about.



What is a great pity, and symptomatic of the attitude of some record companies, is that despite intensive searching, the album has been completely lost with the master tapes in all probability having been erased. Easily the most enjoyable of the Hartley albums and a great re-release, recommended album for when you want to dance to the music!!

by Mark Hughes





Tracks

1. Circles (Robert Palmer) - 5:21

2. You and Me (K. Hartley) - 3:57

3. Shovel a Minor (K. Hartley) - 4:22

4. Australian Lady (K. Hartley, John Mayall) - 4:36

5. Action (John Burns) - 5:52

6. Something About You (John Burns) - 3:58

7. Jennie's Father (Ken Cumberbatch) - 3:12

8. Dance to the Music (Sylvester Stewart) - 6:19



Musicians

*Jess Roden - Vocal

*Junior Kerr - Vocal, Guitar

*Jean Rouselle - Keyboards

*Mick Weaver - Organ, Moog

*Philip Chen - Bass

*Keef Hartley - Drums

*Elkie Brooks - Backing vocals

*Robert Palmer - Backing vocals



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Little Free Rock - Time Is Of No Consequence (1969-71 uk, acid blues rock, demos and unreleased material - MP3 320k and FLAC)

In my own personal scheme of things, Little Free Rock are pretty doggone important. I grew up with them. They were my first grass-roots contact with the underground rock'n'roll culture. Formed in Preston, Lanes in 1966 by guitarist Pete Illingworth after he'd recovered from the demise of fabulous local legends, David John & The Mood, the band emerged in the heady climate of 1967 as the trio, Purple Haze with Pal Varley on drums and Frank Newbold on bass.

Taking their cue from Hendrix and The Cream, they built up a hardcore following in the Northwest. From humble beginnings with a live set comprising entirely cover versions - material by The love, Creation and Tomorrow amongst others - the trio soon began to write original songs. A five-track demo Bade in London in early 1969 (reproduced here), led to an eponymous debut LP on Transatlantic Records, a relocation to 'The Smoke' and a name change. Within months of their arrival they were changing musical direction.

Their manager, having been knocked out with Ginger Johnson & His African Drummers jamming with The Stones in Hyde Park this summer, suggested a similar collaboration. The experiment worked wonders and at ensuing gigs LFR would regularly be joined by as many as 25 percussionists, the lads from Preston, the only white faces on stage! Caspar Laval, Speedy Acquaye, Lofty and Mac (from Osibisa) all played with the band. They even attracted Peter Green to play a couple of gigs and were invited to play sessions for his first solo LP (which were sadly unused).

Record company wrangles and personnel disputes - ex-Killing Floor bassist, John Taylor permanently replacing Newbold, Lord Eric coming in on hand-drums - meant that another LP was not forthcoming. Fortunately managerial involvement with Robert Stigwood saw them record six songs in their new style, all of which appear here and ooze with an excitement sorely lacking on the Transatlantic release.

LFR eventually split in 1974 with no original members still here - a disastrous period as back-up S4I queen Sarah Gordon was followed by Varley leaving for fame and fortune with teen stars The Arrows and the sacking of Illingworth! It's good to finally have all this stuff available and it's a fitting tribute to a band who really did deserve better.
by Nigel Cross

Tracks
1. Money On Your Mind (Peter Illingworth) - 4:19
2. Evil Woman (Frank Newbold, Peter Illingworth) - 4:33
3. Time Is Of No Consequence (Peter Illingworth) - 5:08
4. Tiego (Peter Illingworth) - 4:13
5. Talking To The Trees (Peter Illingworth) - 3:45
6. Big Bird (Peter Illingworth) - 4:00
7. Money On Your Mind (Peter Illingworth) - 4:37
8. Evil Woman (Frank Newbold, Peter Illingworth) - 4:33
9. Time Is Of No Consequence (No Vocals) (Peter Illingworth) - 5:07
10.Roman Sumer Nights (as The Purple Haze) (Frank Newbold) - 2:32
11.Wait A While (as The Purple Haze) (Peter Illingworth) - 2:17
12.Blud (as The Purple Haze) (Peter Illingworth) - 3:50
13,Dream (as The Purple Haze) (Frank Newbold) - 2:24
14.Evil Woman (as The Purple Haze) (Frank Newbold, Peter Illingworth) - 2:47

Little Free Rock
*Frank Newbold - Bass (The Purple Haze)
*John Taylor - Bass
*Paul Varley - Drums
*Peter Illingworth - Guitar
*Eric Carboo - Percussion

More Little Free Rock Releases
1969 Little Free Rock

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Bloomfield, Hammond, Dr.John - Triumvirate (1973 us, classic blues rock, 2008 japan expanded, remaster bonus tracks edition - MP3 320k and FLAC)

Bringing together three strong musical personalities like John Hammond, Mike Bloomfield and Dr. John is no easy task. The least of the problems, to begin with, is finding o solid month and a half when each of them is free from studio and performing obligations.

With that accomplished, you still have the problem of discovering a common musical ground for three strong-willed musicians, excellent instrumentalists, producers and stars in their own right, each of whom has definite opinions about how music should be played.

Before playing a single note in the studio, Mike, John and Dr. John, as well as producer Thomas Jefferson Kaye, were all aware that one of two things could happen: (1) Egos would conflict, and about all we would hear would be three individuals showing us how good they can play, or (2) There would be positive chemistry among John, Mike and Dr. John, as each would direct himself towards the collective musical goals of the band, and that by working together each of the musicians would be able to do what they do best.

During the first two weeks together, everyone involved—including Mssrs. Hammond, Bloomfield and Kaye, and Dr. John—was certain that the chemistry just wasn't there. Everything pointed to musical chaos. 'It was like hell/' said John, "We could have killed each other." At one point, practically everyone threatened to leave. Dr. John actually packed up and went back home; Mike, for his part, left one night in the middle of a session, telling his dumbfounded musical colleagues, ''I quit. I am going home, and I am going to watch Flip Wilson." Then, suddenly, one brisk day in fate February, everything began to click.

Dr. John had been convinced to return to San Francisco from Los Angeles, and with him were a new drummer, Fred Staehle, who had played with him in New Orleans, and bassist, Chris Etheridge, a mainstay of the studio scene All of a sudden, everyone realized that the chemistry had, indeed, always been there. Fred and Chris were immediately tuned into the music, and from that point on, all was flow.

While the recording sessions accomplished a great many things musically (among other things, it satisfied Dr. John's first rule of rock and roll: "ya gottu dance to it"), Mike, Dr. John and John all came out strongly as individual musical personalities without getting in each other's way. 'As a matter of fact," said John, "we really went over our heads. Each of us reached a much higher state together than we imagined we could when we began." It is that rare brand of music where everyone listens as much as they play—and because of it, every piece fits perfectly into place.

In the end, this musical collective expression has made John Hammond, Mike Bloomfield and Dr. John, indeed, a Triumvirate.
by Robert Hurwitz


Tracks
1. Cha-Dooky-Doo (M. Vince) - 3:45
2. Last Night (W.Jacobs) - 2:56
3. I Yi Yi (L. Rebennack) - 3:50
4. Just To Be With You (B. Roth) - 4:14
5. Baby Let Me Kiss You (K. Floyd) - 3:03
6. Sho Bout To Drive Me Wild (M. Rebennack, J. Hill, A. Robinson, K. Floyd) - 3:31
7. It Hurts Me Too (M. London) - 3:48
8. Rock Me Baby (J. Josea, B. B. King) - 3:40
9. Ground Hog Blues (J. L. Hooker) - 3:31
10.Pretty Thing (W. Dixon) - 4:46
11.I Yi Yi (Bonus Track, Single Version) (L. Rebennack) - 2:32
12.The Trip (Bonus Track) (M. Rebennack) - 4:00

Musicians
John Hammond - Lead Vocals, Guitar, Harmonica
Mike Bloomfield - Lead Guitar
Dr. John (Mac Rebennack) - Piano, Organ, Guitar, Banjo, Percussion
Fred Staehle - Drums
Chris Ethridge - Bass
Thomas Jefferson Kaye - Guitar, Background Vocals
John Bourdreaux - Percussion
Bennie Parks - Percussion
Richard "Blue" Mitchell - Trumpet
George Bohanon - Trombone
Baritone Saxophone - James Gordon
Jerome Jumonville - Tenor & Alto Sax
Robbie Montgomery - Background Vocals
Jessie Smith - Background Vocals
Lorraine Rebennack - Background Vocals

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Free - Heartbreaker (1973 uk, hard blues rock, remastered edition with bonus tracks - MP3 320k and FLAC)

Sometimes the best albums come from the worst of situations. In 1972 Free had been through a lot. After they failing to capitalise on the success of Alright Now and reinvent themselves as swaggering rockers with Highway, the band returned to their soul roots to craft an emotive, melodic epitaph for a band they all knew was on the verge of implosion.

Where Paul Kossof was intelligible enough to play guitar he does so with tear jerking abandon, hearing but never heading Rodger's please for sobriety on opening numbers “Wishing Well” and “Heartbreaker.” It's Rodgers who gives the album it's soul and binds the lost guitarist and newcomer John “Rabbit” Bundrick on keyboards (who contributes the solid numbers “Common Mortal Man” and “Muddy Waters”) into the semblance of a working band.

The singer graces all eight tracks with, well, hearbreaking emotion. By the last two tracks it all comes to a head with the elegant prayer for mercy “Easy On My Soul,” and “Seven Angels,” embodying the shared desire of all involved to break away from the train wreck the band had become. Any classic rock historian will tell you that Free recorded many more tracks in their latter days than feature here.

There are eight tracks here for a reason; this was an era before CDs when quality counted more than quantity and creating a seamless work was all. It's this attitude that makes Hearbreaker the most gripping and emotive work Free ever committed to tape.

Tracks
1. Wishing Well (Rodgers/Kirke/Yamauchi/Kossoff/Bundrick) 3.43
2. Come Together In The Morning (Rodgers) 4.38
3. Travellin' in Style (Rodgers/Kirke/Yamauchi/Kossoff/Bundrick) 4.01
4. Heartbreaker (Rodgers) 6.12
5. Muddy Water (Bundrick) 4.15
6. Common Mortal Man (Bundrick) 4.06
7. Easy on My Soul (Rodgers) 3.44
8. Seven Angels (Rodgers) 5.03
9. Wishing Well" (US mix) (Rodgers/Kirke/Yamauchi/Kossoff/Bundrick) 3.39
10.Let Me Show You (Rodgers/Kirke/Yamauchi/Kossoff/Bundrick) 3.01
11.Muddy Water (Bundrick) 4.15
12.Hand Me Down / Turn Me Round (Bundrick) 3.19
13.Heartbreaker (Rodgers) (Rehearsal version) 5.40
14.Easy on My Soul (Rodgers) (Rehearsal version) 8.42

Free
*Paul Rodgers - Vocals, Guitar
*Paul Kossoff - Guitar
*John "Rabbit" Bundrick - Keyboards
*Tetsu Yamauchi - Bass
*Simon Kirke - Drums
Guest Musicians
*"Snuffy" Walden - Guitar on "Easy on My Soul"
*Rebop Kwaku Baah - Congas on "Wishing Well"

Other releases by Free, posted here
1970 - Fire And Water (2008 double CD deluxe edition)

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