Savoy Brown – Skin N Bone (1976)

FrontCover1With this 1976 release, the follow-up to 1975’s WIRE FIRE, the songwriting team of Kim Simmonds & Paul Raymond (later of UFO) came up with 5 great songs plus a cover of Hank Ballard’s “She’s The One”. The songs hint at a more rocking direction that the band (minus Raymond) would later take to the max on their
next release, 1978’s SAVAGE RETURN. Simmonds,Raymond & drummer
Tom Farnell are joined by newcomer Ian Ellis (replacing WIRE FIRE bassist Andy Rae). Ellis would later take over lead vocals (from the departing Raymond) on the rockin’ SAVAGE RETURN.
All in all, this ranks as one of Savoy Brown’s most accessible albums. Highlights include Erding77Athe almost UFO-like “Get On Up & Do It” & the only non-studio cut “Walkin’ & Talkin'”. This track was recorded live at the Agora Ballroom in Cleveland. Almost 13 minutes long,it features dual vocals from Simmonds & Raymond.
Besides Simmonds’ stunning guitar playing,it also features him on an impressive,extended harmonica solo. (by an amazon customer)

The title track is seven and a half minutes of impassioned mid-tempo rock, with Simmonds and keyboard master Paul Raymond turning in some wonderful soloing, while rhythm section Ian Ellis on bass and Tommy Farnell on drums keep the time impressively. Finally, Savoy Brown has always been a most formidable live act, and “Walkin’ and Talkin'” is more than thirteen minutes of delightful blues strut before a very appreciative audience. Kim and Paul share vocals on this number, proof that in lean times, the band continued to make excellent music live. (by another amazon customer)

Indeed, the titel track is full of magic and “Walkin’ And Talkin'” is one of the best live songs Savoy Brown ever recorded. That´s what I call BLUES POWER !


Ian Ellis (bass, background vocals)
Tom Farnell (drums)
Raul Raymond (keyboards, guitar, vocals)
Kim Simmonds (guitar, vocals, harmonica)


01. Get On Up And Do It (Raymond/Simmonds) 3.13
02. Part Time Lady (Raymond/Simmonds)     5:00
03. This Day Is Gonna Be Our Last (Raymond/Simmonds)     5:21
04. She’s The One (Ballard) 3.36
05. Skin ‘N’ Bone (Raymond/Simmonds) 7.42
06. Walkin’ And Talkin’ (Raymond/Simmonds) 12.14



Downchild Blues Band with Spencer Davis – Blood Run Hot (1982)

FrontCover1dopting their name from the Sonny Boy Williamson song “Mr Downchild,” Downchild Blues Band’s roots run deep, first planted in the Toronto jungle in 1963. Singer Mike Smith, guitarists Don Walsh, Tom Extence, and Gary Stodolak, John Lamb on bass and drummer John Tanti got together playing mostly for fun while attending Northern Secondary School at Mount Pleasant and Eginton in Toronto.

By ’68, a new version that had Walsh and his brother Rick, bassist Jim Milne, Tanti, and Dave Woodward became the house band at Grossman’s Tavern. But after a couple of years, they outgrew the nest and flew the coop.They doubled the horns attack by adding Ron Jacobs, and their gigs across Canada and into the Chicago and Detroit areas became more frequent.

They released their independent debut, BOOTLEG, in 1971, starting a career of albums that traditionally featured a few originals mixed in with covers, such as their copies of Taj Mahal’s “Change My Way of Livin'” and Jimmie Rogers’ “That’s All Right.”

DownchildBluesBand01After signing with GRT Records, their first single was “Flip Flop Fly” from their sophomore album in ’73, STRAIGHT UP. The song spent time in the top 40 pop list, and made them the first homegrown blues act with a gold single, (50,000 copies). As they continued a relentless tour schedule on both sides of the border for the next few years, and the Walsh Brothers’ “I’ve Got Everything I Need (Almost)” was released as the second single,” also spending time in the top 40. Also included was “Shotgun Blues,” another tune pegged by the Walsh Brothers, which would be covered later by The Blues Brothers during their movie and subsequent soundtrack.

They added Jane Vasey and Tony Flaim replaced Rick Walsh for the next album, 1974’s DANCING. Vasey was a classically trained pianist converted into a boogie woogie rockin’ machine. Walsh’s instantly recognizeable raspy textured vocals soon became trademark, such as in the Elmore James cover, “Madison Blues” and Otis Spann’s “Must Have Been The Devil.”

With new drummer Bill Bryans, next up was READY TO GO a year later, which featured the top 40 single, “Old Ma Bell.” Other tracks like the covers of Andy Kim’s “Rock Me Baby” and BB King’s “Caledonia” showcased the band’s versatility as they became mainstays across Canada, and regulars throughout the New Orleans, Kansas City, and St. Louis scenes.

DownchildBluesBand02But the rigours of touring and recording got the best of the band, and taking a break turned into a full-fledged breakup by 1977. While SO FAR; A COLLECTION OF OUR BEST, the first of what would become several compilation albums, was released, Walsh was out doing his own thing, and as a favour to friend Dan Ackroyd, helped The Blues Brothers by writing a pair of tracks for the BRIEFCASE FULL OF BLUES album in ’78. The other members were also out doing other projects, and Woodward moved to the west coast and joined Powder Blues.

That same year, Walsh reunited with Vasey and Flaim, along with Gary Kendall on bass, drummer Frank Russell, and Tony Rondolone on sax. After signing a deal with Attic Records, they released a pair of albums in 1980 – WE DELIVER and ROAD FEVER. Both produced hits, with Vasey’s “Tryin’ To Keep Her 88s Straight” and “I’ve Been A Fool.”

SingleThey streamlined their name to just ‘Downchild,’ and hooked up with legendary artist Spencer Davis for 1981’s BLOOD RUN HOT. their first album after shortening their name to just ‘Downchild.’ Along with the title track and “Hey Hey Little Girl” released as singles, the band had also picked up the touring schedule to include most major blues festivals throughout Canada and the US, as well as studio accolodates from the critics for their choice in covers, like Eddie Cochran’s “Summertime Blues,” “Natural Ball” by Albert King, and Sonny Boy Williamson’s “Nine Below Zero.”

And this is their album with Spencer Davis as the producer. Not the best album by the Downchild Blues Band, but a pretty fine album including powerful blues-rock. Listen to the titeltrack and you´ll know what I mean.

Larry Bodner (saxophone)
Tony Flaim (vocals)
Bob Heslin (trumpet)
Craig Kaleal (drums)
Gary Kendall (bass)
Jane Vasey (piano, background vocals)
Don Walsh (guitar, harmonica, vocals)
Spencer Davis (percussion on 01., background vocals on 06.+ 08., vocals on 08.)
Rabbit (keyboards on 06.

01. Hey Hey Little Girl (McGuiness/Stonebridge) 2.07
02. Rocket 88 (Brenston) 2.56
03. Could Have Had All Your Lovin’ (Walsh) 4.23
04. Natural Ball (King) 3.13
05. Drivin’ Blues (Walsh) 2.45
06. Blood Run Hot (Samsel) 3.55
07. Nine Below Zero (Williamson) 4.20
08. Shot Full Of Love (McDill) 3.08
09. Let’s Get High (Gordon) 3.15
10. They Were Rockin’ (Walsh) 2.18



Snowy White’s Blues Agency – Blues On Me (1989)

FrontCover1Terence Charles “Snowy” White (born 3 March 1948, Barnstaple, Devon) is an English guitarist, known for having played with Thin Lizzy (permanent member from 1980 to 1982) and with Pink Floyd (as a backing guitarist; he was first invited to tour with the band through Europe and the United States in 1977, and during The Wall shows in 1980) and, more recently, for Roger Waters’ band. He is also known for his 1983 solo effort “Bird of Paradise”, which became a UK Singles Chart Top 10 hit single.

White grew up on the Isle of Wight, self-taught as a guitarist, having received his first guitar from his parents at the age of ten. He moved to Stockholm in 1965 at the age of seventeen, spending more than a year there playing in a trio called The Train. In 1968 he purchased his signature guitar, the Gibson Les Paul Goldtop. By 1970 he made his way to London and found work as a session player and as a member of Heavy Heart. During this time he met Peter Green and the two began a lifelong friendship (White later appeared on Green’s album In the Skies).

White had been recommended to Pink Floyd by Kate Bush’s former manager Hilary Walker, as they were looking for an additional guitarist for the live band on the Animals tour in 1977. White’s solo on “Pigs on the Wing” (it appears on the 8-track version), was his first time playing for the band. During the tour, White started off the show himself by playing bass guitar on the song “Sheep”, as well as soloing during “Have a Cigar” and “Shine on You Crazy Diamond Part VIII”.

SnowyWhite01In 1979 Thin Lizzy guitarist Scott Gorham, having seen White play with Pink Floyd in New York City during the Animals tour, approached him about joining Thin Lizzy.

The collaboration with these two bands was very complicated; the invitation to rehearse the live show of The Wall for Pink Floyd, happened at the same time he was invited to become a full-time member of Thin Lizzy, with whom he recorded/co-wrote their Chinatown and Renegade albums. White left Thin Lizzy in August 1982.

White’s connection to Pink Floyd continued in later decades. White was invited by the former Pink Floyd bassist Roger Waters to perform in another take of The Wall, in 1990, by the ruins of the Berlin Wall, along with other guest artists. Waters also called on White in 1991 for the ‘Guitar Legends’ concert, in Seville. David Gilmour was the guest on White’s 1994 album Highway to the Sun, appearing on the track “Love, Pain and Sorrow”, with Gilmour playing his Digitech Whammy pedal-induced Fender Stratocaster, which was recorded at Gilmour’s houseboat studio, The Astoria.

Apart from guest appearances by Chris Rea, David Gilmour and Gary Moore, the album also introduced two new Dutch-Indonesian musicians, Juan van Emmerloot (drums) and Walter Latupeirissa (bass and rhythm guitar). Kuma Harada also played bass and rhythm guitar.

SnowyWhite02White’s next album project was entitled Goldtop, named after his Gibson Les Paul Goldtop Standard guitar. It featured material in which White has been involved from as far back as 1974 right up to 1996, including two tracks from Thin Lizzy, jams from the Peter Green In the Skies session, and the extended, 8-track tape version of the Pink Floyd song “Pigs on the Wing”, featuring White’s guitar bridge between the two parts.

White has recorded five albums with his White Flames band. The first three were No Faith Required in 1996, Little Wing in 1998 and Keep Out: We Are Toxic in 1999.

In 1999 White joined Waters for his band’s In the Flesh US tour, which was successful, and in 2000, Waters again toured the US, this time recording a live album and making a film of the show. Again, from February to July 2002 White toured the world with Roger Waters.

WatersWhiteAnother White Flames album (as a three-piece), entitled Restless, was released in May 2002. Spring 2005 saw the release of a new White Flames album, entitled The Way It Is, with a basic four-piece outfit consisting of Richard Bailey (drums/percussion), Walter Latupeirissa (bass) and Max Middleton (keyboards). A DVD, The Way It Is…Live! was completed and issued.

White toured with Waters in The Dark Side of the Moon Live tour from June 2006, having played in Europe, North America, Australia, Asia and South America. He also performed with Waters at Live Earth.

White formed a new band in 2008 named The Snowy White Blues Project. In Our Time of Living was released in April 2009. The group featured Matt Taylor: guitar/vocals, Ruud Weber: bass/vocals, Juan van Emmerloot: drums, and Snowy White: guitar/vocals.

In 2010 White toured again with Roger Waters, in The Wall Live (by wikipedia)

And this is an album from his “Blues Agency” period: And it´s a real superb album feat the legendary Graham Bell on vocals … In Germany the album was called “Open For Business” and believe me: Snowy White is a criminally underrated guitar-player (listen to his solo on “Out Of My Dreams” … maybe he´s one of he best guitar player we had !

Listen and enjoy !

Jeff Allen (drums)
Graham Bell (vocals, harmonica, guitar)
Kuma Harada (bass, percussion)
Snowy White (guitar)

Open For BusinessFront+BackCoverTracklist:
01. I Can’t Help Myself (White) 4.19
02. Blues On Me (White) 4.50
03. Out Of Order (White) 3.19
04. When You Broke Your Promise (White) 3.55
05. I Want Your Love (Bell) 4.50
06. Out Of My Dreams (Bell) 4.15
07. Addicted Man (Bell) 4.13
08. Open For Business (White) 3.15
09. Walking The Streets (White) 3.44
10. Land Of Plenty (White) 5.30


WhiteGreenHaradaSnowyy White – Peter Green – Kuma Harada

Savoy Brown – Live And Kickin´ (1990)

FrontCover1Never listened to Savoy brown when I was a teenager into my early twenties, 1970 – 1979. Listened to many bands of the time, The Who, Jethro Tull, Jimi Hendrix, The Doors, Jefferson Airplane, James Gang, Hot Tuna, CSNY, Allman Bros., Eric Clapton, etc. (and saw most more then once), but never got into these guys. I do remember a friends’ older brother having “Looking In” (cover caught my eye) and wondered what it was about, but never played it. Well, recently I began (again) a collection of late 60’s & 70’s music. Once I hit about 6 to 7 hundred CD’s I decided to try some other music I never listened to back then. Needless to say, I own just about every Savoy Brown album at this point, and my collection has gone passed 1000 CD’s. Had not been to a concert in about fifteen years and decided to go this past December (2009). Guess who? SAVOY BROWN in a little joint in Troy, N.Y. called Revolution Hall that holds maybe 150 people. Let me put it this way, It had to be one of the best concerts I ever saw. Maybe I was a little too blown-out during those earlier years to enjoy a show (not that I did’nt), but this was unbelievable! A 45 minute warm-up band and then over 3 hours of music from SB. Never saw anything like it, in a bar no less. Many of the old songs (which are, as I said, new to me) were played. The main thing that really impressed me was the fact that this guy Kim Simmonds was REALLY enjoying himself. DaveWalker1989Even though it was this tiny venue the guy put his whole heart and soul into this show. Missed it back then, but so glad to see it now. Simply outstanding! Just got this 3 CD box set “Savoy Brown Collection” for a great price and I think that the “Live and Kickin'” CD is the best. They are all good, but that one seems to be the best. Maybe it’s because of my recent live experience, who knows? Just great music. (by Old Book Reader)

The “Gentleman” who introduces this band as the Kings Of British Boogie just might know his stuff. Clapton may be a god, Humble Pie may be smokin’, but Savoy Brown and the ageless and unstoppable Kim Simmonds not so quietly continue to push the British interpretation of American Blues into the bland and boring techno-future. I’ve heard a number of Savoy Browns over the years and to be honest, this line-up does some serious aural damage. (That’s a good thing) The lead track “Heartbreaks Make You Strong” nicely sets the pace for the rest of the show with it’s driving beat and lyrics about lost love and hope of redemption. Throughout this performance the band alternates between Blues rockers and even more Bluesy rockers.(Another good thing) I normally have no interest in medleys, BUT…this album offers up the exception. They call it “The Greatest Hits Medley” and it serves up “I’m Tired”, “Hard Way To Go”, “Louisiana Blues”, “Street Corner Talkin'” and a full blown “Hellbound Train” followed by a hot Blues jam. The whole wonderful ordeal blends seamlessly and lasts about 20 glorious minutes. Dave Walker belts out “I Can’t Get Next To You”, “All I Can Do Is Cry”, “Wang Dang Doodle” and every other song on this disc in a voice that should be familiar to fans of Savoy Browns’s early 70s work. The sound is excellent and you can actually hear the drums and cymbals clearly.(yet another good thing) I admit that I had my doubts about a latter day Savoy Brown when I bought this CD. Instead of disappointing me, this live recording prompted me to take in a 2011 show that left me sold on Kim Simmond’s ability to assemble a band that matches his own musical prowess. Give this one a few listens and you might not take it out of your CD player for a while. (by R. Krieger)

Recorded live at The Lone Star Roadhouse, New York, New York

Lou Kaplan (bass)
Pete Mendillo (drums)
Rick Jewett (keyboards, vocals)
Kim Simmonds (guitar, vocals)
Dave Walker (vocals)

01, Heartbreaks Make You Strong (Simmonds) 3.43
02. I Can’t Get Next To You (Whitfield/Strong) 6.53
03. 15 Miles To Go (Simmonds) 3.56
04. Raise Some Thunder (Simmonds) 2.33
05. Since You’ve Been Gone (Simmonds) 5.22
06. Medley (Greatest Hits) 20.45
06a. I’m Tired (Youlden)
06b. Hard Way To Go (Youlden)
06c. Louisiana Blues (Morganfield)
06d. Street Corner Talkin’ (Simmonds)
06e. Hellbound Train (Simmonds/Sylvester)
06f. Guitar Solo (Simmonds)
07. Bad Intentions (Simmonds)     4:49
08. Poor Girl (Stevens) 4.11
09. Wang Dang Doodle (Dixon) 5.02
10. All I Can Do Is Cry (Simmonds/Raymond) 10.26
11. Boogie (Hey Hey Mama) (Simmonds/Walker/Macomber/Dagnesi) 6.44



Maggie Bell & Midnight Flyer – Live Montreux July 1981 (2007)

For Midnight Flyer, 1980 dawned bright. They recorded their superb self-titled debut album and then embarked on a European tour, opening for Bob Seger. Even the departure of keyboardist John Cook after the band left the studio hadn’t slowed Midnight Flyer down. Chris Parren, the perfect replacement, was swiftly enlisted and took to the stage. As 1981 began, Flyer flew back to Europe to support AC/DC, and their album arrived in February while the band bounded back and forth across the Channel, now headlining their own shows. In the autumn, they reunited with the down under bad boys, opening for their U.S. tour. However, the highlight of the busy year came in mid-summer, as Flyer climbed onto the Montreux festival stage and ripped through one of the best shows of their all-too-brief career. Live Montreux July 1981 features the bulk of their show that day, as the band rips through its set, then is joined for two numbers by blues legend Taj Mahal and by the Telecaster master Albert Collins for a further pair.

Live01The album kicks off with a rampaging “Hey Boy,” one of five songs from their studio album the band performed, the highlight arguably being their glorious take on “Rough Trade.” Parren is on fire throughout the show, one-upping Ant Glynne at every conceivably turn, with the good-natured guitarist tossing flaming licks and riffs straight back at the keyboardist. The pair’s dueling was a show in itself, anchored by Dave Dowle and Tony Stevens’ solid rhythms, but Maggie Bell wasn’t giving up the spotlight without a fight, demanding and getting the audience’s nearly undivided attention with a performance determined to bring down the house — which it did. By the time the band swung into an electrifying take of “Penicillin Blues,” a song Bell had been covering since her Stone the Crows days, the crowd was on its feet and shouting along. Taj Mahal joins Bell for showstopping versions of “Bring It on Home to Me” and “Chain Gang,” with the album ending with a smoldering “Stormy Monday Blues,” the bandmembers almost awestruck by Collins’ stunning guitar skills, but quickly regaining their composure. It was a phenomenal show, the sound quality exceptional, and the band at its very, very best. Unforgettable. (by Jo-Ann Greene)

Maggie Bell (vocals)
Dave Dowle (drums)
Ant Glynne (guitar)
Chris Parren (keyboards)
Tony Stevens (bass)
Albert Collins (guitar, vocals on 12. + 13.)
Taj Mahal (guitar, vocals on 10. + 11.)

01. Hey Boy (Stevens) 3.37
02. Danger Money (Dowle) 5.37
03. Love Games (Dowle)  4.42
04. Sweet Lovin’ Woman (Dowle/Glynne) 5.55
05. Poor Little Jimmy (Dowle/Glynne) 3.40
06. Rough Trade (Bell/Cook) 4.10
07. French Kisses (Dowle) 4.28
08. Too Much Love (Dowle/Glynne) 6.05
09. Penicillin Blues (Terry/McGhee) 3.04
10. Bring It On Home To Me (Cooke) 5.00
11. Chain Gang (Cooke) 5.17
12. Blues Jam (Collins/Dowle/Glynne/Parren/Stevens) 11.36
13. Stormy Monday Blues (Walker) 6.10

CD1* (coming soon)

Danny Gatton – 88 Elmira St (1991)

FrontCover188 Elmira St. is a 1991 album by guitarist Danny Gatton. The album was Gatton’s fifth, but his first on a major record label—Elektra. The instrumental album covers a number of genres, including jazz, country, rockabilly, and blues.

When Gatton signed to Elektra, their only stipulation for his first album on the label was that it should be solely instrumental. On presenting his ideas for the album to the label, they suggested he cut his version of the Simpsons theme tune. The manualist flatulence at the end of the recording may have been Gatton’s response to the label’s suggestion.

BookletBackCover1The album’s title, 88 Elmira St., is a reference to Gatton’s home as a child. Gatton stated that at the time of producing the album, he “was playing Scotty Moore’s original guitar […] It’s a Gibson ES-295, and I bought it trashed out twelve years ago. It sounded incredibly good; it had some magic in it, but I didn’t know it was Scotty’s. Then Billy Hancock kept offering me all kinds of money for it, way more than it should have been worth, so I said, ‘What’s the deal?’ He said, ‘I think you’ve got Scotty Moore’s guitar there.'” Similarities to Moore, Al Casey and James Burton can be heard on the album.

The album was produced by Gatton, Billy Windsor and Ian Kimmet, mixed by George Cowan and mastered by Bob Ludwig at Masterdisk. The album was recorded at Bearsville Studios, New York and Big Mo Studio, Maryland. (by wikipedia)

DannyGatton01After years of knocking around the Washington, D.C.-area circuit, local guitar legend Danny Gatton finally got to cut his first album for a major label. It was indeed worth the wait, spot-welding blinding speed and immaculate chops that went in a million different directions (jazz, country, rockabilly, blues, you name it) to a musical sensibility that made this all-instrumental album a whole lot more than just yer average fretboard wanking jam-fest. Gatton’s Telecaster really shines on diverse material ranging from Martin Denny’s “Quiet Village” to the roadhouse shuffle “Funky Mama” to the off-the-wall rendition of the theme to The Simpsons. Kudos to Elektra for having the corporate balls to put this out; short, chunky, and middle-aged, Danny Gatton was a bona fide guitar hero for the ’90s, putting the lie to the hard canard that only speedburner metal mega-hair dudes can make the front covers of the guitar mags. (by Cub Koda)

Shannon Ford (drums, percussion)
Danny Gatton (guitar)
Bill Holloman (saxophone, trumpet, clarinet, trombone, keyboards, vibraphone)
John Previti (bass)
Tommy Lepson (organ on 04.)


01. Funky Mama (Patton) 5.41
02. Elmira St. Boogie (Gatton) 4.03
03. Blues Newburg (Gatton) 4.10
04. Quiet Village (Baxter) 4.49
05. Red Label (Battistone/Gatton 5.05
06. In My Room (Usher/Wilson) 4.53
07. The Simpsons (Elfman) 3.17
08. Muthaship (Gatton/B.Windsor/S.Windsor) 4.39
09. Pretty Blue (Gatton) 6.07
10. Fandangus (Gatton) 3.06
11. Slidin’ Home (Gatton) 4.54


DannyGatton02Danny Gatton (September 4, 1945 – October 4, 1994)

On October 4, 1994, Gatton locked himself in his garage in Newburg, Maryland and shot himself. He left behind no explanation.[3] Members of his family and close friends believe Danny had silently suffered from depression for many years

Jeff Beck – Truth (1968)

FrontCover1Truth is the debut album by Jeff Beck, released in 1968 in the United Kingdom on Columbia Records and in the United States on Epic Records. It introduced the talents of his backing band (later baptized as The Jeff Beck Group), Rod Stewart and Ronnie Wood, to a larger audience , and peaked at number 15 on the Billboard 200.

After leaving The Yardbirds in late 1966, Jeff Beck had released three commercial singles, two in 1967 featuring Beck on lead vocals, and one without vocals in 1968. All had been hits on the British singles chart, and all were characterized by songs aimed at the pop chart on the A-side at the behest of producer Mickie Most. Harder rock and blues-based numbers were featured on the B-sides, and for music on the album, Beck opted to pursue the latter course.

JeffBeck02Recording sessions for the album took place over four days, 14–15 May and 25–26 May 1968. Nine eclectic tracks were taken from these sessions, including covers of “Ol’ Man River” by Jerome Kern, the Tudor period melody “Greensleeves”, and Bonnie Dobson’s “Morning Dew”, a 1966 hit single for Tim Rose. Beck acknowledged two giants of Chicago blues in songs by Willie Dixon — Muddy Waters’ “You Shook Me” and Howlin’ Wolf’s “I Ain’t Superstitious”. The album started with a song from Beck’s old band, “Shapes of Things”. Three originals were credited to “Jeffrey Rod”, a pseudonym for Beck and Stewart, all reworkings of previous blues songs: “Let Me Love You” the song of the same title by Buddy Guy; “Rock My Plimsoul” from “Rock Me Baby” by B.B. King; and “Blues Deluxe” similar to another song by B.B. King, “Gambler’s Blues”. “Plimsoul” had already been recorded for the B-side to the 1967 single “Tallyman”, and the tenth track, an instrumental featuring Jimmy Page, John Paul Jones, Keith Moon, and future Beck group pianist Nicky Hopkins, “Beck’s Bolero”, had been edited and remixed for stereo from the earlier B-side to “Hi Ho Silver Lining”. Due to contractual conflicts, Moon had been credited on the original album as “You Know Who”.

JeffBeck03Truth is regarded as a seminal work of heavy metal because of its use of blues toward a hard rock approach. Tom Scholz of Boston has listed it as his favorite album on Gibson’s online magazine, stating, “I knew Jeff Beck’s Truth album inside out…” The album’s title inspired the name of Iowa band Truth and Janey. (by wikipedia)

Despite being the premiere of heavy metal, Jeff Beck’s Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream’s two most popular LPs, mostly as a result of the erratic nature of the guitarist’s subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren’t all new — Cream and Jimi Hendrix had been moving in similar directions — but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood’s bass and Mickey Waller’s drums, and Beck’s blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit “Shapes of Things” as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin’ Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon’s “You Shook Me”; a version of Jerome Kern’s “Ol’ Man River” done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of “Greensleeves” (which was intended as filler but audiences loved); the progressive blues of “Beck’s Bolero”; the extended live “Blues Deluxe”; and “I Ain’t Superstitious,” a blazing reworking of another Willie Dixon song. It was a triumph — a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier — and a very improbable success. (by Bruce Eder)

Jeff Beck (guitar, pedal steel guitar on 01. bass guitar on 05.)
Rod Stewart (vocals)
Micky Waller (drums)
Ronnie Wood (bass)
Nicky Hopkins (piano on 03., 04., 08. + 09.)
John Paul Jones bass on 08, organ on 04. + 05.)
Keith Moon (drums on 08., timpani on 05.)
Jimmy Page (guitar on 08.)
Unknown Scottish bagpipe player (bagpipes on 03.)
Unknown studio orchestra – orchestra on “Love Is Blue”

01. Shapes Of Things (McCarty/Relf/Paul Samwell-Smith) 3.22
02. Let Me Love You (Beck/Stewart) 4.44
03. Morning Dew (Dobson) 4.40
04. You Shook Me (Dixon/Lenoir) 2.33
05. Ol’ Man River (Kern/Hammerstein II) 4.01
06. Greensleeves (Traditional) 1.50
07. Rock My Plimsoul (Beck/Stewart) 4.13
08. Beck’s Bolero (Page) 2.54
09. Blues Deluxe (Beck/Stewart) 7.33
10. I Ain’t Superstitious (Dixon) 4.53


JeffBeck04Ronnie Wood, Jeff Beck, Mick Waller & Rod Stewart