‘Spider’ John Koerner – Spider Blues (1965)


“Spider” John Koerner (born August 31, 1938, in Rochester, New York, United States) is an American guitarist, singer, and songwriter. He is best known as a guitarist and vocalist in the blues trio Koerner, Ray & Glover, with Dave Ray and Tony Glover. He has also made albums as a solo performer and with Willie Murphy.

Koerner grew up in Rochester, New York, and after a brief military service attended the University of Minnesota. He intended to major in engineering but soon became involved in the Minneapolis music scene, where he met Dave Ray and Tony Glover. They formed a loose-knit trio, releasing albums under the name Koerner, Ray & Glover. The group gained notice with their first album, Blues, Rags and Hollers, originally released by Audiophile in 1963 and re-released by Elektra Records later that year.

Koerner was an early influence on Bob Dylan, who mentioned Koerner in his autobiography, Chronicles. Speaking of the early 1960s, Koerner later said, “We were all goofy, you know. We were thinkers and drinkers and artists and players, and Dylan was one of us. He was another guy.”


In 1965, Koerner recorded his first solo album, Spider Blues, for Elektra and appeared at the Newport Folk Festival accompanied by Glover. He continued playing on the folk circuit and joined with Willie Murphy to record Running, Jumping, Standing Still in 1969.[4] The duo eventually split up, and Koerner pursued an unsuccessful career in filmmaking, retiring from music and moving to Copenhagen, Denmark.[5] He later returned to music in the traditional folk genre and continued to perform and release new albums from time to time. He now lives in Minneapolis and has two sons and a daughter.


Spider Blues is the debut solo album by blues artist “Spider” John Koerner, released in 1965. He was member of the loose-knit blues trio Koerner, Ray & Glover at the time of its release.

As a member of the blues trio Koerner, Ray & Glover, Koerner was recording on the Elektra label. While recording the trio’s albums Lots More Blues, Rags and Hollers and The Return of Koerner, Ray & Glover, he recorded a number of solo tracks. These tracks were assembled into Koerner’s debut solo album. He also appeared at the Newport Folk Festival that same year, accompanied by trio member Tony Glover.

In his subsequent releases, his style changed as he turned from the blues to traditional folk music. In a 2000 interview, Koerner said, “I finally decided I was not a blues guy. How could I be? I was too young and too white, all that shit. So I took a year off and when I started playing again, I treated the subject in general as folk music. It’s a new culture; it’s not music being made on a back porch anymore.”


In his 1965 Jazz Monthly review, music critic Albert McCarthy excoriated the album and wrote, “This is, without any doubt, one of the worst records I have had to review for many a long day. In a sleeve note notable for the inane quotes from Koerner himself, Paul Nelson of The Little Sandy Review, which I understand is one of the better folk publications, makes the remarkable claim that ‘Koerner’s art is like Chaplin’s, as great and lasting as it is entertaining’. I nominate this as the most absurd remark of the year in the sleeve note field. In fact, Koerner is a passably competent guitarist, a poor harmonica player and a quite dreadful singer. ”

On the other hand, in the mid-late 1960s radio station WBCN in Boston used to regularly play “Rent Party Rag” on the first of every month. (by wikipedia)


“Spider” John Koerner (guitar, harmonica, kazoo, vocals)
Tony “Little Sun” Glover – harmonica on 01.,  04.,  + 13.)

01. Good Luck Child 2.07
02. I Want To Be Your Partner 3.07
03. Nice Legs 2.27
04. Spider Blues 2.17
05. Corrina 3.15
06. Shortnin’ Bread 2.08
07. Ramblin’ and Tumblin’ 3.12
08. Delia Holmes 2.54
09. Need A Woman 2.05
10. I Want to Do Something 3.35
11. Baby, Don’t Come Back 2.39
12. Hal C. Blake 1.42
13. Things Ain’t Right 3.30
14. Rent Party Rag 9.29

All songs written by “Spider” John Koerner



Canned Heat – Boston Tea Party (1970)

FrontCover1.jpg30 years ago, I got this concert from a friend on a tape … Canned Heat “Canned Heat: Live At The Boston Tea Party”;

Time for blues and boogie with the Canned Heat, having guests on a couple of tracks a band called Kaleidoscope (*) (with David Lindley and Chris Darrow). Recorded at the Boston Tea Party, a club that welcomed artists like Led Zeppelin, Velvet Underground, Allman Brothers Band, Procol Harum, Jethro Tull, Mountain, Santana and many more.
The 8th track is about 40 minutes long, now that’s something that definitely I would not call easy-listening 🙂 (by soundabord.blogspot)

The Boston Tea Party, one of the most famous sixties rock venue in the world, opened on Friday January 20, 1967 in an abandoned temple at 53 Berkeley Street. Two years after (July 12, 1969) the club had moved to an old warehouse on 15 Landsdowne Street (it was originally a club called The Ark which failed a few days earlier as the Tea Party was looking for a bigger place and they took it over). The club closed on December 29, 1970.

This appearance at The Tea Party in Boston winds up becoming some of the last for Alan Wilson, since he died in September of that year. The band went through a number of personnel changes over the years, but the surviving three members have kept things going and are still widely popular throughout the world.

(*) Kaleidoscope was a California psychedelic-folk band from the 60’s, built around the nucleus of David Lindley and Chris Darrow. They join Canned Heat for the last tune. Forty minutes of blues boogie jammin’ !!!


Bob Hite (vocals, harmonica)
Harvey Mandel (guitar)
Adolfo de la Parra (drums)
Larry Taylor (bass)
Al Wilson (guitar, vocals, harmonica)
Kaleidoscope (feat. David Lindley and Chris Darrow)


01. Intro 1.18
02. I Found Love (Leigh) 5.12
03. Catfish Blues (Petway) 13.55
04. Bullfrog Blues (Traditional) 6.07
05. Gonna Find A New Woman (unknown) 6.41
06. Killing Floor (w/ members of Kaleidoscope) (Burnett) 6.00
06. Bring It On Home (Dixon) 5.59
07. Kaleideheat Boogie Jam w/ Kaleidoscope 39.43



Fantastic Negrito – The Last Days Of Oakland (2016)

FrontCover1Blues in the 21st century usually falls into two camps: hip revivalists raised on rock who are ready to shred and traditionalists content to confine the music on a narrow path. Fantastic Negrito — the new persona of Xavier Dphrepaulezz, who previously pledged allegiance to Sly Stone in the ’90s — disregards this playbook by offering a fresh take on blues with his 2016 album, The Last Days of Oakland. The title alone pushes against the sweeping tides of gentrification and the album begins with a litany of what’s good and bad within Oakland, a theme Fantastic Negrito touches upon throughout his album. Class and commerce aren’t the only thing on his mind: The Last Days of Oakland teems with all the turmoil of urban life in 2016, a place where racial, financial, technological, and political tensions all threaten to explode. Fantastic Negrito isn’t happy with certain classes being pushed to the margins but he’s not pining for the past: he respects tradition — a debt made explicit via a lithe cover of Lead Belly’s “In the Pines,” but heard throughout the album as he flits between jumping boogie, Dobro blues, flexible funk, and gospel — but he uses the past as a way of framing the present.

Xavier Dphrepaulezz

Certainly, his blues isn’t limited to thundering riffs or guitar solos, but that doesn’t mean that he resists the temptation of an overdriven six-string. “Hump Through the Winter” crunches with a color reminiscent of Led Zeppelin or, perhaps more accurately, Jack White or the Black Keys, a pair of millennial rockers whose blend of retro-tradition and modern sensibility is felt all through The Last Days of Oakland. What separates Fantastic Negrito from these 21st century peers is that he doubles down on funk and digitally erased cultural boundaries without losing a specific sense of self or place. There’s a reason why this album is named after his hometown: it’s an album about Oakland, just as it’s an album about Xavier, yet this city by the Bay stands in for any other city in America, just as Fantastic Negrito speaks for anybody frustrated by the loss of humanity in this era of gentrifications. (Stephen Thomas Erlewine)


“The Chilean” (guitar)
Xavier Dphrepaulezz (vocals, drum programming,guitar, piano)
LJ Holoman (keyboards)
Masa Kohama (guitar)
Colin Linden (slide-guitar)
Omar Maxwell (drums)
Cornelius Mims (bass)
Piwie (percussion)
Tomas Salcedo (guitar)


01. Intro – The Last Days Of Oakland (Dphrepaulezz) 0:35
02 Working Poor (Dphrepaulezz) 4:01
03. About A Bird (Dphrepaulezz) 3:40
04. Scary Woman (Dphrepaulezz) 3:10
05. Interlude – What Would Y.ou Do? (Dphrepaulezz) 1:20
06. The Nigga Song (Dphrepaulezz) 3:16
07. In The Pines (Leadbelly) 4:19
08. Hump Through The Winter (Dphrepaulezz) 3:54
09. Lost In A Crowd (Dphrepaulezz) 5:00
10. Interlude 2 – El Chileno (Dphrepaulezz) 0:41
11. The Worst (Dphrepaulezz) 3:52
12. Rant Rushmore (Dphrepaulezz) 5:01
13. Nothing Without You (Dphrepaulezz) 4.15



Blues Project – Matrix ,S.F. September 1966 (2014)

FrontCover1.jpg“They play through the hugest amplifiers we’ve ever seen, and their music makes your ears ring for two days after. Oh, yes–they swing like mad and drive their audiences insane.” (Hit Parader Magazine)

For people who were around in the ’60s, The Blues Project (TBP) were one of the most exciting and innovative groups around. They combined folk, blues, rock, jazz, r&b, and even a smidgen of classical music styles into one new kind (at the time) of music that was unheard of before. Other American bands (like Butterfield’s) were beginning to look past musical borders and combining different types of music, but TBP was one of the first–and one of the most exciting–to consistently blend their music into something new. I can still recall listening to the band’s albums when they were released and thinking that this is something new and different–and very exciting. This set from The Matrix in 1966, (which has been issued before) is a good example of how exciting the band was live. The sound is very decent across this reissue–fairly clean and very immediate sounding. The booklet has a portion of an interview from Hit Parader Magazine from 1966, which helps give more of a period feel to those times, but doesn’t give newcomers any real background on the band’s career. Fans of course know about the very fine 2 CD set “Anthology” that came out a few yeas back, which is the best way to hear TBP in the studio and live, plus the booklet is very informative.

ConcertPoster.jpgBut if you’re a fan of this band (and if you like ’60s music you should definitely know about TBP) and haven’t heard this great set, you need to pry a few bucks out of your pocket and get this set sooner rather than later. At one time TBP was heralded as possibly the most exciting and innovative band in the country. And listening to this set it’s easy to hear why they deserved that title. Remember, 1966 was a time before many bands had become known for incorporating different genres of music into one sound, and then stretching out into long jams, both on their albums and on stage. Included are blues tunes like “Hoochie Coochie Man”, folk songs (“Love Will Endure”), jazz things (“Flute Thing”), r’n’r (“You Can’t Catch Me”), and several tunes that incorporate different musical genres. The band sounded best on tunes like “Steve’s Song”, “I Can’t Keep From Crying Sometimes”, “Wake Me Shake Me”, “Cheryl’s Going Home” (all included here), and other similar songs that gave the band a chance to show their musical influences.

With Danny Kalb you had one of the most exciting electric guitarists of the period. Steve Katz too was a fine guitar player, and his harmonica playing was very good for the times. Al Kooper’s jazzy, bluesy organ sound was new and exciting, and set the sound for other bands to follow. But one of the identifying sounds of TBP was Andy Kulberg’s (who also played bass) flute work. His jazzy sound was extremely innovative for the era. He also had a slight classical sound that blended well with his jazzier playing style. It’s not well known except by fans, but the band was heavily influenced by the music of John Coltrane (among others in both jazz and blues), and it shows in Kulberg’s musical flights, and when he and Kalb would get going together in long winding solos, the music was very advanced sounding. Holding everything together on drums was Roy Blumenfield (who gets a short solo on “Flute Thing”) that is of the times.


The only flaw (to some fans) is the lack of a good vocalist. By this set their original vocalist, Tommy Flanders (who released a pretty decent album, “The Moonstone”), had left. In some ways he was the ingredient that helped elevate the band to the top of the heap of then emerging bands. Kalb, Katz, and Kooper handled the vocals after he left, and you’ll hear why they never really wanted the job. Kalb handled the blues tunes, Katz the folk stuff, and Kooper the more rock arranged songs. But taken altogether the band was one of the best to ever come out of that whole ’60s era.


So if you already own “Anthology”, or the individual albums (the two studio and two live sets–one of which isn’t actually live), you need to add this exciting set to your shelf. Be aware that some of these tunes are (quite possibly) taken from one of the band’s live albums, but that’s a minor complaint. When taken as a live set this is one of the more exciting and “new” sounding live albums from a band that knew how to blend genres and stretch then out into awesome workouts. And it’s a good example of just how exciting music was becoming in the late ’60s.

It’s good to have this set easily available once again. It’s a perfect example of how new and exciting music was becoming in the ’60s. It’s too bad TBP fell apart when they did. But the music they left behind is some of the period’s best. (by Stuart Jefferson)


The original bootleg frontcover

Roy Blumenfeld (drums)
Danny Kalb (guitar)
Steve Katz (guitar)
Al Kooper (organ, vocals)
Andy Kulberg (bass, flute)


01. Louisiana Blues (Morganfield) 4.58
02. Steve’s Song (Katz) 4.17
03. I Can’t Keep From Crying Sometimes (Kooper) 6.10
04. Caress Me Baby (Reed) 7.58
05. Flute Thing (Kooper) 8.57
06, Wake Me Shake Me (Kooper)  8.46
07. The Way My Baby Walks (Kulberg) 4.07
08. Love Will Endure (Sky/Lynch) 2.49
09. Jelly Jelly Blues (Eckstein/Hines) 6.37
10. Cheryl’s Going Home (Lind) 3.08
11. You Can’t Catch Me (Berry) 5.54
12. Shake That Thing 5:34
13. Catch The Wind (Leitch) 4.43
14. You Can’t Judge A Book By Looking At The Cover (Dixon) 6.43
15. Flute Thing (Kooper) 9.40
16. Hoochie Coochie Man (Morganfield) 5:11
17. If You Don’t Come Back (unknown) 4.49


Grace Potter & The Nocturnals – Nothing But The Water (2005)

FrontCover1.jpgGrace Potter and the Nocturnals is an American rock band from Vermont, formed in 2002 in Waitsfield by drummer Matt Burr, guitarist Scott Tournet, and singer Grace Potter. They began their career as an indie band, self-producing their albums and touring extensively in the jam bands and music festivals circuit, playing as many as 200 gigs in a year. In 2005 they signed for Hollywood Records; they have published four studio albums, encompassing rock subgenres such as blues rock, folk rock, hard rock, and alternative rock. Their third, self-titled album (2010) has been a major commercial success, topping iTunes charts and receiving international attention.

The band is fronted by lead vocalist and multi-instrumentalist Grace Potter (born June 20, 1983), who is known for her vocal qualities—evocative of blues rock singers like Janis Joplin, Bonnie Raitt, or Koko Taylor—as well as for her vibrant energy on stage. Besides playing with the Nocturnals, Potter has also released solo material and collaborated with other artists including Kenny Chesney and The Rolling Stones.

Nothing But the Water is Grace Potter and the Nocturnals’ first studio album. It was released on May 10, 2005 independently by the band. The album was re-released with re-mastered tracks and a bonus DVD on May 23, 2006 after the band signed with Hollywood Records in late 2005.Nothing But the Water is Grace Potter and the Nocturnals’ first studio album. It was released on May 10, 2005 independently by the band. The album was re-released with re-mastered tracks and a bonus DVD on May 23, 2006 after the band signed with Hollywood Records in late 2005. (by wikipedia)


While the 22-year-old Grace Potter’s vocal influences are obvious — Bonnies Raitt and Bramlett, Susan Tedeschi, and Lucinda Williams — it’s what she does with her voice that is most impressive. This sophomore indie album gets all the parts right. Even though the band is from Vermont, there is no denying the Southern blues, gospel and swamp rock that course through its veins. Potter’s songs, all co-written with her group, grind through a combination of the Band, J.J. Cale (who she namechecks on the opening “Toothbrush and My Table”), Taj Mahal, and Tift Merritt. Although it is self-recorded, Nothing but the Water exudes a professional sound and the band knows when to play and when to lay back. Lyrically, Potter is stuck on the lost love track, but she makes the most of that overworked concept with smart, savvy words that retain an air of mystery. She’s got a terrific, grainy voice, but it’s her piano and Hammond B-3 playing that really set her apart from the pack. The organ adds a gospel flavor — part Gregg Allman, part Booker T., part Steve Winwood — that pushes this material from good to great. “Treat Me Right” throbs with a sexuality perfectly echoed in the band’s skeletal swamp funk backing.


In particular, Scott Tournet’s slide guitar pushes the rollicking “Sweet Hands” down Highway 61 as Potter charges through lyrics such as “it’s like touch and go without the touch” with a mix of sassy fire and feisty intensity. “Joey” tells the story of spousal abuse with images that are powerful and scary (“He looks me in the eye, he’ll hit me ’til I cry”). She goes full Delta blues/Bonnie Raitt mode on the acoustic “2:22,” accompanied only by acoustic guitar and subtle standup bass. It’s an impressive track and shows she could be a fine traditional blues singer if she wanted to pursue that avenue. The final trilogy of tracks is the album’s highlight. Shifting from the spooky instrumental “Below the Beams” to the a cappella gospel of “Nothing but the Water Pt.1” and into the song’s rollicking “Pt. 2,” the band fires on all cylinders as Potter spits out the gospel words powered by her own keyboards and the band’s surging storm of blues-rock. It caps an impressive release that only scratches the surface of what this band can generate live. (by Hal Horowitz)


Matt Burr (drums, percussion)
Bryan Dondero (bass)
Grace Potter (vocals, keyboards, tambourine)
Scott Tournett (guitar, background vocals)
Jennifer Crowell (tambourine, background vocals)

01. Toothbrush And My Table (Potter/Burr) – 4:31
02. Some Kind Of Ride (Potter) 3.40
03. Ragged Company  (Potter) 4.59
04. Left Behind (Potter/Burr/Dondero/Tournet) 3.39
05. Treat Me Right (Potter/Burr/Dondero/Tournet) 4.27
06. Sweet Hands (Potter) 3.37
07. Joey (Potter/Burr/Dondero/Tournet) 5.17
08. 2:22 (Potter, Tournet) 4.32
09. All But One (Potter) 4.53
10. Below the Beams (Potter/Burr/Dondero/Tournet) 1.33
11. Nothing But the Water (I)  (Potter) 2.44
12. Nothing But the Water (II) (Potter) 5.16



Oh yes, I´m a fool for a pretty face …

Rob Hoeke R & B Group – Celsius 232,8 (1968)

FrontCover1.jpgPianist Rob Hoeke started his first band in 1957 with his brother Paul (d) and Ed Heck (upright bass). In 1959, they became the Rob Hoeke Boogie Woogie Quartet, adding guitarist Wim Bitter. By the time they got a recording contract with Phonogram’s Philips label, Ed Heck had been replaced by a bass guitarist, Kees Kuypers. In October 1963, they released their first record (an EP), followed in 1964 by an LP, “Boogie Hoogie”. Early 1965, the band did a stint in Sweden. Upon their return, they recorded the single, “Down South”, which would become Hoeke’s signature tune. After a second trip to Sweden and sitting in on the piano with The Rolling Stones, Hoeke switched to R&B, renaming his band Rob Hoeke R&B Group and adding cousin Frans Hoeke (v, g). Late 1965, Wim Bitter was replaced by John Schuursma (later in Brainbox). The band had their first hit with “Margio” in mid-1966, after which they were joined by Willem Schoone (b, v, ex-Marks). Schoone sang lead on the next hit, “When People Talk”. Shortly after that, Rob’s brother Paul Hoeke quit and was replaced by drummer Martin Rüdelsheim. This line-up recorded the successful album, “Save Our Souls”. The band had two more hits in 1967 and by 1968’s “Drinking On My Bed” (the last hit of the R&B Group), Schuursma had been replaced with Will de Meyer (g, ex-Alleycats). Not long afterwards, Frans Hoeke quit to pursue a solo career, which would turn out to be quite unsuccessful. For a while he was not replaced. As the single “Down South” from 1965 was still very popular, Rob was asked to do a new boogie-woogie album.

RobHoeke02.jpgSo in mid-1968, two Rob Hoeke albums hit the shops: “Celsius 232.8” by The Rob Hoeke R&B Group (Hoeke, Schoone, Rüdelsheim & de Meyer) and the instrumental “Robby’s Saloon” by the revived Rob Hoeke Boogie Woogie Quartet (Rob Hoeke, Paul Hoeke, Will de Meyer and Kees Kuypers). Then some more changes took place: shortly after the release of “Celsius” in late 1968, Jan Vennik (o, s, ex-Motions) came in as a fifth member. In the Spring of 1969, Jaap Jan Schermer became the new drummer. After the success of “Robby’s Saloon”, Hoeke recorded another boogie-woogie album, “Racing The Boogie”, in early 1970 (and Phonogram included the 1965 track “Down South” on it to boost sales). This move didn’t do Hoeke’s reputation much good as there was confusion over what to expect from him: psychedelic bluesy rock or boogie-woogie. The situation would not be helped by “Down South” being re-released as a single and hitting the charts. It effectively RobHoeke01meant the end of the Rob Hoeke R&B Group. In March 1970, Schoone left to be replaced by Guus Willlemse (ex-Truce, later in Solution), but the writing was on the wall, especially since Rob Hoeke didn’t even play on the next single, “Next World War” (Vennik played the keyboards). The following single, “Everybody Tries”, hit the lower regions of the charts, but after that the R&B Group and the Boogie Woogie Quartet would be interchangeable.

In 1971, Hoeke recorded a piano duo album with old friend Hein van der Gaag, assisted by Ben de Bruin (g), Paul Lagaay (d) and Will de Meijer (b). Pim van der Linden (ex-Het and Pocomania) then came in on bass with de Meyer reverting to guitar. The 1972 album, “Full Speed/Ten Years From Countdown”, was recorded with Ben de Bruijn, Paul Lagaay and bassist Herman Deinum (ex-Cuby + Blizzards). Hoeke then started fulfilling his contracts with the returned Martin Rüdelsheim and Martin Schoon (b). In the meantime, he started rehearsing with Eelco Gelling and Harry Muskee of the disbanded Cuby + Blizzards, but the project didn’t work out. Hoeke then decided to get back his cousin Frans and guitarist Ben de Bruijn, plus the C+B rhythm section – Herman Deinum (b) and Hans Lafaille (d). This line-up recorded the 1973 album (credited to “Rob Hoeke”), “Rockin’ The Boogie”. Early 1974, Hoeke’s band comprised de Bruijn, the returned Pim van der Linden (b, replaced by Ed Swanenberg, ex-Unit Gloria), Will Baltus (d) and Brenny van Rosmalen (v, g). Then tragedy struck: while trying to fix his car, Hoeke injured his left hand (hit by a fan), losing most of his left pinky and ring finger. The days of playing piano seemed to be over.


Yet in 1975 he managed to record another duo album with Hein van der Gaag, called “Fingerprints”. Slowly Hoeke managed to get used to playing with “less hand” than before. Later that year, he started touring again with Ben de Bruijn (replacing Eef Albers), Ab de Jong (d, ex-Mantra Energy), Chiel Pos (ex-Beehive, g, s, v) and Fred Snel (b, ex-Solar). In early 1976, Hoeke reverted back to a trio with Pos (now on bass) and (again) Martin Rüdelsheim (d), and the next year – with John Schuursma (b) and Maarten van de Valk (d). In the Summer of 1977, Hoeke recorded an album with Alan Price. In early 1978, he chose bluesers Railway as his backing band, comprised of Rob Goedkoop (g, v), Jacques Groen (d) and Doewe Munk (b). For the next album, “Boogie Woogie Explosion”, Hoeke picked ex-Focus-drummer Pierre van der Linden, plus former members Will de Meijer (g, b), John Schuursma (g, b) and Jan Vennik (s). On the 1981 album, “Home Made”, Hoeke kept van der Linden and Vennik, adding former members Willlem Schoone (b) and Ben de Bruijn (g). In 1983, Hoeke started playing with a band again as The Rob Hoeke Group (keeping a label in the middle, whether it was R&B or Boogie Woogie). In the 1980s, Hoeke used a kind of floating line-up with interchangeable drummers (Paul Lagaay, Rini Roukema) and bass players (Fred Snel, Jan de Jong, Gerard Biersteker, Willbert de Gooijer) and alternating between trio and quartet line-ups. From mid-1984 on, old soldier Will de Meyer (g, v) was mainly there when the four-piece played, but many guests and old band members appeared in the line-up from time to time, like John Schuursma and Pierre van der Linden. And from 1987 on, he played under the band name of Rob Hoeke’s Boogie & Blues Band, while keeping his flexible line-ups. Highlights were four concerts at the North Sea Jazz festival within the space of 10 years.

In the latter days of his career, Hoeke toured with a remarkably stable line-up comprising Paul Lagaay (d), Chiel (Michiel) Pos (v, g, s) and Toon Segers (b), who’d all played with him before. From 1998 and until the very end, Hoeke (apart from his band gigs) toured Dutch theatres with fellow boogie pianists Jaap Dekker and Rob Agerbeek as The Grand Piano Boogie Train. When it was announced Rob Hoeke was terminally ill, he did a farewell concert in August 1999 with many of his former sidemen and his sons Ruben (leader of his own blues-rock band) and Eric sitting in. Rob Hoeke died in late 1999 at the age of 60 (by Alex Gitlin)

And here´s an album from the early days of Rob Hoeke, the second album with his “R & B Group”.

And it´s a pretty good mix between Beat, R&B and some psychedelic elements (“Just Make Me A Pallet”)


Rob Hoeke (keyboards, harmonica, vocals)
Will de Meyer (guitar, vocals)
Martin Rüdelsheim (drums)
Willem Schoone (bass, vocals)


01. Lying In The Grass 3.03
02. Purple Potatoes 3.08
03. Yellow Stone 2.31
04. Six O’ Clock Blues 2.00
05. (The Only Thing That Hasn’t Changed During The Times Is) The Rain Still
Falling From Above 2.40
06. Don’t Feel Ashamed 2.43
07. How High We Used To Go 2.58
08. Out Of Town 2.33
09. Fahrenheit 451 1.57
10. Just Make Me A Pallet 4.57

All songs written by Rob Hoeke & Will de Meyer




Rob Hoeke (09 January 1939 – 06 November 1999)

Bonnie Raitt – The Lost Broadcast Philadelphia 1972 (2010)

CDFrontCover1When Bonnie Raitt got her big breakthrough album, Nick Of Time, in 1989, the general feeling was that her time had come. After all, she had released her debut album back in 1971 and spent the time in between gigging and honing her craft. The Nick Of Time and Luck Of The Draw (1991) albums showed a matured Raitt with a commanding presence.

But even in the early years, she had the ability to stop listeners in their tracks. Sarah, writing at sheplaysmusic.com, posted: “My love affair with blues and the legendary Bonnie Raitt began in 1977 when I was 13 years old. I was in my bedroom listening to a local top 40s station when the tuner on my antiquated clock radio became stuck between channels. In tuning it I landed WMMR in Philadelphia and heard the most amazing thing. Bonnie Raitt’s Blender Blues was playing. It was a live recording from Philly’s Sigma Sound Studions from, I believe, 1972 or so. Bonnie Raitt became my hero and I listened to the radio often to hear that song especially.”

While Raitt was still promoting her self-titled debut album at this show, she also snucked in Too Long At The Fair and Under The Falling Sky from her second album, Give It Up, which would only be released in September 1972.

Fans who heard this show have raved about it – both for Raitt’s performance (she was only 22) and for its very good audio quality. Thanks to tranbert for sharing the lossless tracks on the net and to dan@am-dig.com for the artwork.


No idea who penned these notes that accompanied the tracks but they make fine reading.

“Like any story passed on with some music this needs to be taken with a grain of salt. Here what was told to me and this is what I know.

“An intern at WMMR in the ’80s recorded this show to an analog source. Being such a tremendous recording this individual longed to re-record the master reel straight to a digital source as they became increasingly popular in the early ’90s. At this point the intern had moved on and no longer had this type of access. However, he remembered periodically that the studio or the station allowed access to the ‘records room’ for research activity. Posing as a university affiliate doing research on ’70s radio advertising, this individual gained access to the master reels with a portable Sony DAT deck. The room was laid out with shelves with tables on the far end with cassette decks, reel to reel and ‘cart’ type recorders. Unplugging the cart recorder and connecting the DAT deck, history was then digitized.


“At this time I was working at a mail order facility selling DAT tapes. Which at the time were very expensive, US$12 or more per tape. The individual with this Bonnie recording told us the story above. Is it true? Who knows but he use to buy DAT tapes from us regularly. He made us a cassette of this famous recording and we bugged him to make us a DAT copy for months. He did not have the means to do DAT to DAT. On a visit to the ’store’ in Stamford in 1992 we finally were able to make one DAT clone. I subsequently cloned that DAT.”

Also, thanks to WMMR producer Dennis Wilen for the feedback.


John Davis (harmonica)
Dan (Freebo) Freeberg (bass)
Bonnie Raitt (guitar, piano, vocals)
T.J. Tindle (guitar, harmonica)


01. Mighty Tight Woman (Wallace) 4.03
02. Rollin & Tumblin (Morganfield) 4.23
03. Any Day Woman (Siebel) 3.39
04. Woman Be Wise (Wallace/Bench) 3.42
05. Thank You (Raitt) 2.58
06. Bluebird (Stills) 3.37
07. Finest Lovin Man (Raitt) 5.24
08. Big Road (Johnson) 4.42
09. Stayed Too Long At The Fair (Zoss) 2.50
10. Under The Falling Sky (Browne) 4.30
11. Walkin Blues (Johnson) 4.00
12. Can’t Find My Way Home (Winwood) 3.06
13. Richland Woman Blues (Hurt) 3.51
14. Blender Blues (Raitt) 3.32
15. Radio Jingle Promo 1.05
15. Since I Fell for You (Johnson) 2.50