Larry Coryell – Standing Ovation (1978)

FrontCover1A mixed bag with classical, traditional Indian songs, originals, and even modified funk played by Coryell and L. Subramaniam on violin and tampura. Coryell also plays a little piano and proves an effective partner, although sometimes the stylistic leaping around can be jarring. by Ron Wynn

Named after the guitar brand he uses, this album also implies “solo” written on the same level as the album. Indeed Standing Ovation sits firmly well in the late 70’s acoustic period of LC, beit solo or in duo, PC or SK and later the Meting Of The Spirit trio with PDL and JMcL. So we have an album where LC plays an excellent relaxing acoustic guitar, shifting from 16 to 12 strings at will, with one track where he tries himself on the piano, aptly titles Piano Improvisation and one more track, an Indian raga where he’s accompanied by violinist Subramanian. The acoustic guitar pieces (all written by him) range from roughly 2 minutes to just below five and show LC in varying moods featuring his mastery of the guitar and the depth of his talent, but the usual Reinhardt influences are certainly not as audible as it is on his other albums of the time.


Progheads will have a preference for the Indian raga Spiritual dance and its 7-mins+ music happiness, the only non-Coryell track of the album. As for LC’s performance on the piano, it is adequate and demonstrates a good understanding of the instrument, but understandably he’s less at ease. Not an essential album for progheads, although if you’re a Coryell fan, it will quickly become one. (by Sean Trane)


Larry Coryell (guitar, piano)
L. Subramaniam (violin, tambura on 09.)


01. Discotexas (Coryell) 3.27
02. Excerpt (Coryell) 4.00
03. Ravel (Coryell) 3.47
04. Wonderful Wolfgang (Coryell) 4.51
05. Piano Improvisation (Coryell) 2.07
06. Sweet Shuffle (Coryell) 4.57
07. Moon (Coryell) 3.29
08. Park It Where You Want (Coryell) 1.46
09. Spiritual Dance (Subramaniam) 7.36




Larry Coryell (April 2, 1943 – February 19, 2017)

More Larry Coryell:

Flying Burrito Bros (Brothers) – Flying Again (1975)

FrontCover1Flying Again is the fourth studio album by the country rock group The Flying Burrito Brothers, released in 1975.

After Gram Parsons’ death in 1973, posthumous interest in the Burrito Brothers’ music grew. This interest caused the band’s original label, A&M Records, to release the compilation album Close Up the Honky-Tonks. Since Rick Roberts had dissolved the Flying Burrito Brothers after a brief 1973 European tour with no original members, former manager Eddie Tickner started to think about the possibilities of reviving the band.

After Tickner received booking interest from a number of clubs, founding members “Sneaky” Pete Kleinow and Chris Ethridge agreed to re-form the Burritos. They hired former Byrds drummer Gene Parsons, Joel Scott Hill from Canned Heat, and Gib Guilbeau to round out the “refried” Burritos. Tickner then got the new band a deal with Columbia Records, of which Flying Again was their label debut.

Despite having two original members, the sound of this album is markedly different from the albums released by the original incarnation. The best examples of this are on the tracks “Dim Lights, Thick Smoke (And Loud, Loud Music)” and “Hot Burrito #3”. “Dim Lights” is much faster and more rocking than the version recorded by the original lineup that would appear in 1976. While bassist Chris Ethridge had a significant hand in the writing of “Hot Burrito #1” and #2, Part 3 is a jarring departure from the style of the first two songs. The lyrics are written more as a caricature of the first two. “Building Fires” was released as a single. (by wikipedia)


The last that had been heard of the Flying Burrito Brothers was a 1973 European tour organized by Rick Roberts, replacement for founding member Gram Parsons, with a few hired guns. But with Parsons’s growing posthumous legend, the band’s name retained currency, and former bassist Chris Ethridge and former pedal steel guitarist “Sneaky” Pete Kleinow retained legal rights to that name. They brought in guitarist/fiddle player Floyd “Gib” Gilbeau, guitarist Joel Scott Hill, and former Byrds drummer Gene Parsons, and relaunched the Burritos with this album of competently played country-rock. Words like “travesty” and “insult” have been used to describe it, on the grounds that Ethridge and Kleinow were trading on Parsons’s reputation, but on its own, the album is an adequate, if unremarkable set. (by William Ruhlmann)


Through many shifting line-ups, the original run of the Flying Burrito Brothers had ended by 1973. However the band name was soon to be resurrected. After the release of some posthumous compilation albums, interest in the band actually grew, so that their original manager Eddie Tickner decided to organise a reunion of sorts. However most of the original members were not interested at the time.
So instead Tickner turned to Gene Parsons. Parsons already had a long history in the country-rock field, most notably being drummer for The Byrds in their latter years. He persuaded original bassist Chris Ethridge to join, along with guitarist Joel Scott Hill, who had played in bands with both of them (and had also been a member of Canned Heat from 1970-72). Pedal steel guitarist Sneaky Pete Kleinow soon joined them as well, and the final member was Parson’s old friend and musical partner Gib Guilbeau. The new five-piece went on tour as the Flying Burrito Brothers – having two of the original Burritos allowed them to use the name. Parsons was the drummer, but also contributed guitar and harmonica, and Guilbeau played his signature cajun fiddle as well as rhythm guitar. The result was a diverse lineup in terms of instruments, vocals and songwriting, and a strong live unit.
The appropriately named Flying Again album came out in 1975, with guest musician Spooner Oldham handling keyboards. Now as it was released under the Burrito Brothers name, expectations of course were high, and it has often been unfairly dismissed as being mediocre. The truth is that it is an absolutely fantastic album. The songs, performances and production are all top notch. Alongside great original songs by Parsons and Guilbeau there are covers of George Jones’ “Why Baby Why”, Joe Maphis’ “Dim Lights, Thick Smoke”, and a couple of Dan Penn numbers (the band’s 1969 debut had also featured two Penn songs). Hill performed most of the lead vocals admirably, with both Parsons and Guilbeau singing on a few too. The results is a great fusion of rock, country, soul and R&B. (


Chris Ethridge (bass)
Gib Guilbeau (vocals, fiddle, guitar)
Joel Scott Hill (vocals, guitar)
“Sneaky” Pete Kleinow (pedal steel guitar)
Gene Parsons (vocals, drums, guitar, harmonica)
Spooner Oldham (keyboards)

01. Easy To Get On (Brown/Hill) – 3:18
02. Wind And Rain (Parsons/Guilbeau) – 4:28
03. Why Baby Why (Jones/Edwards) – 2:24
04. Dim Lights, Thick Smoke (And Loud, Loud Music) (Fidler/J.Maphis/R.Maphis) – 2:16
05. You Left the Water Running” (Dan Penn, Oscar Frank, Rick Hall) – 2:23
06. Building Fires (Penn/Christopher/Dickinson) – 4:18
07. Sweet Desert Childhood (Parsons) – 3:44
08. Bon Soir Blues (Guilbeau/Maxwell) – 4:11
09. River Road (Guilbeau) – 2:59
10. Hot Burrito #3 (Ethridge/Guilbeau/Hill/Kleinow/Parsons) – 2:07



Brandos – In Exile – Live (1995)

FrontCover1In Exile – Live is the first live album of THE BRANDOS from 1995, available for the first time as digipak edition! They owe their name to their love of Marlon Brando. Their fans know them as one of the most vital American live rock bands of the 20th century’s final decades. THE BRANDOS, known for timeless classics like “”The Solution”” and “”Gettysburg”” and their straight and true rock sound, were founded in 1986 with the line-up of David Kincaid (voc, g, mand, banjo), Ed Rupprecht (g), Larry Mason (dr) and Ernie Mendillo (b, voc) in New York City. The voice of Dan Kincaid was always compared to John Fogerty and Creedence Clearwater Revival and the catching live document In Exile – Live sounds exactly like one of the best American bands from the 60s. The album which contains 18 tracks was recorded with the line-up Dave Kincaid, Ernie Mendillo, Scott Kempner and Frank Funaro on December 20th and 21st, 1994 in Amsterdam and Utrecht (The Netherlands) and contains songs from the band’s studio albums plus the traditional “”The Recruiting Sergeant””.


This is one of the best albums that The Brandos have yet to produce. There are very few rock bands today that demonstrate the versatility, musicianship, and song writing capabilities as The Brandos. This is a great first album for someone who is unfamiliar with their work to purchase since it demonstrates their creativity and original music. As I noted in a previous review of The Brandos, they are (for my money) the best group around. (Roger M. Longo)

One of the most underrated bands of all time !


Frank Funaro (drums, vocals)
Scott Kempner (guitar, vocals)
Dave Kincaid (guitar, banjo, mandolin, vocals)
Ernie Mendillo (bass, vocals)


01. Hard Luck Runner (Kincaid) 4.08
02. Anna Lee (Funk/Kincaid) 3.42
03. The Solution (Kincaid) 4.21
04. Partners (Kincaid) 3.39
05. The Warrior’s Son (Kincaid) 5.09
06. The Light Of Day (Kincaid) 4.22
07. Come Home (Kincaid) 2.31
08. The Last Tambourine (Kincaid) 2.43
09. Hard Times Come Again No (Foster) 4.00
10. Skillet Good ‘N Greasy (Traditional) 2.35
11. Gettysburg (Funk/Kincaid) 4.35
12. Fight For Love (Kincaid) 3.55
13. Gunfire At Midnight (Kincaid) 4.24
14.  Strychnine (Roslie) 3.54
15. The Recruiting Sergeant (Kincaid) 3.26
16.  Get Tough (Kempner) 5.25
17. Fortunes Of War (Kincaid) 3.02
18. Psycho (Roslie) 3.58




More from The Brandos:

Bud Shank & Clare Fischer – Bossa Nova Jazz Samba (1962)

FrontCover1Clifford Everett “Bud” Shank, Jr. (May 27, 1926 – April 2, 2009) was an American alto saxophonist and flautist. He rose to prominence in the early 1950s playing lead alto and flute in Stan Kenton’s Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. He spent the 1960s as a first-call studio musician in Hollywood. In the 1970s and 1980s, he performed regularly with the L. A. Four. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. He also recorded on tenor and baritone sax. His most famous recording is probably the version of Harlem Nocturne used as the theme song in Mickey Spillane’s Mike Hammer. He is also well known for the alto flute solo on the song “California Dreamin'” recorded by The Mamas & the Papas in 1965.

Bud ShankDouglas Clare Fischer (October 22, 1928 – January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo’s in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard “Morning”, and the jazz standard “Pensativa”. Consistently cited by jazz pianist and composer Herbie Hancock as a major influence (“I wouldn’t be me without Clare Fischer”[3]), he was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, 2+2 (1981), the first of Fischer’s records to incorporate the vocal ensemble writing developed during his Hi-Lo’s days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer’s three-decade-long collaboration with his son Brent. Fischer was also a posthumous Grammy winner for ¡Ritmo! (2012) and for Music for Strings, Percussion and the Rest (2013).

Beginning in the early 1970s, Brent Fischer embarked on a parallel (and far more lucrative) career, eventually becoming a much sought-after arranger, providing orchestral “sweeteners” for pop and R&B artists such as Rufus (with Chaka Khan), Prince Clare Fischer(a regular client from 1984 onwards, and by far Fischer’s most frequent in pop music), Robert Palmer, Paul McCartney, Michael Jackson, Celine Dion, Elvis Costello & The Roots, D’Angelo song Really Love from the album Black Messiah Grammy-winner (2016) for best R&B album, Sheila E, and many others. (by wikipedia)

And Bossa Nova Jazz Samba is an album by voth musicians released on the Pacific Jazz label.

This is a superb collaboration from 1962 …  With a breathy sax, lively and present piano, clarity, space and timbral accuracy, this is guaranteed to be one of the finest sounding jazz records you’ve heard
A wonderful Bossa Nova classic that shows you just how lovely this music can sound …

In other words: A forgotten masterpeiece !


Clare Fischer (piano)
Ralph Pena (bass)
Bud Shank (saxophone)
Larry Bunker – Frank Guerrero – Milt Holland – Bob Neel


01. Samba da Borboleta 3.36
02. Illusao 3.24
03. Pensativa 3.32
04. Joao 3.58
05. Misty 2.39
06. Que Mais? 4.00
07. Wistful Samba 4.19
08. Samba Guapo 4.27

Music composed by Claire Fisher,
except 05, which was composed by Erroll Garner



Various Artists – Greece Goes Modern Vol.1 (Sounds from Greece 1965-68) (2000)

FrontCover1And here´s a real rare and special album früm the roaring Sixites:

Can You imagine that thee was an actual mod scene in Greece back in the mid-sixties ? Well, there never existed such a thing! The Greek audience back in those years had no access to the material of Stax, Motown and Atlantic, and therefore R & B was unknown genre in this sunny side of the Mediterranean.

There were though some groups that knew this music an tried, one way of another, to introduce it to the Greek fans of ye-ye.

These bands exposed the soul screamers of Otis Redding and James Brown, and the jazzy movers of Herbie Mann, to the ears of the Greek teenagers, in their live appearances.


Fortunately, some of these bans recorded their sound nown, morethan 30 ears later, we have the chance to meet these bands with the unique mod style. (taken from the original liner notes)

The M.G.C.:


And we hear not only songs from this great Soul era in the Sixties, but a few classic Beat songs from good ol´ England, like “Gimme Some Lovin´” or “”It´s My Life”.

The Prophets:


So enjoy this great trip in the past … a trip in a decade, that changed the world … taht was or many people like me a very important decade. Enjoy the power and the enthusiasm of all thes young musicians from Greece …



Esquires Beat Group:
01. Headline News (Hamilton/Hatcler/Morris) 2.29
02. Something You Got (Kenner) 2.31

The Charms:
03. Alleluia , Don’t Leave Me Alone (M.Rozakis/R.Rozakis/Polatos) 3.07
04. It’s My Life (D’ Errico/Atkins) 3.07

05. Gimme Some Lovin’ (Winwood) 2.50
06. Don’t Ask What I Say (Jones) 2.40

The Charms:
07. See You On Sunday (Mastorakis/Rozakis/Njkolopoylos/Stratis/Jeremjas/Pollatos) 2.46
08. I’m Sick Y’ All (Porter/Redding/Cropper) 3.06
09. Home In Your Heart (Blackwell/Scott) 2.10

The Prophets:
10. Fire (Hendrix) 2.43
11. This Little Girl (Wonder) 3.03

Esquires Beat Group:
12. Gimme Little Sign (Smith/Winn/Hooven/Sarantis) 2.40

The M.G.C.:
13. I’m Gonna Cut My Head (Petropoulakis/Mastorakis/The M.G.C.) 2.34
14. Summertime (Heyward/Gershwin) 3.10

The Skyrockets Combo:
15. Papa’s Got A Brand New Bag (Brown) 3.26




Various Artists – Scratch My Back – Pye Beat Girls 1963-1968 (2016)

FrontCover1Located in London’s West End, Pye Records boasted a super stable of female talent. Released hot on the heels of our recent Love Hit Me! Decca Beat Girls collection, Scratch My Back! Pye Beat Girls comprises two-dozen peachy selections from Pye and sister label Piccadilly’s 1960s output. The compilation is titled after the opening track by Jan Panter, a Mark Wirtz-produced must-have for those who prefer their girl-pop records beefed up with a dose of fuzz guitar. Tony Hatch, the most successful of Pye’s in-house producers, is represented by cherry-picked titles by the Breakaways, Petula Clark, cult favorite Sandra Barry, the Baker Twins and Julie Grant. ‘Heart’ has to be the rocking-est track Petula ever recorded, so much so that it was covered in the USA by garage band the Remains.


During the swinging sixties, Pye Records and its sister label Piccadilly Records were housed in London’s West End. Both labels had an enviable roster of artists. This included some of the top British female pop singers. Two of the biggest names were Petula Clark and Sandie Shaw. They were enjoying commercial success at home and abroad. However, they were just two of many British female pop singers signed to Pye Records and Piccadilly Records.

Among their other signings were Billie Davis, Sandra Barry, Dana Gillespie, Barbara Ruskin and Sharon Tandy. Then there were groups like The Breakaways, The Satin Bells, The Baker Twins, Jeannie and The Big Guys and Pat Harris and The Blackjacks. All these artists and groups were signed to the Pye Records and Piccadilly labels, and were among the finest purveyors of pop in Britain. They all feature on the Ace Records’ new compilation Scratch My Back! Pye Records Beat Girls 1963-1968.


The twenty-four tracks on Scratch My Back! Pye Records Beat Girls 1963-1968 are walk down memory lane, during the swinging sixties. Listeners are introduced to eclectic selection of pop from familiar faces and new names that were part of the soundtrack to the sixties. They make a welcome return on Scratch My Back! Pye Records Beat Girls 1963-1968, which I’ll pick the highlights of.

Opening Scratch My Back! Pye Records Beat Girls 1963-1968 is Jan Panter’s Scratch My Back. It was released on Pye Records in 1966, just as the psychedelic era was dawning in Britain. Although Scratch My Back was written by Len Vandyke, his lyrics incorporates parts of the children’s nursery rhythm Jack and Jill. They’ve been rewritten, are delivered with a mixture of sass and attitude by Jan Panter. Along with harmonies and horns, they player their part in this glorious slice of fuzz guitar driven freakbeat.


Val McKenna’s career began in 1965 when she was just sixteen. By July 1965, the Whitley Bay born singer was signed to the Piccadilly label and about to release Mixed-Up Shook-Up Girl as a single. On the B-Side was one of Val’s compositions Now That You’ve Made Up Your Mind. It’s something of a hidden gem, and shows that Val was a talented singer and songwriter. Sadly, commercial success eluded Val McKenna and she ended up working as a session singer.

In 1965, Petula Clark was still basking in glow of the success of her worldwide hit Downtown. TheTony Hatch penned single had transformed the fortunes of Petula Clark in 1964. She was already a successful singer when Downtown became a hit across the world. However, Downtown took her career to another level. By 1965, Petula Clark had released several other singles.


This included You’d Better Come Home in 1965 which was released on the Pye Records label. It reached just forty-four in the UK charts. Hidden away on the flip side was Heart, which Petula and Georges Aber cowrote with Tony Hatch. He arranged and conducted this heartfelt ballad, which allows Petula’s vocal to shine, as she combines power and emotion. It’s a reminder of why in the sixties, Petula Clark was regarded as one of Britain’s finest female vocalists.

Another of the great British female vocalists of the sixtes was Sandie Shaw. She released the Chris Andrews penned Run as a single on Pye Records in 1966. Run reached just thirty-two on its release in August 1966. This was disappointing considering the quality of the single. It’s like a kitchen sink drama, with Sandie delivering the lyrics as if she’s experienced them. Her vocal is best described as an outpouring of memories and emotions.

JanPanterWhile many of the artists on Scratch My Back! Pye Records Beat Girls 1963-1968 enjoyed long and successful recording careers, Nina Rossi’s career was all too brief. Her career began in her hometown of Bournemouth, where she sang in clubs and hotels. Nita was also a regular in the town’s talent shows. With no sign of a record contract, Nita decided to send a demo to Tom Jones’ manager Gordon Mills.

He realised that Nita had talent, and contacted Piccadilly Records. They signed Nita and she went on to release four singles for Piccadilly Records. This includes the Gordon Mills penned Here I Go Again. On the B-Side was another Gordon Mills’ composition Something To Give. When Here I Go Again was released in 1966, the single flopped. Maybe things would’ve been different if Something To Give had been chosen as a single? It comes complete with a big, orchestrated arrangement which accompanies Nita, as she showcases a heartfelt, hopeful and sometimes needy vocal. Together, they play their part in what’s a hidden pop gem that’s since become a collector’s item.

Before embarking upon a musical career, Sandra Barry had been a star of stage and screen. Her stage debut came when she was four, when she appeared alongside Bud Flanagan of Flanagan and Allen. By the time Sandra was ten, she was offered the chance Dana Gillespieto head to Hollywood. However, her mother decided that it would be best if she stayed in Britain. Despite this, Sandra went on to appear in film, radio and television. Then in the sixties, Sandra embarked upon a career in music.

Sandra signed to Pye Records, and in 1966, released We Were Lovers (When The Party Began) as a single. This was a cover of Lloyd Price’s oft-covered song. Again, a big, orchestrated arrangement and also harmonies from The Breakaway accompany Sandra’s rueful, hurt-filled vocal. This proves a potent and hook-laden combination, as Sandra Barry gives a familiar song a makeover. Fifty years later, and it’s stood the test of time.

Not many denizens of Essex would christen their daughter after a member of the French royal family. That’s what the Daly’s did, when christened their newly-born daughter Marie-Antoinette. By 1964, Marie-Antoinette was thirteen and had embarked upon a musical career, her name had been shortened to Antoinette. However, Antoinette’s career was short-lived, and lasted just three years and five singles for Piccadilly. Her swan-song was a cover of Tami Lynn’s Why Don’t I Run Away From You? It was released on Piccadilly Records in 1966. Unfortunately, Kiki Dee released a cover of Why Don’t I Run Away From You? the same week. In the battle of the cover versions, Antoinette came second. That’s despite keeping her best single until last.


Dana Gillespie was only sixteen when she signed to Pye Records Records in 1965. Two years later, Dana was preparing to release her third single. The song that had been chosen was a cover of The Hollies’ Pay You Back With Interest. Despite The Hollies setting the bar high, Dana rises to the challenge, and released an irresistibly catchy and melodic cover of Pay You Back With Interest. Since then, Dana Gillespie’s career has blossomed, and she’s released in excess of sixty albums.

The name Dee King might not mean anything to most people. Diane Keen is another thing. She’s been a star of British television since the seventies. However, before that, Dee had a brief musical career.


On her return home from Kenya, Dee got a job with The Ivy League fan club. This resulted in Dee getting the chance to record her one and only single Sally Go Round The Roses. On its release on Piccadilly Records in 1966, the single failed commercially. Those who bought the single, and flipped over to the B-Side It’s So Fine were richly rewarded. It’s So Fine which was written by John Carter and Ken Lewis, is a quite beautiful, tender ballad. It shows another side to the future star of the The Cuckoo Waltz and Rings On Their Fingers.

Before embarking upon a career in music, Glo Macari was a student of the Aida Foster Stage School. By 1965, Gio was signed to Piccadilly Records, and was about to release a cover of Goffin and King’s He Knows I Love Him Too Much. It was arranged by Ivor Raymonde, who was responsible for an arrangement that references Phil Spector’s early sixties sound. Gio’s vocal even sounds as if it belongs on one of the girl groups that Phil Spector produced. Despite the Spector-esque sound, Gio’s cover of He Knows I Love Him Too Much wasn’t a commercial success. However, she went to enjoy a successful career as a songwriter in the seventies, when Gio worked closely with musical impresario Mickey Most.


Julie Grant released fifteen singles for Pye Records. Her tenth single was Up On The Roof, which was released in 1964. By then, Julie was only seventeen. Despite that, Julie was had long been appearing on the stage and screen. Music was a natural progression. Sadly, only two of the singles Julie released charted. This includes Up On The Roof. On the B-Side I Only Care About You which would’ve made a good single. It’s uptempo track with a good hook and a commercial sound. Alas, Up On The Roof was chosen as the single, and only gave Julie a minor hit. It was another case of what might have been.

My final choice from Scratch My Back! Pye Records Beat Girls 1963-1968 is Pat Harris And The Blackjacks’ original version of the Hippy Hippy Shake. It was released on Pye in 1963, but never caught record buyer’s attention. That’s despite having a rawer, more energetic sound than The Swinging Blue Jeans’ cover.


Their cover was released later in 1963, with an almost Beatles-esque arrangement. That’s no surprise. The Swinging Blue Jeans were just one of a number of Merseybeat groups who hoped to follow in the Fab Four’s footsteps. Hippy Hippy Shake went on to give The Swinging Blue Jeans the biggest hit of their career. Very few of the people that bought the single, were even aware of Pat Harris And The Blackjacks’ original version. That’s until the recent release of Scratch My Back! Pye Records Beat Girls 1963-1968 by Ace Records.

Scratch My Back! Pye Records Beat Girls 1963-1968 is a reminder of the quality of music the Pye and Piccadilly Records were releasing during the swinging sixties. Both labels had an enviable roster of artists. This included some of the top British female pop singers. Two of the biggest names were Petula Clark and Sandie Shaw. They were enjoying commercial success at home and abroad. However, there were many more talented female pop singers signed to Pye Records and Piccadilly Records.

Among their other signings were Billie Davis, Sandra Barry, Dana Gillespie, Barbara Ruskin and Sharon Tandy. That’s not forgetting groups like The Breakaways, The Satin Bells, The Baker Twins, Jeannie and The Big Guys and Pat Harris and The Blackjacks. Just like Petula Clark and Sandie Show, they all feature on Scratch My Back! Pye Records Beat Girls 1963-1968.


Sadly, not all these artists and groups enjoyed the commercial success their talent deserved. Sometimes, commercial success was fleeting for artists. Other times, commercial success eluded artists. This lead to careers that’s were all too brief. The songs on Scratch My Back! Pye Records Beat Girls 1963-1968 are mixture of hits, near misses and B-Sides. Each of these songs have one thing in common…quality. Even the B-Sides ooze quality, and rival and surpass the quality of the single. These hidden gems are just among the twenty-four reasons to add Ace Records’ new compilation Scratch My Back! Pye Records Beat Girls 1963-1968 to your collection. (by Derek Anderson)


01. Jan Panter: Scratch My Back (Vandyke) 2.36
02. Billie Davis: Ev’ry Day (Davis) 2.03
03. Kim D: Come On Baby (Blackwell/Smith) 2.20
04. Val McKenna: Now That You’ve Made Up Your Mind (McKenna) 2.44
05. The Breakaways: He Doesn’t Love Me (Hawker/Raymonde) 1.58
06. Petula Clark: Heart (Aber/Clark/Hatch) 2.35
07. Glenda Collins: It’s Hard To Believe It (Meek) 3.00
08. Sandie Shaw: Run (Andrews) 2.37
09. Nita Rossi: Something To Give (Mills) 2.17
10. The Satin Bells: Da-Di-Da-Da (Colombier/Delanoe/Fishman) 2.26
11. Sandra Barry: We Were Lovers (When The Party Began) (Fisher/Powers) 2.17
12. Tawny Reed: I Got A Feeling Baby (Washington) 2.50
13. Antoinette: Why Don’t I Run Away From You (Berns) 2.41
14. Tammy St John: Nobody Knows What’s Goin’ On (In My Mind But Me) (Force) 2.19
15. Sheila Carter & Episode Six: Incense (Fallon/Miller) 2.44
16. Dana Gillespie: Pay You Back With Interest (Clarke/Hicks/Nash) 2.47
17. Barbara Ruskin: Well How Does It Feel (Ruskin) 2.39
18. Sharon Tandy: I’ve Found Love (Kimber) 2.15
19. Dee King: It’s So Fine (Carter/Lewis) 2.20
20. Glo Macari: He Knows I Love Him Too Much (Goffin/King) 2.39
21. The Baker Twins: He’s No Good (Hatch) 2.20
22. Jeannie And The Big Guy: Don’t Lie To Me (Dawson/Ford/Hiller) 2.18
23. Julie Grant: I Only Care About You (Powell) 2.24
24. Pat Harris And The Blackjacks: Hippy, Hippy Shake (Romero) 2.23




The Yardbirds – Reunion Concert (1992)

FrontCover1The Yardbirds’ LIVE REUNION is not what you might expect. None of the band’s famous guitarists-Eric Clapton, Jeff Beck, and Jimmy Page-are present for the proceedings. Neither is singer Keith Relf, who died in the mid-’70s. The only original Yardbirds featured are drummer Jim McCarty and guitarist Chris Dreja. They’re joined by newcomers “Detroit” John Idan (vocals/guitar) and Rod Demick (vocals/bass). While there is plenty of prime, live Yardbirds material out there dating from the band’s glory days-try CLAPTON’S CRADLE: THE EARLY YARDBIRDS RECORDINGS and THE ULTIMATE COLLECTION-LIVE REUNION is still recommended to longtime fans looking for newer, in-concert renditions of Yardbirds classics. (by AllMusic)

After being inducted into the Rock Hall of Fame, Jim McCarty, Chris Dreja and new member John Idan recorded this excellent live set. It’s better known as “The Yardbirds Reunion Concert” but even though it’s been retitled as “The Yardbirds Reunion Jam,” it’s still features the same terrific song selection. “Rack My Mind,”
“Sitting on Top of the World” and “Crying Out for Love,” a McCarty original, are among the stand-outs — with the latter song also being featured on their last comeback album, “Birdland.”


In a nice touch, they open with “Back Where I Started,” which was on their first reunion release, the self-titled Box of Frogs (which featured guest, Jeff Beck). A mixture of their classic hits, new originals and blues standards, this live album is a must-have for fans. With Idan and McCarty currently in the studio with the brilliant 2017 band line-up and the two-CD “Yardbirds 68” remix of the Anderson Theater concert and collector favorites such as “Avron Knows” finally released in an approved version surpervised by Jimmy Page, McCarty and Dreja, this is a perfect time to snap up this archival gem. The Yardbirds never stopped making fine music and this one compares well with their best. The price of the MP3 is quite reasonable and we who don’t downland can hope a remastered version may surface in the future. (Uncle Mickey)

THE YARDBIRDS are still the best blending of British Psychedelic Pop and good old American Blues. Submerged in the style that made them living legends, REUNION JAM is the epitome of what THE YARDBIRDS do best…ROCK and ROLL!
This collection of classic YARDBIRD’s sounds captures the essense of familarity with ecclectic authenticity. It showcases the talent and maturity of founding members, Jim McCarty and Chris Dreja, and their unique ability to withstand the rigors of performing in live venue. These masters do this with grace and ease, and the ultimate performance released in REUNION JAM is about as “good as it gets” (Kate Baley)

Boah …what a night, what a concert … Listen and enjoy !


Rod Demick (bass, vocals
Chris Dreja (guitar)
“Detroit” John Idan (guitar)
Jim McCarty (drums, vocals)

Alternate frontcover:

01. Back Where I Started (Ricky Ricardo Rave-Up) (Dreja/Fiddler/McCarty/
Paul Samwell-Smith) 6.28
02. I’m Not Talking (Allison) 3.04
03. Heavy Weather (McCarthy/Ober) 2.34
04. Train Kept A Rolling (Bradshaw) 3.26
05. Crying Out For Love (McCarty)  4:33
06.  Heartful Of Soul (Gouldman) 2.43
07. Three Lane Highway (unknown) 3.26
08.  Ain’t Done Wrong (Relf) 3.34
09. Sitting On Top Of The World (Chatmon/Vinson) 5.37
10 Ain’t Got You (Carter) 2.11
11 Rack My Mind (Beck/Dreja/Relf/Samwell-Smith) 3.43
12. Ain’t Superstitious (Dixon) 3.51
13. Bad Boy (Bramlett/Clapton) 5.26
14. Dust My Broom (James) 5.28
15. Mr. You’re A Better Man Than I (M.Hugg/B.Hugg) 3.42
16. For Your Love (Gouldman) 4.19




The Yardbirds in 2018

Various Artists – Johnny Dodds – New Orleans Clarinet (1956)

FrontCover1Johnny Dodds (April 12, 1892 – August 8, 1940) was an American jazz clarinetist and alto saxophonist based in New Orleans, best known for his recordings under his own name and with bands such as those of Joe “King” Oliver, Jelly Roll Morton, Lovie Austin and Louis Armstrong. Dodds was the older brother of the drummer Warren “Baby” Dodds, one of the first important jazz drummers. They worked together in the New Orleans Bootblacks in 1926. Dodds is an important figure in jazz history. He was the premier clarinetist of his era and, in recognition of his artistic contributions, he was posthumously inducted into the Jazz Hall of Fame. He has been described as “a prime architect in the creation of the Jazz Age.”

Dodds was born in Waveland, Mississippi. His childhood environment was a musical one. His father and uncle were violinists, his sister played a melodeon, and in adolescence Johnny sang high tenor in the family quartet. According to legend, his instrumental skill began with a toy flute which had been purchased for his brother, Warren “Baby” Dodds.


He moved to New Orleans in his youth and studied the clarinet with Lorenzo Tio and Charlie McCurdy. He played with the bands of Frankie Duson, Kid Ory, and Joe “King” Oliver. Dodds went to Chicago and played with Oliver’s Creole Jazz Band, with which he first recorded in 1923. He also worked frequently with his good friend Natty Dominique during this period, a professional relationship that would last a lifetime. After the breakup of Oliver’s band in 1924, Dodds replaced Alcide Nunez as the house clarinetist and bandleader of Kelly’s Stables. From 1924 to 1930, Dodds worked regularly at Kelly’s Stables in Chicago. He recorded with numerous small groups in Chicago, notably Louis Armstrong’s Hot Five and Hot Seven and Jelly Roll Morton’s Red Hot Peppers.


He also recorded prolifically under his own name between 1927 and 1929 for Paramount, Brunswick/Vocalion, and Victor. He became a big star on the Chicago jazz scene of the 1920s, but his career precipitously declined with the Great Depression. Although his career gradually recovered, he did not record for most of the 1930s, affected by ill-health; he recorded only two sessions—January 21, 1938, and June 5, 1940—both for Decca. He died of a heart attack in August 1940, in Chicago.


Known for his professionalism and virtuosity as a musician and his heartfelt, heavily blues-laden style, Dodds was an important influence on later clarinetists, notably Benny Goodman, who stated that no one ever surpassed Dodds in achieving a finer tone with the clarinet. Dodds was inducted into the Jazz Hall of Fame in 1987.


Several accounts suggest the Dodds brothers did not always get along. When the brothers were young children, Johnny received a clarinet from his father while Baby did not get a drum even though he asked for one. In The Baby Dodds Story, Baby Dodds discusses his jealousy of his older brother when they were children. As they grew up, Johnny refused to let Baby play music with him because Baby was a heavy drinker and Johnny did not drink. When Joe Oliver hired Baby to join his band, Johnny realized how much Baby’s talent as a drummer had grown, however, Johnny changed his mind. Although they continued to argue about Baby’s excessive drinking, they grew closer as brothers and musicians. Baby was greatly affected by his brother’s death. (by wikipedia)


Okay … and here we can hear Johnny Doods with groups and musicians like Jasper Taylor’s State Street Boys, Jimmy Blythe’s Washboard Band, Blind Blake, Junie Cobb’s Hometown Band, Viola Bartlette, State Street Ramblers and Lovie Austin’s Blues Serenaders.

And we hear wonderful music from the very early days of Jazz.

Let´s drink to all these today more or less forgotten fine musicians … Cheers !



Jasper Taylor’s State Street Boys:
Johnny Dodds (clarinet)
Eddy Ellis (trombone)
Natty Dominique (cornett)
Tiny Parham (piano)
Jasper Taylor (washboard)

Jimmy Blythe’s Washboard Band:
Jimmy Blythe (piano)
Buddy Burton (washboard)
Johnny Dodds (clarinet)

Junie Cobb’s Hometown Band:
Jimmy Blythe (piano)
Junie Cobb (saxophone, carillon)
Johnny Dodds (Carillon)
Eustern Woodfork (banjo)

Viola Bartlette & Lovie Austin’s Blues Serenaders:
Lovie Austin (piano)
Viola Bartlette (vocals)
Junie Cobb (clarinet)
Johnny Dodds (clarinet)
Albert Wynn (trombone)

Blind Blake:
Jimmy Bertrand (xylophone)
Blind Blake (guitar)
Johnny Dodds (clarinet)

State Street Ramblers:
Jimmy Bertrand (washboard)
Jimmy Blythe (piano)
Johnny Dodds (clarinet)
Natty Dominique (trumpet)

Lovie Austin’s Blues Serenaders:
Lovie Austin (piano)
Johnny Dodds (clarinet)
Tommy Ladnier (cornet)
Henry Williams (vocals)



Jasper Taylor’s State Street Boys:
01. It Must Be The Blues (Parham) 2.29
02. State Street Blues (Parham) 2.34

Junie Cobb’s Hometown Band:
03. East Coast Troat (Blythe/Stevens) 3.01
04. Chicago Buzz (Blythe/Stevens) 2.49

Viola Bartlette & Lovie Austin’s Blues Serenaders:
05. Walk Easy ‘Cause My Papa’s Here (Cobb) 2.59

Blind Blake:
06. Southbound Rag (Blake) 3.17

Jimmy Blythe’s Washboard Band:
07. Bohunkus Blues (unknown) 2.52
08. Buddy Burton’s Jazz (unknown) 2.33

State Street Ramblers:
09. Cootie Stomp (Clark)
10. Weary Way Blues (Blythe/Minor) 2.54

Lovie Austin’s Blues Serenaders:
11. Chicago Mess Around (
12. Gallion Stomp




Johnny Dodds (April 12, 1892 – August 8, 1940)

John Martyn – Solid Air (1973)


Iain David McGeachy OBE (11 September 1948 – 29 January 2009), known professionally as John Martyn, was a British singer-songwriter and guitarist. Over a 40-year career, he released 22 studio albums, and received frequent critical acclaim. The Times described him as “an electrifying guitarist and singer whose music blurred the boundaries between folk, jazz, rock and blues”.

Martyn began his career at age 17 as a key member of the British folk music scene, drawing inspiration from American blues and English traditional music, and signed with Island Records. By the 1970s he had begun incorporating jazz and rock into his sound on albums such as Solid Air (1973) and One World (1977), as well as experimenting with guitar effects and tape delay machines such as Echoplex. He struggled with substance abuse and domestic problems throughout the 1970s and 1980s, though continued to release albums while collaborating with figures such as Phil Collins and Lee “Scratch” Perry. He remained active until his death in 2009.

Solid Air is the fourth studio album by British folk singer-songwriter John Martyn, released in February 1973 by Island Records.


The album was recorded over eight days and features instrumental contributions by bassist Danny Thompson and members of Fairport Convention. “Solid Air”, the title track, was dedicated to a friend of Martyn’s, Nick Drake, who would die of an antidepressant overdose 18 months after the album was released. Martyn said of the track “It was done for a friend of mine, and it was done right with very clear motives, and I’m very pleased with it, for varying reasons. It has got a very simple message, but you’ll have to work that one out for yourself.” The album features an avant-garde cover of Skip James’ “Devil Got My Woman,” here retitled “I’d Rather Be the Devil” and performed with heavy use of Martyn’s Echoplex tape delay effect.

“May You Never” became something of a signature song for Martyn, becoming a staple of his live performances. Released in November 1971 as a single in an early form, the song JohnMartyn02was re-recorded during the Solid Air sessions.[8] Eric Clapton covered “May You Never” on his 1977 album Slowhand. When Martyn was presented with a lifetime achievement award by Phil Collins (a collaborator of Martyn’s) at the 2008 BBC Folk Awards, In 2006, Martyn performed the album live in its entirety as part of the All Tomorrow’s Parties-curated Don’t Look Back series and subsequently toured the UK.

A remastered CD was issued by Universal Records in October 2000. This CD was packaged in a card slipcase, and featured a remastered version of the original album with the addition of a live version of “I’d Rather Be The Devil”. Solid Air was given a further remastering and repackaging when a double CD reissue curated by John Hillarby was released in 2009, and which included several alternate studio and live versions.

The album cover is an example of schlieren photography demonstrating the ‘solid’ nature of air.

Solid Air was rated as the 67th Greatest British Album Ever by the British music magazine Q, and was also included in their list of Best Chill-Out Albums Of All Time. The album is included in the book 1001 Albums You Must Hear Before You Die by Robert Dimery. It was voted number 826 in Colin Larkin’s All Time Top 1000 Albums 3rd Edition (2000).  (by wikipedia)


Solid Air is one of the defining moments in British folk, in the same league as Fairport Convention’s Liege & Lief, Richard & Linda Thompson’s Shoot Out the Lights, and Michael Chapman’s Rainmaker. Martyn stepped out of his comfort zone to record and produce it, including not only jazz and blues but rock and plenty of sound effects, and featuring Rhodes piano on some of its tracks, dismaying some fans while winning a ton more for its genre-blurring presentation. A number of its cuts — such as the title track (written for Martyn’s friend, Nick Drake), “Over the Hill,” “I’d Rather Be the Devil,” and “May You Never” — remained staples in his live sets until the end of his life. (by by Thom Jurek)


Neemoi “Speedy” Acquaye (percussion)
John “Rabbit” Bundrick (keyboards, clavinet)
John Martyn (guitar, vocals, keyboards on 09.)
Dave Mattacks (drums)
Dave Pegg (bass)
Danny Thompson (bass)
Tristan Fry (vibraphone on 01.)
Tony Coe (saxophone on 01. + 06.)
Sue Draheim (violin on 02.)
Simon Nicol (autoharp on 02.)
Richard Thompson (mandolin on 02.)

01. Solid Air (Martyn) 5.47
02. Over The Hill (Martyn) 2.51
03. Don’t Want To Know (Martyn) 3.02
04. I’d Rather Be The Devil (James) 6.19
05. Go Down Easy (Martyn) 3.36
06. Dreams By The Sea (Martyn) 3.18
07. May You Never (Martyn) 3.43
08. The Man In The Station (Martyn) 2.55
09. The Easy Blues (Martyn) 3.22



JohnMartyn03John Martyn (11 September 1948 – 29 January 2009)


Joe Pass – The Stones Jazz (1966)

FrontCover1The Stones Jazz is an album by jazz guitarist Joe Pass that was released in 1967. Except for one song, all tracks are jazz covers of songs recorded by The Rolling Stones. (by wikipedia)

An album of songs by the Rolling Stones hardly sounds like promising material for any jazz release, even in the hands of a master guitarist like Joe Pass. Featuring ten of their hits with arrangements by Bob Florence and an unidentified cast of musicians, other than tenor saxophonist Bill Perkins, this LP was clearly one for a paycheck when most jazz players were scratching for work. Unlike the works of Lennon and McCartney of the Beatles, the Rolling Stones’ music doesn’t lend itself to jazz. Pass doesn’t solo with the gusto one came to expect from his many great sessions from the 1970s to the end of his life for Pablo and elsewhere. Even the closing blues “Stones Jazz,” credited to Florence and Pass, sounds severely dated and not worth a second hearing to today’s jazz listener. A very unlikely candidate for reissue on CD, this record will be sought by Joe Pass fanatics only. (by Ken Dryden)

This was recorded for the Pacific Jazz label in Los Angeles in a single session on July 20, 1966.

JoePass01I grew up listening to the stones and even playing their music in a garage band circa 1964-65, so this album piqued my interest.

To be perfectly honest, this is an album of somewhat lopsided arrangements that no neither jazz nor the Stones justice in my opinion. Yes, the musicianship is excellent. No doubt about that. The song selection is also representative of what the Stones recorded (except for track 11, which is Pass’ composition). Why I probably am not as excited about this as I should be is I covered these tunes back with I was a teen drummer, and before I discovered jazz in a bigger way.

Above I described the arrangements as lopsided. That is because the main two instruments are a three piece guitar section and a four piece trombone section, the latter of which adds a lot of low end to the music. Those are augmented by a lone tenor saxophone, and a typical rhythm section comprised of a piano, bass, drum kit and percussion. As expected, the songs are going to sound completely different than the ones the Stones recorded. I wish there were sound samples to convey this. Also, just because I am not totally fond of this album is not to be construed as it’s bad – I am expressing my personal taste. You may actually love it. (Mike Tarrani)


Milt Bernhart (trombone)
Ray Brown (bass)
Dennis Budimir (guitar)
Victor Feldman (percussion)
Bob Florence (piano)
John Guerin (drums)
Dick Hamilton (trombone)
Herbie Harper (trombone)
Gail Martin (trombone)
Joe Pass (guitar)
Bill Perkins (saxophone)
John Pisano (guitar)


01. Play With Fire (Nanker Phelge = Jagger/Richards) 3.00
02. 19th Nervous Breakdown (Jagger/Richards) 2.59
03. I Am Waiting (Jagger/Richards) 3.05
04. Lady Jane (Jagger/Richards) 2.51
05. Not Fade Away (Holly/Petty) 2.35
06. Mother’s Little Helper (Jagger/Richards) 2.52
07. (I Can’t Get No) Satisfaction (Jagger/Richards)
08. Paint It Black (Jagger/Richards) 3.34
09. What A Shame (Jagger/Richards) 2.58
10. As Tears Go By (Jagger/Richards/Oldham) 3.04
11. Stone Jazz (Pass) 2.46