Eric Bell – Live Tonite …Plus! (1996/2001)

FrontCover1.jpgThin Lizzy’s forgotten guitar hero returns in a bare-bones blues trio format, taped before an appreciative crowd. Curiously, the venue isn’t listed, although the album’s Swedish-only release in 1996 most likely points there. Angel Air’s reissue sweetens the pot with three tracks not on the original release. Straight-ahead blues is the game here. The gig opens with a rampage through “The Stumble,” whose 1966 recording featured Eric Clapton on guitar. Bell’s style is scrappier, but no less spirited, as he demonstrates on brisk strides through standards like “Baby Please Don’t Go,” “Oh Pretty Woman,” and “Things I Used to Do.” Being an Irishman also enables Bell to explore his own roots, as evidenced by a show-stopping slow burn through Van Morrison’s epic ballad, “Madame George.” Naturally, Bell revisits his Thin Lizzy days with a fiery demolition of the late Phil Lynott’s swaggering macho anthem “The Rocker.” Bell makes room for Lizzy’s rearrangement of the traditional “Whiskey in the Jar” — a song so radical it didn’t include a bass part, yet still graced the U.K. Top Ten in 1973, and soars just as highly here. The real surprise is why Bell includes just three originals, including the lovelorn lament of “Two Ships” and “Just to Get By,” a world-weary tally of life’s ups and downs.

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Original frontcover from 1996

That neither track made the original cut is amazing. But that’s a minor point, especially since the music here is so crisp. Bell’s guitar is succinct and to the point, while bassist Tony Wooton and drummer Romek Parol lend appropriately unobtrusive support. (The Bell-written anecdotes, “Just a Belfast Boy,” are also delightful.) Pure blues fans and Lizzy devotees should find plenty to satisfy them here. (by Ralph Heibutzki)

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A classic blues album…Bell is undoubtedly an outstanding guitarist, whose smooth playing gives a lilt to his music that hints at traditional Irish music without being it….Recommended to Thin Lizzy completists and lovers of good blues. (Bernard Law, Wondrous Stories (April 2001)

Most of the songs of Eric’s live set are rhythm and blues standards which showcase Eric’s excellent guitar work….the best track of the lot is possibly the final track, a stunning version of Van Morrison’s “Gloria” which was a hit for Them, while Eric was a member…real class blues rock….If you like your blues played with style and emotion, I would advise you to seek this album out and give it a listen. You won’t be disappointed. (Frank Blades, Rockhaven (April 2001)

EricBell01Fabulous playing and surprisingly strong singing make this a pleasurable experience…The sleeve note proudly places Bell in the front rank of Irish guitarists…only a fool would argue with that assertion. Michael Heatley, Classic Rock (May 2001)

…The feeling is one of smoky bar intimacy, with Bell and his backing duo running through a number of standards to warm reception…Buddy Guy’s “Hold That Plane” is supremely rendered and a couple of ‘Lizzy knocks include nearly 10 minutes of fuzz-laden “Whiskey In the Jar”… (Record Collector, June 2001)

…A fully functioning blues-rock set recorded live in Sweden during the mid-1990s…The sound quality is delightful – his guitar, fully to the fore, has lost none of the clarity and distinction that graced those first Lizzy albums…Add a well-annotated/illustrated eight-page color booklet and the entire package is a delight. (Jo Ann-Greene, Goldmine, June 2001)

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Personnel:
Eric Bell (guitar, vocals)
Romer Parol (drums)
Tony Wootton (bass, vocals)

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Tracklist:
01. The Stumble (King/Thompson) 3.24
02. Oh, Pretty Woman (Williams) 5.25
03. Things I Used To Do (Jones) 5.29
04. Baby, Please Don’t Go (Williams) 6.22
05. Madam George (Morrison) 6.02
06. Walk On Water (Bell) 6.39
07. Three O’Clock Blues (King/Taub) 4.59
08. Hold That Plane (Guy) 5.12
09. Whiskey In The Jar (Traditional) 10.54
10. The Rocker (Lynott/Bell/Downey) 5.07
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11. Just To Get By (Bell) 5.13
12. Two Ships (Bell) 4.59
13. Gloria (Morrison) 5.29

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Sinnerboy – Down & Out In Hammersmith (2003)

FrontCover1.jpgSinner Boy is a Rory Gallagher tribute band:

The biggest compliment I can pay the band is that I left the gig with a feeling of great satisfaction, that I had just heard Rory’s music played with huge affection & passion. These attributes coupled with superb musicianship led to a top class performance. No wonder this band is a particular favourite of Rory’s brother Donal, and are frequently asked to play many Rory Gallagher conventions, memorials etc. Upon taking the stage, frontman and lead guitarist Barry Barnes told the unfortunately sparse crowd “Don’t leave without having heard your favourite Rory track”. Yes, such is the confidence in their mastery of their subject, Sinnerboy took requests from the floor throughout their set. Did they subconsciously hold back due to the low turnout – not a chance!! (by Tony Whitley)

Sinnerboy

And here´s an high energy concert with lot´s of Rory Gallagerh songs… and Sinner Boy knows how to play Rory Gallagher.

What a great tribute concert !

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Sinnerboy in 2018

Personnel:
Barry Barnes (guitar, vocals)
Dave Burns (bass)
Stebve Richardson (drums)
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Paul Westwell (harmonica)

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Tracklist:
01. Shinkicker (Gallagher) 3.46
02. Cradle Rock (Gallagher) 6.33
03. Big Guns (Gallagher) 4.39
04. I Fall Apart (Gallagher) 5.54
05. Souped-Up-Ford (Gallagher) 6.48
06. Walk On Hot Coals (Gallagher) 10.54
07. Laundromat (Gallagher) 4.32
08. Follow Me (Gallagher) 5.23
09. To Much Alcohol (Hutto) 7.53
10. Tattoo’d Lady (Gallagher) 6.30
11. Going To My Home Town (Gallagher) 4.33
12. In Your Town (Gallagher) 8.21
13. Bullfrog Blues (‘Traditional) 8.52

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Chicken Shack – Goodbye (1974)

LPFrontCover1Having lost fellow Chicken Shackers Bob Daisley (Bass) and Paul Hancox (Drums) to the rigours of touring just as the band’s now aptly-named sixth album, Unlucky Boy hit the streets, founder guitarist/vocalist Stan Webb went off in search of replacements – and quickly found them. in came pianist Dave Wilkinson, fresh from tinkling the ivories on singer/songwriter Roger Cook’s solo set, Minstrel In Flight, drummer Alan Powell and bassist Rob Hull, all of whom were rapidly schooled in Chicken Shack’s recent past.

Autumn was turning to winter, popular music in general was going about its eternal metamorphosis, and on the rock/blues vine the ‘progressive’ movement seemed to be winning out at the expense of pure blues. For all his bravado, to close friends Stan seemed to be less than enamoured of where his efforts’ most viable future possibly lay, and Deram still l had another album due. Webb was (and happily, once more as I wtite is} Chicken Shack. The dazzling guitarist and over-the-top entertainer had to date not been captured on vinyl strutting around his natural habitat – any stage – so it was logical that the ensemble’s contract be fulfilled with a live set.

The Pye Studios’ Mobile Unit was booked for the night and on 26th October 1973 it travelled to the Brunei University in the West of England to preserve forever events on the boards. Barry Murray of Murray Simmonds Productions – an organisation part-owned by Harry Simmonds, manager of Savoy Brown and brother of that outfit’s kingpin, Kim – look over Neil Slaven’s role as technical overseer. Stan’s wry sense of humour was apparent from the outset, as he introduced the fact that proceedings were being recorded along the lines of ” It’s an old geezer with a Philips cassette and a couple of Vidor batteries actually ” , before storming off into Everyday I Have The Blues.

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Chicken Shark were in good form, and quite apart from reprising a handful of numbers from their Deram days, Webb displayed his virtuosity on a variation of the old Bert Weedon hit Guitar Boogie Shuffle – now known as Webb’s Guitar Shuffle – before dosing the show with l.iitle Richard’s Tutti Frutti. The band’s disc outlet at home was expected to rush (he results inlo the shops, and indeed lacquers were cut, test-pressings made, and a domestic catalogue number, SML 1109) , allocated. The platter was never to sen4 li^ht of day in Britain.

Before it could be scheduled and alter only five months together, in January ’74 Stan announced to the press that Chicken Shack were no more and that he would be joining Savoy Brown. Deram understandably scrapped issue plans for Blighty – their parent, Decca, held Savoy Brown’s long-term disc agreement – although they’d originally intended to call Stan’s now-definite finale Chicken Shack Go Live an appellation it finally bears with this CD transfer.

The Savoyians being one of London U.S.A.’s biggest earners, they were not going to ‘isk possibly dissipating sales of Kim and Stan’s planned new venture, so Go Live was shelved there also, but Germany and Japan ultimately ensured the Shack’s farewell could be purchased by issuing Nova SDL 8008 and London K16P 9075 respectively, though signposted under the somewhat depressing end-of-everything alternative, Goodbye Chicken Shack Stan Webb and Kim Simmonds, along with a third guitarfst/frontman, Miller Anderson, plus Jimmy Leverton (Bass) and Eric Dillon (Drums) thence turned in one of Savoy Brown’s finest IP’s, Boogie Brothers (24th May I 974), and remained together for almost a year before Kim found himself on his lonesome once more.

As Jimmy and Eric went off to farm Utopian pastures new, Stan and Miller put together a band they named Broken Glass with ex-Shack cohort, keyboarder Tony Ashton, plus Robbie Blunt {Guitar}, Mac Poole (Drums) and Rob Rawlinson (Bass). After one eponymous album for Capitol in 1975 Glass fragmented (sorry, couldn’t resist that), and following a brief sojourn to take stock, Webb began assembling a new Chicken Shack .

With A multitude of personnel amendments and one-off recording deals littering his path throughout, the great man has remained a cherished part of the hint’s scene to this day, both at home and abroad. Regardless ol who is sharing his stage, Stan Webb in top gear is a formidable sight to behold and a guaranteed treat for the ears.

This C.D. gives an indication of the quality one might expect, although the songs on offer have naturally changed. Nevertheless, how much better that this revived artefact may today be more appropriately titled Chicken Shack Go Live than the unthinkable Goodbye.
Now where did I put those batteries? (by John Tracy)

Oh yes … Chicken Shack live … including these fucking good killer versions of “Going Down” and “Poor Boy” !

And as well should know .. Stan Webb plays till today …

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Personnel:
Rob Hull (bass)
Alan Powell (drums)
Stan Webb (guitar, vocals)
Dave Wilkinson (piano)

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Tracklist:
01. Intro/Everyday I Have The Blues (Chapman) 5.20
02. The Thrill Is Gone (King) 5.28
03. Going Down (Nix) 5.46
04. You Take Me Down (Webb) 5.06
05. Webb’s Boogie (Webb) 5.48
06. You’re Mean (King/Harris/Jemmott/Lovell/McCracken) 5.54
07. Poor Boy (Webb) 6.51
08. Webb’s Guitar Shuffle (Webb) 3.19
09. Tutti Frutti (LaBostrie/Penniman/Lubin) 2.29

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More Chicken Shack:

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Various Artists – ZZ Top – A Tribute From Friends (2001)

FrontCover1ZZ Top: A Tribute from Friends is the fourth tribute album to honor American rock band ZZ Top. It includes performances from Daughtry, Nickelback, Wolfmother, Filter and Steven Tyler of Aerosmith among others.ZZ Top: A Tribute from Friends is the fourth tribute album to honor American rock band ZZ Top. It includes performances from Daughtry, Nickelback, Wolfmother, Filter and Steven Tyler of Aerosmith among others.

The album includes 11 cover tracks such as “Gimme All Your Lovin’,” “Legs,” a combination of two songs “Waitin’ for the Bus”/”Jesus Just Left Chicago” and “La Grange.”

ZZ Top: A Tribute from Friends debuted at number 121 on the Billboard 200, and number 8 on the Top Hard Rock Albums, selling 4,000 copies. The album also debuted at number 151 on the Canadian Albums Chart. (by wikipedia)

ZZ Top: A Tribute from Friends, the second major-label tribute to that lil’ ol’ band from Texas, differs from 2002’s Sharp Dressed Men by piling on the rock & roll. Those loud longhair bands were shunned in 2002 — that compilation deliberately featured only modern country — and they overwhelm this brief erratic set. ZZ Top’s songs may not leave much room for interpretation, yet all the artists here manage to sound like themselves while serving up straightforward covers. Filter strip “Gimme All Your Lovin’” down to its mechanical rhythm, super-slick supergroup the M.O.B. — Steven Tyler singing with Mick Fleetwood, John McVie, and Jonny Lang — play like the pampered millionaires they are, Andrew Stockdale shrieks “Cheap Sunglasses” as if he were saluting Jack White, Wyclef Jean taps into the new wave heart of “Rough Boy,” while Nickelback and DAUGHTRY battle for the title of Guitar Center’s loudest band. Amidst this clamor are a handful of gems — Duff McKagan’s Loaded churn out “Got Me Under Pressure” like the old pros they are, Mastodon show some swing on “Just Got Paid,” Jamey Johnson rides the John Lee Hooker riff of “La Grange” for eight full minutes — but it takes some considerable effort to dig them out. (by Stephen Thomas Erlewine)

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Personnel:

The M.O.B.:
Mick Fleetwood (drums, percussion)
John McVie (bass)
Jonny Lang (guitar)
Brett Tuggle (piano)
Steven Tyler (vocals, harmonica)

Filter:
Phil Buckman (bass)
Bob Marlette (guitar, programming)

Filter

Grace Potter and the Nocturnals:
Matthew Burr (drums)
Grace Potter (bass, vocals)
Scott Tournet (guitar)

Nickelback:
Daniel Adair (drums)
Chad Kroeger (guitar, vocals)

Bass – Mike KroegerDrums – Electric Guitar – Ryan PeakeLead Vocals, Electric Guitar –

Wolfmother:
Aidan Nemeth (guitar)
Ian Peres (bass, keyboards, background vocals)
Will Rockwell-Scott (drums)
Andrew Stockdale (vocals, guitar)

Wolfmother

Duff McKagan’s Loaded;
Isaac Carpenter (drums)
Duff McKagan (vocals, guitar)
Jeff Rouse (bass)
Mike Squires (guitar)

Coheed and Cambria:
Chris Pennie (drums)
Claudio Sanchez (vocals, guitar, bass)
Travis Stever (guitar, background vocals)

Mastodon:
Brann Dailor (drums, background vocals)
Billy F. Gibbons (guitar)
Brent Hinds (vocals, guitar)
Bill Kelliher (guitar, background vocals)
Troy Sanders (bass, background vocals)

Wyclef Jean:
Akene (synthesizer)
rden Altino (synthesizer)
Jimmy Cozier (background vocals)
Mr. Hudson (bass, drums, synthesizer, background vocals)
Wyclef Jean (vocals)

Daughtry:
Howard Benson (keyboards)
Brian Craddock (guitar)
Chris Daughtry (vocals)
Robin Diaz (drums)
Josh Paul (bass)
Josh Steely (guitar)

Daughtry

Jamey Johnson:
Wayd Battle (guitar)
Jim “Moose” Brown (keyboards)
Billy F Gibbons (guitar, vocals)
Kevin “Swine” Grant (bass)
Jamey Johnson (vocals, guitar)
“Cowboy” Eddie Long (steel-guitar)
Chris Powell (drums)
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Tracklist:
01. The M.O.B.: Sharp Dressed Man (Gibbons/Hill/Beard) 4.03
02. Filter: Gimme All Your Lovin’ (Gibbons/Hill/Beard) 3.10
03. Grace Potter and the Nocturnals: Tush (Gibbons/Hill/Beard) 2.49
04. Nickelback: Legs (Gibbons/Hill/Beard) 3.15
05. Wolfmother: Cheap Sunglasses (Gibbons/Hill/Beard) 4.14
06. Duff McKagan’s Loaded: Got Me Under Pressure (Gibbons/Hill/Beard) 3.48
07. Coheed and Cambria: Beer Drinkers and Hell Raisers (Gibbons/Hill/Beard) 3.13
08. Mastodon: Just Got Paid (Gibbons/Ham) 3.35
09. Wyclef Jean: Rough Boy (Gibbons/Hill/Beard) 3.05
10. Daughtry: Waitin’ For The Bus (Gibbons/Hill) / Jesus Just Left Chicago (Gibbons/Hill/Beard) 6.31
11. Jamey Johnson: La Grange (Gibbons/Hill/Beard) 8.04

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Rory Gallagher – Notes From San Francisco (2011)

FrontCover1.jpgNotes from San Francisco is a posthumous album by Irish musician Rory Gallagher. Released in 2011, It consists of two CDs. The first disc is a never released album that Gallagher recorded in San Francisco in December 1977. The album was to be a major shift for Gallagher. Rather than producing it himself, he worked with Elliot Mazer a successful producer who had a long track record with artists such as Bob Dylan, Janis Joplin and The Band. At the last minute — causing great distress to his manager and brother Dónal and to his record company — Gallagher decided to just pull the record. In an interview, Gallagher stated “it wasn’t because of the material or the musicians or anything like that. It was a song thing that I didn’t think on the technical side everything worked. So I scrapped the thing” After scrapping the album Gallagher reworked his band firing all the musicians except the bass player and hiring a new drummer. This new Gallagher power trio re-recorded the San Francisco songs with Gallagher producing and released them as Photo-Finish.  Shortly before his death, Rory reportedly gave Dónal permission to eventually release the original San Francisco versions of the songs if they were remixed. Dónal had his son Daniel remix the songs in 2011. The second disc is a live performance also recorded in San Francisco in December 1979.  Peter Notes from San Francisco is a posthumous album by Irish musician Rory Gallagher. Released in 2011, It consists of two CDs. The first disc is a never released album that Gallagher recorded in San Francisco in December 1977. The album was to be a major shift for Gallagher. Rather than producing it himself, he worked with Elliot Mazer a successful producer who had a long track record with artists such as Bob Dylan, Janis Joplin and The Band.

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At the last minute — causing great distress to his manager and brother Dónal and to his record company — Gallagher decided to just pull the record. In an interview, Gallagher stated “it wasn’t because of the material or the musicians or anything like that. It was a song thing that I didn’t think on the technical side everything worked. So I scrapped the thing” After scrapping the album Gallagher reworked his band firing all the musicians except the bass player and hiring a new drummer. This new Gallagher power trio re-recorded the San Francisco songs with Gallagher producing and released them as Photo-Finish. [1] Shortly before his death, Rory reportedly gave Dónal permission to eventually release the original San Francisco versions of the songs if they were remixed. Dónal had his son Daniel remix the songs in 2011. The second disc is a live performance also recorded in San Francisco in December 1979.

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It’s surprising, considering the interesting back story on the studio portion of this posthumous Rory Gallagher release, that there are no notes on the actual packaging to chronicle its eventual appearance in 2011, nearly 33 years after being recorded in December 1977. According to the press release though, Gallagher clashed with producer Elliot Mazer about the mix on these dozen tunes and not only shelved the tapes, but broke up his longtime band after the San Francisco session ended. Out went keyboardist Lou Martin and drummer Rod de’Ath, replaced by skinsman Ted McKenna (bassist Gerry McAvoy remained) to strip down the sound for his next phase. About half these songs, such as “Mississippi Sheiks,” “Fuel to the Fire,” “Brute Force & Ignorance,” “Cruise on Out,” and “Overnight Bag” appeared on 1978’s Photo Finish in different performances. Some, like the closing “Out on the Tiles” and “B Girl,” will be new to all but the most ardent Gallagher followers. Shortly before his death, the guitarist apparently mentioned to his brother Donald that he’d like the tapes to be released someday if they were remixed, which is exactly what Donald’s son Daniel did in 2011, resulting in these long-lost tracks finally seeing the light of day.

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Despite Gallagher’s reservations, everything here is up to his usual high standard, and he obviously respected the material enough to re-record the bulk of it with a different band and producer later that year. The electric violin on “Mississippi Sheiks” is a new twist on both Gallagher’s blues-rock style and the song, which helps differentiate this version from the more famous one that appeared on Photo Finish. Saxophone, played by Martin Fiero, enhances two cuts, also bringing a unique groove, especially to the lumbering “Brute Force and Ignorance.” The package includes a December 1979 live show, also recorded in San Francisco, that finds Gallagher and his two-piece in typically fine fettle. They revisit the Taste-era chestnut “Bullfrog Blues” and tear into the rarity “I’m Leavin'” with their notorious paint-peeling approach. He digs back some years for a tough take on “Tattoo’d Lady,” but most of the set is derived from his mid- to late-’70s albums Top Priority, Photo Finish, and Calling Card. A breathless “Sea Cruise” closes the set, and is probably a nod to Jerry Lee Lewis, on whose album Gallagher guested. It caps off a roaring, electrifying show that, along with the studio disc, makes a worthwhile addition to any Gallagher lover’s collection. Even lacking detailed liner notes, this is a keeper and an important historical document in Rory Gallagher’s short but eventful career. (by Hal Horowitz)

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Personnel:
Rod de’Ath (drums on CD 1)
Rory Gallagher (guitar, vocals, harmonica)
Lou Martin (keyboards)
Gerry McAvoy (bass)
Ted McKenna (drums on CD 2)
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Martin Fiero (saxophone on CD 1 – 01.)
Joe O’Donnell (violin on CD 1 – 08.)

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Tracklist:

CD 1 (studio recordings):
01. Rue The Day 4.26
02. Persuasion 4.45
03. B Girl 4.42
04. Mississippi Sheiks 5.56
05. Wheels Within Wheels 3.40
06. Overnight Bag 4.46
07. Cruise On Out 5.19
08. Brute Force & Ignorance 5.45
09. Fuel To The Fire 5.43
10. Wheels Within Wheels (alternate version) 3.55
11. Cut A Dash 3.49
12. Out On The Tiles 4.22

CD 2 (live recordings):
01. Follow Me (from Top Priority) 6.25
02. Shinkicker (from Photo-Finish) 3.42
03. Off The Handle (from Top Priority) 7.01
04. Bought And Sold (from Against the Grain) 4.43
05. I’m Leavin’ 4.35
06. Tattoo’d Lady (from Tattoo) 6.49
07. Do You Read Me (from Calling Card) 6.11
08. Country Mile (from Calling Card) 3.51
09. Calling Card (from Calling Card) 5.51
10. Shadow Play (from Photo-Finish) 5.11
11. Bullfrog Blues  (from Live in Europe) (Traditiional) 5.38
12. Sea Cruise 3.29

All songs written by Rory Gallagher except as indicate

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Rory Gallagher (2 March 1948 – 14 June 1995)

Blodwyn Pig – Fillmore West (1970)

Muro do Classic RockBlodwyn Pig was a British blues rock band, founded in 1968 by guitarist–vocalist–songwriter Mick Abrahams.

Abrahams left Jethro Tull, due to a falling-out with Tull vocalist Ian Anderson, after their debut album, This Was, was released, and formed Blodwyn Pig with Jack Lancaster (saxophone and flute), Andy Pyle (bass guitar), and Ron Berg (drums). Ex-Yes and future Flash guitarist Peter Banks became one of several guitarists to succeed Abrahams after he left to form his own band for a time.

With Abrahams and Lancaster in the lead, Blodwyn Pig recorded two albums, Ahead Rings Out in 1969 and Getting To This in 1970.[1] Both reached the Top Ten of the UK Albums Chart[2] and charted in the United States; Ahead Rings Out displayed a jazzier turn on the heavy blues–rock that formed the band’s core rooted in the British 1960s rhythm and blues scene from which sprang groups like The Yardbirds, Free and eventually Led Zeppelin. Saxophonist–singer Lancaster (who often played two horns at once, like his idol Rahsaan Roland Kirk[citation needed]) was at least as prominent in the mix as Abrahams; some critics[who?] thought this contrast bumped the band toward a freer, more experimental sound on the second album.

The single “Summer Day” from the album Getting To This failed to chart, but the quartet became something of a favourite on the underground concert circuit. Largely due to Abrahams’s disillusionment with the business side of music, Blodwyn Pig eventually became an on-again, off-again concern; Lancaster at one point became a record producer, and Pyle eventually joined Savoy Brown. Over the years since their original formation, Blodwyn Pig reformed several times, usually with Abrahams and Lancaster leading the group, and recorded two more albums in the 1990s (by wikipedia)

And here´a pretty good audience bootleg album (as a opening act for Procol Harum) from this criminaly underrated group from the early Seventies.

Recorded live at the Fillmore West, New York, August 03, 1970

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Personnel:
Mick Abrahams (guitar, vocals)
Ron Berg (drums)
Jack Lancaster (saxophone, flute)
Andy Pyle (bass)

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Tracklist:
01. It’s Only Love (Abrahams) 3.40
02. Ain’t Ya Comin’ Home Babe (Pyle/Lancaster/Abrahams) 10,56
03. Dear Jill (Abrahams) 5.17
04. Worry (Pyle) 9.48
05. San Francisco Sketches (Lancaster) 15.45
06. It’s Only Love (Abrahams) 3.44
07. Change Song (Abrahams) 4.54
08. Cat Squirrel (Traditional) 12.35
09. See My Way (Abrahams) 8.38
10. Slow Down (Williams) 6.25
11. Rock Me (Jackson) 4.10

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Savoy Brown – Looking In (1970)

FrontCover1.jpgLooking In is the sixth album by the band Savoy Brown.

It was released by Decca in 1970 (SKL 5066). For release in the USA and Canada tapes were leased to Parrot Records (PAS 71042).

The album reached no. 50 in the UK. (by wikipedia)

Savoy Brown’s blues-rock sound takes on a much more defined feel on 1970’s Looking In and is one of this band’s best efforts. Kim Simmonds is utterly bewildering on guitar, while Lonesome Dave Peverett does a fine job taking over lead singing duties from Chris Youlden who left halfway through the year. But it’s the captivating arrangements and alluring ease of the music that makes this a superb listen. The pleading strain transformed through Simmonds’ guitar on “Money Can’t Save Your Soul” is mud-thick with raw blues, and the comfort of “Sunday Night” is extremely smooth and laid back.

Singles

“Take It Easy” sounds like it could have been a B.B. King tune as it’s doused with relaxed guitar fingering. The entire album is saturated with a simple, British blues sound but the pace and the marbled strands of bubbly instrumental perkiness fill it with life. Even the Yardbirds-flavored “Leaving Again” is appealing with its naïve hooks, capped off with a heart-stopping guitar solo. This album along with Street Corner Talking best exemplify Savoy Brown’s tranquilizing style. (by Mike DeGagne)

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Personnel:
Lonesome Dave (vocals, guitar)
Roger Earl (drums)
Kim Simmond (guitar, piano)
Tony Steven (bass)
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Owen Finnegan (percussion)

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Tracklist:
01. Gypsy (Simmonds) 1.02
02. Poor Girl (Stevens) 4.09
03. Money Can’t Save Your Soul (Peverett/Simmonds) 5.32
04. Sunday Night (Simmonds) 5.25
05. Looking In (Peverett/Simmonds) 5.19
06. Take It Easy (Peverett/Simmonds) 5.44
07. Sitting An’ Thinking (Simmonds) 2.54
08. Leavin’ Again (Peverett/Simmonds) 8.30
09. Romanoff (Simmonds) 1.02

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More Savoy Brown:

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