Chicken Shack – Unlucky Boy (1973)

LPFrontCover1Unlucky Boy is the sixth studio album by the blues band, Chicken Shack, released in 1973

Originally released in 1973, but reissued with two extra  in 1994, Chicken Shack’s Unlucky Boy finds guitarist/vocalist/songwriter and band founder Stan Webb in fine form. Only drummer Paul Hancox remains from the uneven Imagination Lady, and indeed the horn-oriented approach here is much different than the plodding Led Zeppelin-isms of the previous disc. Webb contributes six originals, and even though they are derivative of Savoy Brown (a band he joined for the Boogie Brothers album just a year later), his approach here is much more subtle and controlled than on his last effort.

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Very rare factory sample discs

Chris Mercer’s saxes, often double tracked to sound like a horn section, bring a tough R&B to the mix, and drummer Hancox is a controlled powerhouse. Webb also reigns in his impulse to overextend guitar solos so prevalent on Imagination Lady, whipping off tight, controlled leads instead.

Articel1973_02Producer Neil Slaven contributes honest, witty, and often self-deprecating liner notes that help explain why two of these songs suffer from poor mixes (basically, he had consumed various substances and couldn’t salvage the songs after the fact). Strings on “As Time Goes Passing By,” (also included in a shorter single version) are a nice touch and bring a bit of class to the proceedings while maintaining the R&B slant of the disc. Two unedited studio jams make the cut as “Stan the Man” and the seven-minute “Jammin’ with the Ash,” both featuring pianist Tony Ashton, who really lets loose on the latter.

Things get stripped down for an unusually delicate version of Lonnie Johnson’s “Too Late to Cry” with just strummed guitar and bass. The opening trio of Webb-penned tunes shows some of his best songwriting with the instrumental “Prudence’s Party” a terrific capsule of Webb’s stinging, gritty guitar style. The album sounds dated but harkens back to a particular time in British blues that is charming in its anything goes attitude. That helps make this one of Stan Webb’s more consistent and successful offerings. (by Hal Horowitz)

This is the Masterpiece of Rock and on e of the best Blues-Rock
Album of All Time. Stan Webb, British Halfgod on Guitar in exciting form. (by Dani Rocksaurier)

This album is quite good, nothing more nothing less:

Ah, the wonderful Chicken Shack re-mastered, good news for blues freaks (such as myself)  … Here´s Chicken Shack with their charismatic frontman and lead guitarist Stan Webb. Webb was famous for his live performance, running down the aisles (before the wireless) with a mega long guitar wire, going banana while playing electrifying guitar soli!

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This of course do not apply to the studio albums, which actually didn’t get nowhere near their live performances! This album is quite good, nothing more nothing less, good clean blues tracks! Get their first album or a live session, If you want the Shack on fire!!  (by Tonny Larsen)

Single

Personnel:
Bob Daisley (bass)
Paul Hancox (drums, percussion)
Stan Webb (guitar, vocals)
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Tony Ashton (piano)
Chris Mercer (saxophone)

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Tracklist:
01. You Know You Could Be Right (Webb) 3.47
02. Revelation”(Webb) 5.13
03. Prudence’s Party (Webb) 3.13
04. Too Late To Cry (Johnson) 3.09
05. Stan The Man (Webb) 4.25
06. Unlucky Boy (Thornton/Dupree) 2.34
07. As Time Goes Passing By (Webb) 4.46
08. Jammin’ With Ash” (Webb) 7.04
09. He Knows The Rules (McCracklin) 4.05
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10. As Times Goes Passing By (single version) (Webb) 3.32
11. Doctor Brown (Brown) 3.05

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Bob Daisley & Stan Webb

Handwritten track list

A handwritten track list
and letter from Decca stating this was the first test pressing.

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Mick Abrahams – All Said And Done (1991)

FrontCover1Mick Abrahams’ return album, “All Said and Done”, is as fine as anything he has ever done. This is an excellent blues album, with fourteen tracks comprised of seven tunes written by Mick (two of which were collaborations with Gordon ‘Mississippi’ Murphy), two new arrangements of traditional pieces, and five covers of older blues pieces.

The pieces written by Mick are quite good, starting with “Road Roller” which opens the album. Then there is the absolutely fantastic “All Tore Down” which is probably my favorite tune that Mick has ever done. Another noteworthy piece is “Dear Jane” which is very similar to “Dear Jill” from his days in Blodwyn Pig. Another great piece is the title song of the album “All Said and Done”, which is one of the two pieces which Gordon Murphy co-wrote.

While Mick’s pieces are very strong, one cannot ignore the cover tunes like “Black Night” by Jessie Mae Robinson, “Let Me Love You Baby” by Willie Dixon, and “I Wonder Who” by Alexis Korner. There are also two new arrangements of classic blues pieces. The first is “Billy The Kid” (originally by Reverend Andrew Jenkins), and the second is an amazing 11+ minute version of “Cat’s Squirrel” (originally by Charles Isaiah Ross) which has become Mick’s signature piece. (Dave_42)

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Personnel:
Mick Abrahams (guitar, vocals)
Bruce Boardman (piano)
Clive Bunker (drums, percussion)
Pete Fensome (bass)
Dick Heckstall-Smith (saxophone)
Dave Lennox (piano)
Gordon Murphy (saxophone)
Nigel Pegrum (drums, percussion)
Andy Pyle (bass)
Jim Rodford (bass)

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Tracklist:
01. Road Roller (Abrahams) 3.07
02. Watch Your Step (Parker) 3.51
03. Billy The Kid (Traditional) 3.33
04. Let Me Love You Baby (Dickson) 3.12
05. Black Night (Robinson) 6.24
06. All Tore Down (Abrahams) 5.22
07. Redways Of Milton Keynes (Abrahams) 3.59
08. Long Gone (Murphy/Abrahams) 3.14
09. Rock Me Right (Abrahams) 3.25
10. So Much Trouble (McGhee) 3.25
11. Dear Jane (Abrahams) 4.00
12. I Wonder Who (Korner) 6.46
13. All Said And Done (Murphy/Abrahams) 3.16
14. Cats Squirrel (Traditional) 11.25

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Canned Heat – 70 Concert Recorded Live In Europe (1970)

LPFrontCover1Canned Heat ’70 Concert Recorded Live in Europe is a 1970 live album by Canned Heat. The album is taken from various locations on live concert European tour right before Alan Wilson’s death and is the band’s first officially released live album. (by wikipedia)

This platter captures the 1970 incarnation of Canned Heat with Bob “The Bear” Hite (vocals), Alan “Blind Owl” Wilson (guitar/vocals/harmonica), Larry “The Mole” Taylor (bass), Aldolfo “Fito” de la Parra (drums), and newest addition Harvey Mandel (guitar), who had replaced Henry “Sunflower” Vestine (guitar) in 1969. They headed across the Atlantic in the spring of 1970 on the heels of “Let’s Work Together” — a Wilbert Harrison cover that charted within the Top Five in Europe. That outing yielded the combo’s first concert disc, Live in Europe (1971) — which had been issued almost a year earlier in the U.K. as Canned Heat Concert (Recorded Live in Europe) (1970). These are also among the final recordings to feature Wilson, whose increasing substance abuse and depression would result in an overdose prior to having re-joined the band for another stint in Europe in the fall of the same year.

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Indeed the brooding “Pulling Hair Blues” from this effort is marked not only by some decidedly dark and strung-out contributions, but more subtly, Hite’s tentative introduction of Wilson — indicating he had not been playing for the duration of the set. The Heat’s performance style has shifted from the aggressive rhythm and blues of their earliest sides to a looser and more improvisational technique. The opener, Arthur “Big Boy” Crudup’s “That’s All Right Mama,” is given a greasy mid-tempo groove over Hite’s vocals . Mandel shines as his guitar leads dart in and out of the languid boogie. Although presented as a medley, “Back on the Road” is more or less an inclusive number with only brief lyrical references to “On the Road Again.” Mandel’s sinuous fretwork melds flawlessly with Wilson’s harmonica blows. The powerful rendering of the aforementioned “Let’s Work Together” is a highlight, with Canned Heat in top form as Wilson’s electric slide riffs recall their seminal sound. (by Lindsay Planer)

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Personnel:
Bob Hite (vocals)
Harvey Mandel (guitar)
Fito de la Parra (drums)
Larry Taylor (bass)
Alan Wilson (slide guitar, vocals, harmonica)

LPBooklet

Tracklist:
01. That’s All Right Mama (Crudup) 9.03
02. Bring It On Home (Dixon) 6.18
03. Pulling Hair Blues (Wilson/Taylor) 9.21
04. Medley:
04.1.Back Out On The Road (Hite)
04.2.On The Road Again (Jones/Wilson/Johnson) 6.01
05. London Blues (Wilson) 7.54
06. Let’s Work Together (Harrison) 4.51
07. Goodbye For Now”(de la Parra/Mandel) 3.26

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Rory Gallagher – My Father´s Place (1979)

FrontCover1A class act is exactly what [My Father’s Place] got whenever Rory Gallagher came to town. Rory played at My Father’s Place on several occasions. This bootleg is from his performance there on September 7, 1979 during the American leg of his top priority tour. After doing a successful three-night stand at the Bottom Line that Robert Palmer calls, “creative and inspired,” Rory heads out to the quaint village of Roslyn, named after a Castle in Scotland, and part of what’s called the North Shore Gold Coast of Long Island… It’ll be a show you won’t want to miss.

With Gallagher’s death in 1995 at the age of 47, the world lost an ace guitarist and, for generations after, younger fans will think of Eric Clapton, Jeff Beck and Jimmy Page and RoryGallagherignore Gallagher when it comes to blues guitarist. This is what Gallagher said in a 1991 interview:

I have respect for Eric Clapton from the early days, but I’m surprised they always link his name with me. Maybe earlier on there might have been more of a comparison, but not at the moment. Clapton seems to be the icon of all guitarists including Jeff Beck and Jimmy Page. I suppose he’s the successful face of what the blues is and I’m probably the guy on the sidelines. He’s working in a different area from me now. And even in the blues field, I cover different blues tangents than Eric does. I work in country blues and even though I do some numbers that are in the B.B. King and Albert King area, I work in a lot of other influences in as well. My blues roots are all over the place, where Eric’s tend to be a little narrower. (shadowplays.com)

Listen to this great bootleg … That´s what I call high energy blues-rock !

What a concert !

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Personnel:
Rory Gallagher (guitar, vocals)
Gerry McAvoy (bass)
Ted McKenna (drums)

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Tracklist:

CD 1:
01. Shinkicker (Gallagher) 3.38
02. Last Of The Independents (Gallagher) 5.41
03. Keychain (Gallagher) 5.53
04. Moonchild (Gallagher) 5.10
05. The Mississippi Sheiks (Gallagher) 5.45
06. I Wonder Who (Morganfield) 7.48
07. Tattoo’d Lady (Gallagher) 5.10
08. Pistol Slapper Blues (Allen) 3.03
08. Too Much Alcohol (Hutto) 3.48

CD 2:
09. Shadow Play (Gallagher) 5.43
10. Bought And Sold (Gallagher) 4.59
11. Walk On Hot Coals (Gallagher) 5.26
12. Messin’ With The Kid (London/Wells) 5.23
13. Bullfrog Blues (Traditional)) 2.51
14. Sea Cruise (Gallagher) 2.59

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Jay Jesse Johnson – Set The Blues On Fire (2015)

FrontCover1Set The Blues On Fire is the fifth solo album by Ohio native Jay Jesse Johnson. With a equal parts Robin Trower like explosiveness, some Foghat hard boogie blues and influences from the British Blues Explosion that clearly influenced artists like Bonamassa, JJJ set serves up 12 tracks that deliver on the title tracks promise. From some smokin’ slow blues and fast paced rocking boogie they set the blues on fire from both ends.

Bassist Reed Bogart and drummer Jeff “Smokey” Donaldson combine to deliver a tight rhythm section accompanying JJJ’s guitar throughout this fast-paced, energetic thrill ride that the majority of this album is going to take you on. The frighteningly fast boogie of “Hell or High Water” declares that this band is here to rock you right from the start. The next track “Ghosts of Texas” is where the work of keyboardist Lee Evans work is most prominent with some great organ playing. There is a definite SRV Reese Wynans feel to this one. “Since My Baby’s Gone” is a captivating slow blues with a beautiful guitar tone reminiscent with just that little delay and hint of echo of Gary Moore. The boogie train takes off again with “Wheelhouse Boogie” where the slower pace really lets JJJ take the time to make that guitar groan and growl during the choruses.

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Another slower but positively rocking blues is delivered with “Midnight Dream” where the band lays down a rhythm and just lets JJJ go to town for an first-rate solo in the middle. A powerful rhythm section that sets a slightly funky yet ominously dark tone to the warning of “Don’t Mess With Baby.” “If I Knew Then” is a slow burning blues that should not be missed. From there the thrill ride drops off the edge of the precipice with the fast paced “Ace In The Hole.” “Grinding Blues” is exactly what is describes. However, the highlight of this album is the instrumental closing track “Rio de los Suenos (River of Dreams)” which has all the beautiful feel, mood, and superior tone of something you would expect to hear from Eric Johnson. This is truly an amazing song where JJJ shows the depth of his guitar mastery.

With excellent songwriting of Set The Blues On Fire and the killer tone that he can wring out of his Strat, Jay Jesse Johnson delivers a clear message to everyone that he is here to ignite the flame of the candle placing him on the blues-rock altar. (Kevin O’Rourke)

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Personnel:
Reed Bogart (bass)
Donaldson (drums)
Lee Evans (keyboards)
Jay Jesse Johnson  (guitar, vocals)

Booklet

Tracklist:
01. Hell Or High Water 3.54
02. Ghosts In Texas 4.21
03. Since My Baby’s Gone 4.57
04. Wheelhouse Boogie 5.03
05. Set The Blues On Fire 4.01
06. Midnight Dream 5.49
07. Voodoo Woman 4.07
08. Don’t Mess With Baby 4.30
09. If I Knew Then 5.25
10. Ace In The Hole 4.30
11. Grinding Blues 4.51
12. Rio De Los Sueños (River Of Dreams) 5.25

All songs written by Jay Jesse Johnson

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Louisiana Red & The City Blues Connection – World On Fire (1985)

FrontCover1Taken from the original liner notes:

“The themes of the album “World On Fire” came out of Louisiana Red’s own life. The title song is almost gospel-like although rocking along aggressively, and give warning against the nuclear fire, sung by Red with wild emotion. “When I Was A Boy” is a country honk song about the times on the cotton fields.

“Mississippi Girl” and “Voodoo Woman” are love songs, but with the typical Red excitement. “For My Friend” is dedicated to Bo Diddley, played in the hand jive style, while “Soul Food” shows Red’s old love for soul music. And besides all the “babies of the Blues” (Red) as Rhythm & Blues, Rock and Soul the authentic stuff itself – listen to “Suffering”. The last song of the album is an adaption of an old gospel, “On My Way To The Kingdom Land”. Most of the songs were recorded some kind of live, Red often refused to play a title twice or do overdubs. The spontaneous expression was more important to him. A difficult way to work, but the “City Blues Connection” was the right partner. After the sessions in Volkspark Studio, Hamburg, Red commented: “They are better than any band I had before, even in Chicago”.

“The themes of the album “World On Fire” came out of Louisiana Red’s own life. The title song is almost gospel-like although rocking along aggressively, and give warning against the nuclear fire, sung by Red with wild emotion. “When I Was A Boy” is a country honk song about the times on the cotton fields. (by itrockandroll.com)

In other words:This is a killer album … If you like blues, blues-rock … than you have to listen ! Unbelieveable !

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Personnel:
Rev. Josh Blackwell (keyboards)
Norbert Egger (guitar)
Heiko Petcke (harmonica)
Louisiana Red (vocals, guitar)
Mick Schreiber (drums, percussion)
Uwe Seemann (bass)
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Ben Ahrens (drums on 10.)
Ulrich Maske (guitar on 01. 09 – 10.)
Audrey Motaung (background vocals)
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The Nite Riders (horns)

BackCover
Tracklist:
01. World On Fire 3.23
02. Mississippi Girl 2.56
03. Mini Skirt 1.58
04. When I Was A Boy 2.21
05. Voodoo Woman 3.54
06. Suffering 5.16
07. Pittsburgh 2.45
08. Special Medicine 3.57
09. For My Friend 4.43
10. Soul Food 4.27
11. On My Way To The Kingdom Land 4.24

All songs were written by Louisiana Red, except 11. (Traditional)

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The City Blues Connection

Pete Haycock Band – Livin´ It (1992)

FrontCover1It´s time to celebrate the one and only Pete Haycock !!!

Peter John Haycock (4 March 1951 – 30 October 2013) was an English musician and film score composer. He began his career as lead guitarist, vocalist, and founding member of the Climax Blues Band.

Haycock was born in Stafford, and here he attended St. John’s Primary School and King Edward VI Boys Grammar School. As a child, he was impressed by the guitar solos of Hank Marvin of The Shadows. He played his first electric guitar at a miners club when he was 12. He then played guitar at school and college dances. Along with local boys, he formed a blues band, the Mason–Dixon Line.[3] In 1967, Haycock met Colin Cooper and joined his soul band The Gospel Truth.[2] In 1968, they founded a new band, the Climax Chicago Blues Band, and then they eventually changed its name to the Climax Blues Band, in 1970. The band’s original line-up consisted of Haycock (lead guitar, vocals), Cooper (harmonica, vocals), Derek Holt (guitar, vocals), Richard Jones (bass), Arthur Wood (keyboards), George Newsome (drums).

During the early 1970s, the Climax Blues Band went through a few personnel changes, before arriving at their most stable, creative, and successful line-up, which consisted of Haycock, Cooper, Holt (switched to bass guitar), and John Cuffley (drums). In 1976, the line-up with keyboardist Richard Jones wrote the band’s biggest hit “Couldn’t Get It Haycock02Right”. The song included the vocal harmonies of Haycock and Holt, behind Cooper’s lead. Haycock, an underrated vocalist, sang lead on several of the band’s tracks, particularly on the Sense of Direction (1974), Stamp Album (1975), Gold Plated (1976), Shine On (1978), and Flying The Flag (1980). albums. The band with the core line-up of Haycock, Cooper, Holt, and John Cuffley toured heavily in the 1970s and 1980s. During much of this period, Haycock played concerts with his rare trademark instrument, a gold-plated Veleno guitar, which was also on the cover of the album Gold Plated.

Holt and Cuffley left in 1983. Haycock and Cooper went their separate ways after their final Climax Blues Band album together, 1983’s Sample and Hold.

In May 2012, the Major League Productions Ltd record label released an until-then unknown vault recording of a 1976 live performance, featuring the Climax Blues Band at the top of their game: Climax Blues Band / World Tour 1976. Haycock provided some insightful liner notes for the CD’s insert, and the recording further demonstrates the tight musicianship that was found in the band’s line-up at that time.

In March 2015, a 4-CD retrospective was released entitled Live, Rare, and Raw 1973-1979, featuring the band at the height of their powers, in a variety of Live settings. This release would parallel the ferocity and acclaim of Climax Blues Band’s 1973 album, FM/Live. The band produced more than 15 successful albums in their heyday.

Though another group of musicians, which at one time was led by late former bandmate Colin Cooper, is currently calling themselves “Climax Blues Band”, their lineup does not consist of any founding members, and has not found the commercial success or following that the original, “true” Climax Blues Band enjoyed during Haycock’s years with the band. Cooper died in 2008.

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In 1984, the bandmembers went their separate ways, and Haycock went on to record several solo projects, the first of which was the album Total Climax (1986) recorded with his new band, Pete Haycock’s Climax. Pete Haycock’s Climax toured extensively in Europe, including Communist East Germany, as well as a well-received tour in Australia, also releasing The Soft Spot (1987). During this period, Haycock was asked by former Climax Blues Band manager, Miles Copeland, to record an instrumental album for I.R.S. No Speak, Guitar and Son, and Night of the Guitars, a live album from the tour of the same name.[9] After that tour, in 1989, Haycock teamed up with Holt and guitarist Steve Hunter to record an album under the name H Factor. The Pete Haycock Band consisted of the musicians from the Total Climax lineup, and went on to record a live album entitled Livin’ It in 1992. Copeland also signed Gary Numan to I.R.S. with whom Haycock collaborated with in the 1988 album Metal Rhythm.

Haycock was approached by Bev Bevan, formerly of Electric Light Orchestra, to join the newly formed Electric Light Orchestra Part II. The group toured and recorded with Haycock in the early 1990s, releasing both a live CD and video of their performance with the Moscow Symphony Orchestra. They recorded and toured together until 1993.

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In the early 1990s, Haycock was asked by Hans Zimmer to collaborate on film scores for K2 (1991), and Toys (1992). Other film scores they worked on were for Drop Zone (1994), and The Dilemma (2011), among others. Haycock’s slide guitar contributed to Thunderbird, the theme music for the 1991 film, Thelma & Louise.[2] Haycock was asked by Zimmer to re-create his performance, with a live symphony orchestra for the recording of Wings of a Film, which was a compilation album of Zimmer’s successful film scores.[citation needed]

Haycock began composing music of his own for film and television. Along with Holt, he composed music for the 1992 film One False Move. More scores would follow, and Haycock helped produce recordings for other artists.

Haycock05.jpgIn 2005, Haycock supplied all the music for the Hollister Independence Motorcycle Rally DVD charity project, for producer Jeff Byler, with proceeds benefiting Emmaus House, a shelter for battered women and children. When the DVD’s producer suggested a follow-up soundtrack to the project, Haycock went back into the studio to complete the album that became Bikers’ Dozen, which featured a vocal performance by John Fiddler (Medicine Head).

Haycock signed on as a major contributor to the LovePower and Peace[ charity CD project in 2009, which was spearheaded by fellow musician Robin George, and was built around George’s hit song, “LovePower and Peace”. Haycock contributed many trademark slide guitar tracks and donated studio time to the project, a charity effort to benefit children with cancer and other terminal diseases.

This collaboration, which included the donated talents of scores of veteran musicians,[14] also resulted in the forming a “super group” called The LovePower Band, which landed a major record deal and completed its first album, which was released in 2011.

After an absence from the stage and live performances, Haycock formed a new band, Pete Haycock’s True Blues (featuring Glen Turner). In 2008, they toured Europe and released their first recording together: Pete Haycock’s True Blues Live (featuring Glen Turner).[16][17] In April 2009, Haycock, in an interview talked about the early days with the Climax Blues Band, the transition to studio work (with and without Hans Zimmer), and his return to the stage with his new band, after an absence from live performances of fourteen years.

Haycock continued to record, and perform live, and had been a featured guest performer with the Siggi Schwarz’ band, and was on the same bill with ZZ Top and Johnny Winter in 2012.

Haycock012013 found Haycock coming full-circle with the formation of a super-group recording and scheduled for touring as Pete Haycock’s Climax Blues Band featuring Robin George, with Haycock being joined by a lineup of musicians including George, with whom he had collaborated on the LovePower Band, and other projects. Haycock envisioned this project as a return to the “true” Climax Blues Band, and he had just completed the new album, Broke Heart Blues, before his death.

Haycock built a recording studio in Frankfurt, Germany where he lived for several years until his death. He died of a heart attack on 30 October 2013 in Frankfurt. The news was posted on the group’s official website. He was 62. (by wikipedia)

And this is one of his rarest album, only released in Germany. It was recorded live at a samll club called “Die Neue Kulisse”, Pirmasens / Germany in June 1992 and when I wrote it´s time to celebrate the one and only Pete Haycock … you will undertand me … after listening thiis album.

Pete Haycock … one of the most underrated musician in the history of Rock & Blues !

Listen and enjoy !

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Personnel:
Livingstone Brown (bass, keyboards, vocals on 5)
Pete Haycock (guitar, vocals)
Clive Mayuyu (drums)
Mike Stevens (saxophone, flute, keyboards)

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Tracklist:
01. Liberty (Haycock) 3.29
02. So Many Roads (Marshall) 11.11
03. Communication (Haycock) 6.47
04. Medley: 6.48
04.1. Come On In My Kitchen (Johnson)
04.2. Country Hat (Haycock)
05. The Thrill Is Gone /Hawkins/Darnell) 13.09
06. Lucienne (Haycock) 10.41
07. Dr. Brown, I Presume (Haycock) 6.00
08. Blackjack And Me (Haycock) 5.32

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