Raven – Back To Ohio Blues (1975)

OriginalFrontCover1975_1And here´s a real crazy, extremely rare album:

Jesus, where do I begin? Okay, earlier this week I went to one of my favorite music sites SHIT-FI and read lead scribe Stuart Schrader’s hilarious and dead on review of Ohio rock brute RAVEN’s ‘Back To Ohio Blues’. A lot of times, when you hear about ‘this is a crazy proto-punk assault’ it’s pretty tenuous, taking a bit of imagination to get you there. For his pure ‘life is fucked, fuck it’ lyrics and ‘I could give a shit’ attitude Raven is, in my book, a Proto-Punk on par with Ohio compadre’s Electric Eels, MC5 and yes, even Stooges.

Musically, ‘B2OB’ is definitely crude and rude; on album opener ‘Can’t You See’ the bass player is so off the mark it’s RIGHT FUCKING ON, adding a menace to a track that may have been merely ‘okay’ without it. Raven, who sings and plays guitar, definitely knows his way around a six string, pounding out the biker rock riffage and tearing off the solos after every obnoxious phrase. It’s certainly nothing new but the recordings were done quick, left rough and, if Raven’s lyrics are to be believed, fueled by sick amounts of hard drugs and booze. Needless to say, there’s an energy and violence at play here that is just missing in a lot of other so called ‘lost heavy psych gems’.


And those lyrics! And that voice!

Raven tries to play it cool, like on ‘Raven Mad Jam’ where he belts out the tried and true, ambiguous ‘Gotta Get High / Gotta Get Down’ mantra. But just when you’re ready to once again endure that farty old wink wink nudge nudge, Raven figures his listening audience may be sick of that old hat (or maybe too drunk to get it) and lays it bare with a ‘Gotta Get Stoned! / Gotta Get Fucked!’ coupling and with a hell of a lot more blood than the previous one. And in case you’re thinking that by ‘Gotta Get Stoned’ Raven is talking about smoking a little Acapulco Gold in a wicker chair, guess again Jack Webb!

AlternateFrontCoversAlternate frontcovers

Okay, Raven’s vocals are really great. He just doesn’t give a fuck. In the lyrically rewarding, musically trying title track, Raven starts with a lamenting tone (of course, I mean, he’s going back to OHIO) that , as the 13+ minute blues dirge marches on, turns into a howling, grunting psychopath screaming for a release only death (or some really pure heroin) can bring.

Frontover2007.jpgFrontcover from the 2007 issue

On the afore mentioned ‘Can’t You See’, Raven sings pretty well on the main vocal, but follows that up with a backing track where he’s so fucked up, he’s Raven01.jpgoff time and slurring. It’s GREAT!

In keeping a policy of honesty, I’ll say that the third track doesn’t hold up to the rest of the album, but just musically. The lyrics are still crazy.

Of course, like everyone else, Raven has a myspace page which held a surprise even bigger than the fact that he’s not dead or in jail: His track ‘Asshole 2007 EDIT’ is a solo guitar piece that has far more in common Keiji Haino than Jeff Beck! No shit! Also, homeboy has vinyl for sale and will sign that shit! (MarsHottentot)

After he finished his damaged-biker Back to Ohio Blues LP in 1975, the man known as Raven gave away most of the few hundred copies that were pressed. The little-heard album was both of its time and timeless. Today, after it’s reached a wider audience, mostly via word of mouth and the internet, it seems to hold an ethereal psychic influence over all the great lo-fi stoner music that’s emanated during the past 30 years from Raven’s hometown of Columbus, Ohio. (discogs.com)


Raven (guitar, vocals)
unknown musicians on  bass and drums


01. Can’t You See 5.08
02. Raven Mad Jam 8.18
03. Don’t You Feel 4.57
04. War With My Soul 3.29
05. Back To Ohio Blues 13.25

All songs written by Raven



OriginalBackCover1975Original backcover from 1975



Duke Ellington – Duke Ellington’s Greatest Hits (1968)

FrontCover1.jpgDuke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work that was still being assessed a quarter century after his death. (by William Ruhlmann)

Columbia’s Greatest Hits features many of Duke Ellington’s best-known songs and biggest hits, including “Satin Doll,” “Don’t Get Around Much Anymore,” “Take the ‘A’ Train,” “Solitude,” “Mood Indigo,” “I’m Beginning to See the Light,” “Prelude to a Kiss” and “Perdido.” It’s a fine sampling of Ellington’s most familiar melodies and works as a good introduction for novices. (by Stephen Thomas Erlewine)

Duke EllingtonDuke Ellington’s work cannot possibly be summed up in one CD. Even his most important and influential work could barely make up a three CD collection. When I was beginning to get interested in Jazz, though, I wanted an album that, for a low price, would best represent what he has done for the world of jazz and music in the twentieth century.
Well, this album more then achieved that. If you could only have 10 of the Duke’s songs, then these would be the ones to have. C Jam Blues, I’m Beginning to See the Light, and Perdido are something every musician and music lover should hear. I strongly recommend this album, cuz’ its muy perfecto! (by Jason Decristofaro)


Duke Ellington Orchestra
Al Hibbler (vocals on 02.)
Betty Roche (vocals on 04.)


01. Satin Doll (1958) (Ellington) 3.54
02. Don’t Get Around Much Anymore (1947) (Russell/Ellington) 3.06
03. Do Nothing Till You Hear From Me (1947) (Russell/Ellington) 3.07
04. Take The “A” Train (1952) (Strayhorn) 8.03
05. Solitude (1957) (Ellington/DeLange/Mills) 4.44
06. C Jam Blues (1959) (Ellington) 4.55
07. Mood Indigo (1957) (Bigard/Ellington/Mills) 3.06
08. I’m Beginning To See The Light (1960) (George/Ellington/James/Hodges) 2.06
09. Prelude To A Kiss (1957) (Ellington/Gordon/Mills) 4.45
10. Perdido (1960) (Drake/Lenk/Tizol) 6.44



Taken from the original liner notes:


The Who – Live At The Spectrum (1973)

FrontCover1.jpgThe Who Tour 1973 was The Who’s first concert tour supporting their Quadrophenia album.

Prior to recording the Quadrophenia album, the band played a one-off performance in Voorburg, Netherlands for a Dutch TV special in March. They then did one tour each in England and North America supporting the new rock opera, released in October; four additional dates in London were added after their November dates at the Lyceum failed to meet the large demand for tickets. The set list for these tours was altered considerably from their 1971 and 1972 tours, with a large part of the act devoted to Quadrophenia, while “Won’t Get Fooled Again” was the only Who’s Next track retained until “My Wife” was reintroduced during the North American dates. Unlike performances of the rock opera Tommy, the group opted to introduce and explain the context of most of the new numbers rather than play them one after the other without breaks. They often struggled with some of the new material, choosing to play to a number of pre-recorded backing tracks featuring the album’s original piano and synthesizer parts, as well as various sound effects. “The Dirty Jobs”, “Is It in My Head”, and “I’ve Had Enough” were only played in the first concert in Stoke-on-Trent before proving unworkable, and both “Helpless Dancer” and “The Rock” (also played to backing tracks) were eventually dropped. Drummer Keith Moon received a solo vocal spot during “Bell Boy”, with Pete Townshend often teasing him over his singing abilities.


Memorable (and infamous) performances during these tours included the group’s 5 November show in Newcastle upon Tyne, when troubles with the Quadrophenia backing tracks caused Townshend to suffer a meltdown that resulted in sound engineer Bob Pridden being dragged onstage and suffering an assault in front of the bemused audience. Additionally, Moon passed out about 70 minutes into the opening night of the North American tour at the Cow Palace in Daly City, California, resulting in audience member Scot Halpin sitting in with the band to help them finish the concert.[1] The show at the Spectrum in Philadelphia on 4 December was recorded and occasionally broadcast in incomplete form on the King Biscuit Flower Hour radio show starting in 1974; the following show at the Capital Center in Landover, Maryland was also recorded, but was not aired (the King Biscuit recordings were rumored to be from both dates, but eventually proved to all be from the Philadelphia performance). The King Biscuit Flower Hour Shows were recorded on the Record Plant NY Remote Truck with David Hewitt and Crew. (by wikipedia)

AlternateFront+BackCover1.jpgAlternate front + backcover

I grabbed this off of Dime in Feb 2008, but still appears to be under-circulated, considering this one of the best Who shows circulating in terms of performance and sound quality. This version is mostly intact from the original grab, but I did make a few minor changes. I included the original artwork, but appears to be missing a track.

This does appear to be the complete show – minus Love Reign O’er Me, so for most of you, this should be a nice upgrade with several extra Quadrophenia tracks unavailable on the boot and KBFH versions.

Here is the Famous “Tales From The Who” show that has been around and incomplete for years. This seems to be the whole unedited show with The Punk and the Godfather, 5:15, My Wife and a great version of Naked Eye. In-between song banter with references to “Philly” and cursing are intact.

John Entwistle

I also found a site that had pics of the 16 track tape boxes that these shows were allegedly sourced from. What I am uploading here is from the 3-disc CD-R set.

I have owned various versions of this show on vinyl, silver CD and downloads.This is the most complete version I have ever heard. This is from a different source as the mix is different. The drums seem to be more upfront and the vocals aren’t as echoey. This was recorded for The King Bisquit Flower Hour radio broadcast, and when they got their hands on it they definately mixed/added crowd noise and a bit of echo.They are notorious for that. Makes it easier to trim performances to fit in an hour.


I am assuming this is how it sounded before KBFH got it. I am not positive. Last time this show was posted by “Freezer” it led to a nasty argument about the source tape, was it mixed in Quad, etc. Personally, i’m not too concerned with those details and hope i’ve answered any questions about this recording you may have. I hope I don’t add to the confusion. If an argument should break out, try to keep it down, I am listening to The WHO!! (by whotrader)

In other words: One of the best Who bootlegs ever in a superb soundboard quality !!!


Roger Daltrey (vocals, harmonica, tambourine)
John Entwistle (bass, background vocals)
Keith Moon (drums, percussion, background vocals)
Pete Townshend (guitar, tambourine, background vocals)


01. I Can’t Explain (Townshend) 3.27
02. Summertime Blues (Cochran/Capehart) 4.03
03. My Wife (Entwistle) 7.17
04. My Generation (Townshend) 8.19
05. I Am The Sea (Townshend) 1:43
06. The Real Me (Townshend) 5.51
07. The Punk And The Godfather (Townshend) 6.07
08. I’m One (Townshend) 3.03
09. 5:15 (Townshend) 6.33
10. Sea And The Sand (Townshend) 8.10
11. Drowned (Townshend) 9.07
12. Bell Boy (Townshend) 5.28
13. Doctor Jimmy (Townshend) 8.32
14. Won’t Get Fooled Again (Townshend) 9.09
15. Pinball Wizard (Townshend) 2.56
16. See Me, Feel Me (Townshend) 14.08
17. Naked Eye (Townshend) 13.18



More from The Who:



Armik – Rain Dancer (1994)

FrontCover1.jpgIn a career that now numbers more than 36 recordings under his own name, Armik has established a variety of new benchmarks. He has developed an unsurpassed facility for integrating the Spanish guitar scales to give his songs a Spanish feel with the instrument’s conventional range, bringing a new edge and polish to the concept of extended technique. As a result, his imaginative recordings have topped the Billboard New Age charts for the past 16 years all while introducing and re-introducing Armik to his worldwide legions of fans.

A child prodigy, born in Iran of Armenian descent, at seven years old he pawned his watch for a classical guitar, which he hid and practiced on in the basement. By the age of nine, Armik had completed formal music lessons as well as a rigid instructional regimen. At 12, he was a professional recording artist. While his early career focused mostly on jazz, Armik discovered the beauty and passion of Flamenco while visiting Spain during the 1970s when he saw the legendary Paco de Lucia perform. Driven by a fire for the tradition that has defined his musical life ever since, the young musician immediately switched from his Jazz guitar for an in-depth journey to the heart of Spanish music.


In 1981 Armik moved to Los Angeles to pursue this new direction, playing with other artists live and in the studio. Armik launched his solo career in 1994, drawing upon his jazz roots and passion for flamenco music to create a revolutionary twist on the emerging Nuevo Flamenco sound. His solo debut album RAIN DANCER, was a critical and commercial success that he followed with 1995’s GYPSY FLAME which attained GOLD status in Australia. At this point, Armik’s reputation as a professional recording artist of Nuevo flamenco was such that expert Spanish luthier Pedro Maldonado created a guitar for him named the Rubia. Armik’s 1996 album was recorded with, and named after it. The following year Armik released MALAGA, his fifth album, ISLA DEL SOL in 1999, and ROSAS DEL AMOR in the spring of 2001.

Today the internationally renowned Nuevo flamenco guitarist/composer/producer continues to blaze his guitar virtuosity around the world as the owner of the Bolero Records imprint, which was established in 2002. Since its inception, all of Armik’s Armik2recordings have charted above the top ten spot on the Billboard New Age chart. His compositions and performances cover an entire range of provocative melodies honed throughout his formative years which fuse a delicate balance of Spanish guitar scales surrounded with flamenco improvisation, Latin jazz rhythms and classical elements. (taken from his website)

And here´s his debut album from 1994:

What a lively and uplifting cd. It makes you want to jump and dance. Armik in his earlier years was just so great. And he improves year by year. Truly, this is a cd to keep in your collection of good music. I highly recommend it. (Coco)

When Armik was only 7 years old, he became so enamored with the classical guitar that he pawned his watch to buy one. His foresightedness has been rewarded as Armik has become one of the finest flamenco guitarists in the world. With the strong chart success and sales on the Rain Dancer album, Armik has created a whole new music category to describe his sound, ‘Latin-gypsy-jazz’.


Armik Dashchi (guitar)
Jeff Sudakin (keyboards, synthesizer)

unknown percussion players


01. For Annette (Dashchi) 4.47
02. Rick’s Cafe (Dashchi) 4.33
03. Concierto De Aranjuez (Rodrigo) 5.08
04. Nights In Negril (Dashchi) 4.29
05. Rain Dancer (Dashchi) 4.47
06. Entre Dos Aguas( Lucía/Torregrosa) 4.54
07. Sailing To Bimini (Dashchi) 5.16
08. Tender Passion (Dashchi) 5.09
09. Golden Palms (Dashchi) 5.05
10. Zingaro (Dashchi) 4.32





Passport – Looking Thru (1973)

USFrontCover1Well, Passport is not really prog, but it’s still a excellent fusion/jazz-rock band with some progressive elements on some songs (like the title track on this album). I like the playing from the band, especially Curt Cress’s (later Triumvirat) fantastic drumming and Klaus Doldinger’s great saxophone playing. The songs, with “Eternal Spiral” beign a personal favorite are all very good and accessible, and this one should do the trick for fans of this genre. The overall result is a tight, fast and impressive Jazz-Rock album by this great german band. I’ll with pleasure recommend this one! (by Bj-1)

Ah Passport. Underrated and sadly overshadowed by bands like Mahavishnu, RtF and Weather Report. This has always been one of my favorite jazz fusion albums. Not having heard any of their other albums means I have a fresh take on this album and I won’t be comparing it to other albums they have done. Anyways, “Looking Thru” is a very good fusion album slightly similar to Mahavishnu or Return to Forever but a bit more melodic and accessible than them while still remaining complex. “Rockport”, “Tarantula”, “Ready for Take Off” and the title track are prime examples. They are very well structured and played though. My favorite songs however, are when they branch out to a bit more of a progressive feel in the rhythm and keyboard playing.


“Eternal Spiral, “Eloquence”, “Things to Come” and the title track all have fantastic keyboard, drum/percussion and sax playing with a slight prog feel. As with many fusion groups, the piano (electric here) is the main keyboard instrument and it sounds wonderful though there is also organ and moog abundant here as well. Great sax playing as well from Doldinger. His styie is very unique with a fantastic sense of style. I have many fusion albums and still have never found a band very similar to Passport so if you want a fairly unique progressive jazz-fusion album with great playing and VERY memorable melodies, give “Looking Thru” a chance. You probably won’t regret it. (dalt 99)


Curt Cress (drums, percussion)
Klaus Doldinger (saxophone, synthesizer, piano, mellotron)
Wolfgang Schmid (bass, guitar)
Kristian Schultze (keyboards)

01. Eternal Spiral 4.04
02. Looking Thru 8.01
03. Zwischenspiel 1.37
04. Rockport 3.36
05. Tarantula 4.53
06. Ready For Takeoff 4.50
07. Eloquence 5.17
08. Things To Come 2.46

Music composed by Klaus Doldinger



More from Passport:


Bob Dylan, Keith Richards & Friends – Something Else – Sevilla (1991)

FrontCover1.jpgGuitar Legends was a concert held over five nights, from October 15 to October 19, 1991, in Seville, Spain, with the aim of positioning the city as an entertainment destination to draw support for Expo ’92 beginning the following April.

The event featured 27 top guitarists, including Brian May, BB King, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins, Steve Vai and Joe Satriani. The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived by British impresario and producer Tony Hollingsworth who originally agreed to stage the concert as a co-production deal with Spanish state television RTVE. But RTVE dropped out on the day the contract was due to be signed when the director-general (and film director) Pilar Miro Romero left the company.

Later, the organisers of Expo ’92 took on the project to help overcome the problem that PosterSeville was being seen merely as a civil engineering project. They provided half the $7.2 million budget, with Hollingsworth raising the rest from television pre-sales. RTVE bought the Spanish rights, but paid by providing television and radio airtime for advertising slots. These were then sold to Coca-Cola.

Five 90-minute shows and a one-hour documentary were broadcast. Forty-five countries showed at least one live show. Later, broadcasters in 105 countries broadcast one or more programmes. (by wikipedia)

And one of the hightlights of this festival is captured on this bootleg … musicians like BobDylan, Keith Richards, Jack Bruce, Richard Thompson, Roberty Cray, Steve Cropper, Dave Edmunds an manny ore jammed togehter.

A raw, but good audience recording from this event !

Recorded live at the Guitar Legends Festival, Sevilla, Spain
Tracks 1-9 October 17 1991
Tracks 10-13 October 15 1991




01. All Along The Watchtower (Dylan) 6.09
02. Boots Of Spanish Leather (Dylan) 3.21
03. Across The Borderline (Dickinson/Hiatt/Cooder) 5.15
04. Answer Me (Winkler/Rauch/Sigman) 3.25
05. Shake, Rattle & Roll (Calhoun) 3.41
06. Going Down (Nix) 5.16
07. Somethin’ Else (Sheeley/Cochran) 2.55
08. Connection (Jagger/Richards) 2.25
09. I Can’t Turn You Loose (Redding) 4.28
10. Sabre Dance (Khachaturian) 4.45
11. Standing On The Crossroads (Jupp/Edmunds) 4.03
12. Phone Booth (Cray/Cousins/Walker/Vannice) 3.53
13. Going Back Home (unknown) 4.15



Dr. Feelgood – On The Job (1981)

FrontCover1.jpgDr. Feelgood are an English pub rock band formed in 1971. Hailing from Canvey Island, Essex, the group are best known for early singles such as “She Does It Right”, “Roxette”, “Back in the Night” and “Milk and Alcohol”. The group’s original distinctively British R&B sound was centred on Wilko Johnson’s choppy guitar style. Along with Johnson, the original band line-up included singer Lee Brilleaux and the rhythm section of John B. Sparks, known as “Sparko”, on bass guitar and John Martin, known as “The Big Figure”, on drums. Although their most commercially productive years were the early to mid-1970s, and in spite of Brilleaux’s death in 1994 of lymphoma, a version of the band (featuring none of the original members) continues to tour and record to this day.

The band was formed in Canvey Island in 1971 by Johnson, Brilleaux and Sparks, who had all been members of existing R&B bands, and soon added drummer John Martin. They took their name from a 1962 record by the American blues pianist and singer Willie Perryman (also known as “Piano Red”) called “Dr. Feel-Good”, which Perryman recorded under the name of Dr. Feelgood & The Interns. The song was covered by several British beat groups in the 1960s, including Johnny Kidd & The Pirates. The term is also a slang term for heroin or for a doctor who is willing to overprescribe drugs.

By late 1973, the band’s driving R&B had made them one of the most popular bands on the growing London pub rock circuit, and they recorded their debut album, Down by the Jetty, for United Artists in 1974. Like many pub rock acts, Dr. Feelgood were known primarily for their high energy live performances honed through constant touring and regular performances, although their studio albums like Down by the Jetty and Malpractice (1975) were also popular.


Their breakthrough 1976 live album, Stupidity, reached number one in the UK Albums Chart (their only chart-topper). But after the 1977 follow-up Sneakin’ Suspicion, Johnson left the group because of conflicts with Lee Brilleaux. He was replaced by John ‘Gypie’ Mayo. With Mayo, the band was never as popular as with Johnson but still enjoyed their only Top Ten hit single in 1979, with “Milk and Alcohol”. Johnson never achieved any great success outside the band, apart from a brief spell with Ian Dury and The Blockheads from 1980. Fans always speculated about a return by Johnson that never occurred.

Despite Mayo’s departure in 1981, and various subsequent line-up changes which left Brilleaux the only remaining original member, Dr. Feelgood continued touring and recording through the 1980s. However, the band then suffered an almost career-finishing blow when Brilleaux died of cancer on 7 April 1994. (by wikipedia)


On the Job, recorded live at Manchester University, was the end of several eras for Dr. Feelgood. It was their last record for EMI, meaning it was their last major-label album, and it was their last recording with Gypie Mayo. As a result, it sounds rather tired — the group never sounds particularly bad, but it’s clear that their spirits were slightly broken, and neither the material, which is entirely from Let It Roll and A Case of the Shakes, or the performances are noteworthy. Unfortunately, On the Job sounds like the contractual obligation it was. (by Stephen Thomas Erlewine)

No, no, no … I can´t agree. This is not  needless album but a strong live album with poer songs from this period of Dr. Feelgood …

Listen and enjoy the power of one of the best pub-rock bands ever !


Lee Brilleaux (vocals, harmonica)
The Big Figure (drums)
John Mayo (guitar)
John B. Sparks (bass)


01. Drives Me Wild (Fasterly/Brilleaux/Martin/Mayo/Sparks) 2.47
02. Java Blue (Danko) 3.59
03. Jumping From Love To Love (Fasterly/Brilleaux/Martin/Mayo/Sparks) 3.06
04. Pretty Face (Daneski/Worman/Boyle/Sandall) 2.46
05. No Mo Do Yakamo (Linde/Rush) 2.07
06. Love Hound (Linde/Rush) 2.59
07. Best In The World (Lowe) 2.33
08. Who’s Winning (Brilleaux/Lowe/Martin/Mayo/Sparks) 2.08
09. Ridin’On The L & N (Burley/Hampton) 3.23
10. Case Of The Shakes (Brilleaux/Mayo) 3.07
11. Shotgun Blues (Brilleaux/Martin/Mayo/Sparks) 5.48
12. Goodnight, Vienna (Brilleaux/Martin/Mayo/Sparks)
Lee Brilleaux / John Martin / John Mayo / John B. Sparks) 0.44